Magix Music Studio Deluxe 12.0 Owners Manual 12 Eng

User Manual: magix Music Studio Deluxe - 12.0 - Owners Manual Free User Guide for Magix Music Studio Software, Manual

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Copyright
MAGIX and Music Studio are registered trademarks of MAGIX AG.
VST and ASIO are registered trademarks of Steinberg Media
Technologies GmbH.
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 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 and changes to the contents as well as
program modifications reserved.
This product uses MAGIX patented technology (USP 6,518,492).
Other mentioned product names may be registered trademarks of
their respective owners
Copyright © MAGIX AG, 1994 - 2006. All rights reserved.

www.magix.com

Preface

Preface
Congratulations on your purchase of MAGIX Music Studio 12 deluxe!
Creating your own music or video soundtracks in a home studio has
become more and more popular. But the wide variety of available
equipment and software often confuses beginner and professional
musicians alike. What to I really need? What's best value for money?
MAGIX Music Studio 12 deluxe is the perfect solution: Fast and easyto-handle music production on your PC – from recording to
mastering. Transform your PC into a complete sound studio.
All you need to produce and arrange in high-quality is a conventional
sound card. Additional studio equipment can easily be added.
The following pages will introduce you in detail to the various
functions and possibilities of MAGIX Music Studio 12 deluxe.
Have fun with MAGIX Music Studio 12 deluxe.
Your
MAGIX team

www.magix.com

Table of Contents

Table of Contents
Copyright

Preface

Support

Getting started
Package contents
System requirements
Installation

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More about MAGIX
MAGIX Online
MAGIX Premium Club

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Introduction
What is MAGIX Music Studio 12 deluxe?
What’s new in MAGIX Music Studio 12 deluxe?
The features

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Tutorial
Creating a VIP
Working with MIDI
Edit Objects
Mixer
Burn CD

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Program desktop overview
VIP window
Transport control
Track Editor
Track box
Workspaces

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Terminology
Handle
Section
Range
Clip
Destructive and non-destructive editing
Objects

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Table of Contents
Play-Cursor
Virtual Projects (VIPs)
Wave projects

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Functional overview
Working with Objects in the VIP
Working with Ranges
Working in wave projects
Using markers
Volume
Output Mode
Record
Tips & Tricks

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Effects and effect plug-ins
What effects are there and how are they used?
Saving Effect Parameters (Preset Mechanism)
Cleaning FX (object editor)
Sound FX (object editor, mixer channels, mixmaster)
Parametric Equalizer (mixer channels, mix master)
MAGIX Mastering Suite
Vintage Effects Suite
Track Dynamics (track effects, mixer channels)
Track delay/reverb (track effects)
Elastic Audio
Effect Calculations
MAGIX Music Studio 12 deluxe as an external effects device

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Mixer
Overview
Operating the Mixer
Channel strips
Master section
Global Settings
Busses and Routing
Embedding external effects devices
Tips and tricks

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MIDI in MAGIX Music Studio 12 deluxe
What is MIDI?
Connect external equipment
Convert MIDI objects into audio files
MIDI settings
MIDI: Import, Record, Edit
MIDI Object Editor

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Table of Contents
MIDI Editor
Open MIDI Editor
Notation display, movement, zoom
Synchronized MIDI Editor and VIP screen view
Using the MIDI Editor: Selecting events
Editing Events: Piano Roll
Controller Editor
List Editor (midi event list)
Quantize
MIDI Editor shortcuts
Drum Editor
Score Editor

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Software/VST instruments
Introduction
Installation of instruments and path settings
Load instruments
Adjust instrument parameters
Play and monitor instruments live
Preset management
Freezing instruments (Freeze)
Tips on handling virtual instruments
ReWire

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Synth Objects
Working with synth objects
Drum & Bass machine 2.0
Beatbox 4.0
Atmos
Vita
LiViD - Little Virtual Drummer
SampleTank 2 MX (SE)
Robota
SilverSynth Pro
Copper Synth
Revolta

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Auto Jam Session
Open
Handling
Auto Jam Session modes
Loop effects
Enhanced Auto Jam Session dialog
Record Device

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Table of Contents
The Managers
File browser
Object Manager
Track Manager
Marker Manager
Range Manager

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Surround Sound
247
Surround Panorama Module
247
Stereo and mono signal processing with twin-channel Surround 250
Automation of twin-channel Surround
251
Burning CDs
Redbook
Writing
Burning CDs in MAGIX Music Studio 12 deluxe
DSP Display

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Menu File
New Virtual Project (VIP)
Open
Import Audio
Load Audio CD Track(s)
Save Project
Save Project as
Save complete VIP in
Save Project as Template
Burn Project Backup on CD
Save Object
Save Session
Rename Project
Delete HD-Wave Project
Delete Virtual Projects
Convert audio
Export audio
Export podcast
Batch-processing
Connect to the Internet
FTP Download
Send project via email
Close Project
Exit

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Menu Edit

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Table of Contents
Undo
Redo
Undo-History
Cut
Delete
Copy
Paste from clip
Extract
Insert Silence
Append Projects
More
Delete Curve Handles
Delete Undo Levels
Crossfade Editor
Auto Crossfade active

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Menu View
Rebuild Graphic Data
Sections
Fix vertically
Hide SubMix/Aux Busses
Show Grid
Grid Lines
Units of Measurement
Snap to Grid
Snap and Grid Setup
VIP Display Mode
Store position and zoom level
Get position and zoom level
Horizontally
Vertical

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Menu Track
Insert new Tracks
Cut Track(s)
Copy Track(s)
Insert Track(s)
Delete Track(s)
Track Properties
Track Effects
Surround Editor
DirectX Plug-Ins
Maximize Track
Minimize none
Track Freeze

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Table of Contents
Track UnFreeze
Activate next /previous Track

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Menu Object
New Object
New Synth Object
Cutting Objects
Split Objects
Trim Objects
Group objects
Lock Objects
Move Object
Mute objects
Build Loop Object
Hotspot
Select Objects
Group Objects
Ungroup Objects
Object color/name
Object Editor
Object Manager
Take Manager
Wave Editing

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Range menu
Range all
Move play cursor
Edit range
Range length
Split Range
Split Range for Video
Store Range
Get Range
Get Range Length
Save markers
Get Marker
Markers on Range Borders
Set Markers on Silence
Delete marker
Delete all markers
Recall last range
Range Editor
Range Manager
Edit time display

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Table of Contents
"Real-time Effects" Menu

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Offline effects menu
Amplitude / Normalize
Switch Channels
Stereo FX
Invert Phase
Equalizer
FFT Equalizer
Dynamics
Multimax
Declipping
Remove DC offset
Get Noise Sample
Denoiser
Dehisser
Amp Simulation
Vocoder
Room Simulation
Echo / Delay
Resample / Time stretching
Change Sample Rate
Reverse
Build Physical Loop
DirectX Plug-Ins
Process only left (right) stereo channel

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Menu Tools
Track Bouncing
Range trackbouncing
Remove unused Samples
Delete Freeze Data
Waveform Generator
Open new Manager
Manager
Timestretch Patcher
Remix Agent

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Menu Playback/Record
Play once
Play loop
Play in Range
Play with Preload
Play only selected objects

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Table of Contents
Stop
Stop and go to current position
Change Play Direction
Restart Play
Playback Options
Record
Record Options
Record mode / Punch In
Monitoring
Auto Jam Session

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MIDI menu
New MIDI object
New MIDI track
MIDI Editor
Object Editor
Glue MIDI Objects
Trim MIDI objects
MIDI bouncing
Track information
Track MIDI record
VST Instrument Editor
Tempo/Time Signature
Set new tempo marker
Set new beat marker
Set new beat position marker
Ignore all tempo markers, use only project tempo
Metronome active
Metronome Options
MIDI Options
MIDI Record Modes
MIDI Panic – All Notes off

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CD menu
Load audio CD track(s)
Set Track
Set Sub-index
Set Pause
Set CD end
Set Track Markers automatically
Options for the Track Marker recognition
Set Track Indices on Object Edges
Remove Index
Remove all Indices
Make CD

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Table of Contents
Show CD-R Drive Information
Show CD-R Disc Information
CD Track Options
CD Disc Options
CD Text / MPEG ID3 Editor
Set Pause Time
Set Start Pause Time
CD Arrange-Mode
FreeDB Options
Audio ID

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Options menu
Project properties
Project Options
Track Information
Synchronization / Synchronization settings
Program Preferences
System/Audio

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Window menu
Cascade
Tile
Untile
Arrange Icons
Main Toolbar
Position bar
Mouse Mode Toolbar
Range bar
Workspace bar
Button bar
Status bar
Mixer
Track Editor
Time display
Visualization
Transport Control
Manager
Close all Windows
Iconise all waveprojects
Hide all wave projects
Half Height

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Jobs menu

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Services

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Table of Contents
MAGIX Online Services
MAGIX Community
MAGIX Blog Service
Export podcast

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Menu Help
Help Index
Context Help
About Help
About MAGIX Music Studio 12 deluxe
Start selection / Tip of the day
System Information
MAGIX Auto-Update
Web publishing area
MP3 Encoder activation

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Mouser functions and mouse modes
Universal Mode
Curves/Object mode
Range Mode (Secure Mode)
Curve Mode
Cut Mode
Pitch-shift/Time stretch Mode
Draw Volume Mode
Draw Panorama Mode
Wave Edit Mode (only wave projects)
Scrub Mouse Mode
Zoom Modus

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Button Overview
Tools bar (left)
Tools bar (right)
Mouse mode bar
Positioning bar (left)
Positioning Bar (right)
Range bar

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Shortcuts and Intellimouse
File menu
Edit menu
View menu
Track menu
Object menu
Realtime effects menu
Offline effects menu

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Table of Contents
Range menu
CD/DVD menu
Tools menu
Playback menu
MIDI menu
Options menu
Window menu
Help menu
Mouse

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Index

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Support

Support
If you experience any problems with your software, please get in
touch with our support team:
Support website: http://support.magix.net (http://support.magix.net)
This website will lead you to the MAGIX user service page, which,
among other things, contains the following free offers:
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:
E-mail support form. Via the special form you inform our support staff
about your system. This information is used to solve your problems
quickly and competently. Simply fill out and send 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 well-known to us, and which can be solved by
downloading the latest patch. Besides patches, there are also
wizards for checking and optimizing your system
Links: In the links list you will find the contact addresses of all the
most important hardware manufacturers.
You can also reach our support team by telephone:

www.magix.com

Support
UK:

0905 118 0888 (25p/min)
(open 10:00 - 17:00 Monday to Friday)

Denmark:

077345695
(open 10:00 - 17:00 Monday to Friday)

Finland:

0942597819
(open 10:00 - 17:00 Monday to Friday)

Norway:

021543223
(open 10:00 - 17:00 Monday to Friday)

Sweden:

0852507027
(open 10:00 - 17:00 Monday to Friday)

Email:

info@magix.net

Please have the following information at hand:
• Program version
• Configuration details (operating system, processor, memory, hard
drive...)
• Soundcard configuration (type, driver)
• Information regarding other audio software installed

www.magix.com

Getting started

Getting started
Package contents
CD installation
The MAGIX Music Studio 12 deluxe installation manager is included in
this disc.
Printed manual
The printed manual contains all necessary information for a quick
start into the program. It includes installation hints, a quick
introduction (tutorial), and an overview of the functionality of the
program with useful hints & tips.
Hint: The complete documentation is included in the MAGIX Music
Studio 12 deluxe directory as a PDF file. You can read it on your
screen or print it. You will need the "Adobe Acrobat Reader"
application, which you can download for free from the Internet if it is
not yet installed on your PC. You can also use the program help
(menu "Help" or key F1).

System requirements
Computer:
• Intel® Pentium® or AMD® Athlon® 700 MHz, 256 MB RAM (512 MB
recommended)
• Free hard disk space: 1.5 GB
• Graphics card: Min. resolution 1024x768 with 16-bit high colour
• Full duplex 16-bit sound card or ASIO-enabled sound card
(recommended)
• DVD-ROM drive
• Microsoft® compatible mouse
• Operating system: Microsoft® Windows® 2000/XP
• Optional: Burn CD & DVD with CD / DVD+-R(W) recorder
Publication on www.magix.com and MAGIX Online Album requires an
Internet connection and Microsoft® Internet ExplorerTM 4.0 or higher.
Sending video emails requires available standard email software
Microsoft® OutlookTM or Microsoft® Outlook ExpressTM.

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Getting started
Installation
1. Insert the installation disc into the drive.
2. The installation program will start up automatically. If it does not
start, open the File Manager/Explorer and click on the drive letter
representing the CD-ROM drive (usually D:\). Double-click on
"start.exe".
3. Click INSTALL to install MAGIX Music Studio 12 deluxe.
4. The MAGIX Music Studio 12 deluxe installation program starts.
Simply follow the instructions on the screen. Once all the files have
been copied to the hard disk, a program group will be created. The
installation is now complete. Confirm this with Finish. You can now
start the program at any time from the Windows Start menu.

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More about MAGIX

More about MAGIX
MAGIX Online
Visit us at www.magix.com
Here you will find all the information and special offers on MAGIX
products. This also includes:
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MAGIX D:Magazine
iPACE Online Services
MAGIX Premium Club
MAGIX web publishing area
MAGIX TV
Full Support & Tutorials
Latest News & Information

and plenty more as well. It's worth looking into...

MAGIX Premium Club
Our exclusive customers' club for all MAGIX customers owning a
registered product. MAGIX Premium Club members have access to a
wide range of services:
• Free product updates and downloads
• Exclusive club events and surprises
• News & info about our club, and much more…
Membership is free.
Find out more at
www.magix.com
Note: You can register your MAGIX product from within the program
via the "Help" menu or by entering your product registration code at
www.magix.com. The product registration code can be found on
your program CD. Previous network card codes, for example, XY58241-45, are, of course, still valid.

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Introduction

Introduction
What is MAGIX Music Studio 12 deluxe?
MAGIX Music Studio 12 deluxe is a multitrack recording and editing
application for all types of audio material featuring unlimited editing
options. It's easy to use and follows three simple steps:
1. Download and record
You can download CD tracks, MP3 songs, WAV files, video
soundtracks or sounds & samples – from the hard disk, the CD ROM
drive, or downloaded from the internet. You can even make your own
recordings from a stereo system or with a microphone. Everything
that you download or record is displayed as an object on the
Arranger tracks.
2. Arrange and Edit
Basically all tracks stacked virtually above each other will be played
simultaneously, and everything that follows horizontally will be played
in subsequent order. However, you can mute the objects stacked
above each other.
Every object – that is, every sound, every song – can be cut up or
have effects added. For example, if you want to shorten a song,
move the object with your mouse to the length at which you would
like the song to be – done!. Want to freshen up your sound? Then
open the equalizer and either select a preset that fits, or modify your
sound ”by hand”.
Arranging and editing is fundamentally all about cutting, blending,
adding and mixing effects, and placing audio material into the right
positions and onto the right tracks. But it’s also about play and
experimentation. If it fits, throw it in! Without experimentation there is
no innovation. MAGIX Music Studio 12 deluxe allows you to
experiment, and experiment wildly. There’s no risk of your audio
material being damaged. All editing functions are ”non-destructive”.
3. Export and use
Regardless what you're experimenting with, in the end something
usable should come out of it. MAGIX Music Studio 12 deluxe has
everything you need to do just that:

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Introduction
• Homemade audio CDs which can be played from every standard CD
player
• Unique MP3 collections, for example, as a source for your MP3
player
• Personal direct publications in the MAGIX web publishing area, the
online forum for creative musicians, beginners, and professionals
• and much more. Our export principle: "What you hear is what you
get", that is, what you export sounds exactly as it sounded in the
arrangement on playback in MAGIX Music Studio 12 deluxe.

What’s new in MAGIX Music Studio 12
deluxe?
Audio + MIDI in one application
The division of previous versions into "Audio Studio" and MIDI Studio"
is now a thing of the past. Now there is only one Music Studio, thus
integrating audio and MIDI into one program.
New Synth: MAGIX Vita
MAGIX Vita from the sample specialists Yellow Tools is a sampler
with outstandingly realistic instrument sounds – "real" instruments
playable via PC or MIDI keyboard.
MAGIX Revolta
MAGIX Revolta is a single-voice Bass&Lead Synth designed
according to the predecessor of analog hardware synthesizers with
which authentically pounding bass sounds and sawing hooklines can
be created just like crazy Sci-fi noises.
Track Editor
The Track Editor to the left of the arrangement window enables
access to all important parameters of the selected track. Record and
monitoring status, volume, panorama, MIDI/audio in- and outputs,
plug-ins, AUX sends and EQ settings are displayed in well-arranged
sections and can also be edited in this view. You will instantly see all
relevant settings of the corresponding track.
You can open the Track Editor via the corresponding track button at
the bottom of the VIP below the workspace selection button or via
the menu "Window > Track Editor".

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Introduction
The features
Formats and interfaces
Imports: Standard MIDI formats (MID, GM, GS, XG), sample formats
(SF2), WAV (24 & 32-bit), WAV with codec, OGG Vorbis, MP3, CDA
(Audio CD with preview), AIFF, MOV, AVI
Exports: MID, WAV (24-Bit), WAV with Codec, OGG Vorbis, MP3
(demo encoder with 20 free runs), CD-A (Audio-CD), AIFF, WMA,
RealAudio (Helix), QuickTime
Interfaces: VST(i), DirectX, ASIO, Rewire
In addition: Save sounds & projects on DVD, extract and export video
soundtracks, synchronize to SMPTE, MTC, MC (master & slave),
song to email
MAGIX Online Content Library
In the massive MAGIX Online Content Library you will always find the
matching sounds & pictures. The clearly archived library makes it
child's play to find what you're looking for. Simply preview it and, if
you like it, download it!
Synthesizer
MAGIX Music Studio 12 deluxe comes with the following synthesizers
that you can play directly on your PC keyboard or with a MIDI
keyboard.
• "Sample Tank" (a sampler for acoustic or electronic instruments)
• MAGIX Vita + Vital Instruments (another sampler with astonishingly
real-sounding "classic" instrument sounds)
• "Drum & Bass Machine" (for bass and drum tracks in "Drum&Bass"
sound)
• "Beatbox" (for computer beats and computer sounds)
• "LiVid" - Little Virtual Drummer (for "real" acoustic drum tracks)
• "Robota" (for "mean" electronic beats)
• "SilverSynth" (a "classic" synthesizer)
• "CopperSynth" (an even more "classic" synthesizer for bass sounds)
• MAGIX Revolta (a bass & lead synth)
• Optionally: "Atmos" for nature sounds or atmospheres like rain,
thunder, or wind (only available to download for registered users).

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Introduction
Effects and effect plug-ins
MAGIX Music Studio 12 deluxe offers the following effects and effect
plug-ins:
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Equalizer (graphic and parametric)
Filters
Echo
Reverb (different types, including professional "MAGIX VariVerb")
Vocoder
"AmpSim" (simulates classic tube amps)
"Vintage Effects Suite", consisting of chorus, flanger, analog delay,
distortion, filters and the LowFi-Effects "BitMachine"(optionally as a
free download)
"Mastering Suite", featuring parametric equalizer, multiband
compressor, stereo enhancer and audio meter
Compressor (various types, including Multiband Compressor
"Multimax", with many presets such as Limiter, Deesser, Noise Gate,
Expander or Leveler)
"Tape Simulation" (high-quality simulation of analog tape
compression)
"Stereo FX" for editing the stereo bandwidth
"Cleaning FX": DeHisser and DeNoiser (for reducing hiss and other
artifacts)
Declipping (for eliminating digital clipping and blazing)
Timestretching/resampling/pitchshifting (for correcting pitch and
length)
"Elastic Audio" (dynamic pitch correction)

DirectX and VST Plug-ins
MAGIX Music Studio 12 deluxe enables the direct use of DirectX and
VST plug-ins for which a large variety is available in retail or directly
online. Such plug-ins (audio effects or synthesizers from third party
manufacturers) can significantly increase the functionality of MAGIX
Music Studio 12 deluxe.
MIDI integration
With MAGIX Music Studio 12 deluxe you can arrange, load, edit and
play MIDI data just as easily as audio data. You can combine external
synthesizers with MIDI data for controlling the sound chip on your
sound card or VST instruments, or arrange everything together.
High-end 32-bit floating point
All sound changes are executed in the 32-bit floating point method
for especially differentiated and high-quality. This technology is also
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Introduction
used in professional studios. This way, an audio picture with
especially high dynamics can be created. Digital overmodulation and
clipping become a virtually impossibility.
24 Bit Playout & native editing
High-resolution 24Bits have now become the standard for audio
cards and sound samples. MAGIX Music Studio 12 deluxe also
supports playing of these files in the presence of the relevant
hardware without having to calculate down to 16Bit in real time, as
used to be the case.
MAGIX Jam Session Automation
The Auto Jam Session lets you create complete songs singlehandedly. The program simulates working with hardware "looping
delays" like, for example, the Gibson Echoplex. The difference is that
MAGIX Music Studio 12 deluxe creates an arrangement which can
later be edited and compiled into a complete song.
During an Auto Jam Session, everything you do is recorded. The
most important thing with the Auto Jam Session is the fun factor –
there should never be too much of it.
Manager & Explorer
A project-related manager-set for the administration of objects,
tracks, ranges, and markers allows the efficient administration,
archiving, and management of all project contents and data directly
from the working environment. Without the diversion of Windows
features, and with elegant Drag&Drop in the program – including
Search & Find.
MAGIX Remix Agent
The Remix Agent is the ideal tool for producing DJ & Live Mixes. It
automatically recognizes the beat of MP3 or audio CDs and edits it
as loops precisely according to the beat. Simply drag songs into the
arranger: remixing has never been simpler! The recognized beats can
be used to quickly form a base for a comprehensive remix.
Track Freezing
Entire tracks (including all track and object effects) can be frozen –
meaning that tracks can be bounced and replaced by an object in the
VIP, freeing up valuable computing power. If a track needs some
extra work, “un-freezing” is a breeze.

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Introduction
Batch processing
Convert entire sample libraries, create pre-listen MP3s from
enormous music collections, or clean-up all your session recordings
in one go – automatically.
ASIO driver support
With the help of ASIO driver support, you can also use MAGIX Music
Studio 12 deluxe as an external effects device. The signal is pushed
through the real-time effects section by MAGIX Music Studio 12
deluxe and then re-issued. All real-time effects from the mixer can be
used directly: MAGIX AmpSimulation , MAGIX multiMAX, reverb,
echo, compressor, 4 band equalizer and vocoder. Requirements: You
need an ASIO driver for your soundcard.
User-friendlier interface
The entire MAGIX Music Studio 12 deluxe user interface has been
designed with presets to integrate smoothly with a variety of specific
applications. There are, for example, presets for CD mastering, wave
editing, multitrack recording and power user. These ”beginnerfriendly” presets offer clear and concise menus and toolbars in
MAGIX Music Studio 12 deluxe that help implement such first
projects.
Task Assistant
The Task Assistant uses short video clips to demonstrate the simple
ease of use of the technically demanding effects and functions.
In addition:
• "BPM Tap": Create your own grooves with this intuitive tempo maker
in the transport control
• MAGIX Guitar Tuner: Tuner (not just for guitars)
• Video Support for precise video dubbing
• Download coupons for MAGIX soundpool samples
• MAGIX Music Manager: Record, archive, and burn
• MAGIX Foto Manager incl. iPACE Online Services

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Tutorial

Tutorial
In this chapter we will introduce the most important features of
MAGIX Music Studio 12 deluxe. You will learn how to create an
arrangement with audio and MIDI as well as the powers of both
formats. Furthermore you will receive information on essential parts of
the program so that you can take advantage of all possibilities of
MAGIX Music Studio 12 deluxe.

Creating a VIP
First of all, create a new project by clicking on the "New multi track
project (VIP)" button in the program's Start Wizard menu. If you
already have MAGIX Music Studio 12 deluxe open, select "New
Virtual Project (VIP)..." in the "File" menu.

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Name your new project and select the file path here to which you
wish to save the VIP. Now enter the settings and then confirm by
pressing "OK":
• 4 tracks (you can add tracks anytime via the Track menu)
• Select "[0] Stereo Master" as the Mixer Setup.
• Sample rate: 44100 Hz (for recording in CD quality)
As a first test we will subsequently record two stereo tracks. Let us
assume that you are using one audio source, e.g. a microphone or a
musical instrument. Connect it to the input of your sound card with a
suitable cable.
The first track in your virtual project (VIP) is already
armed for recording. This is indicated by the red
"R" in the track.
Recording the first track
1. Now right-click on the Record button of the transport console.

In the dialog that will now appear you can enter all necessary settings
for recording.
Hint: If the transport console is hidden, unhide it by clicking on the
"Transport" button in the lower part MAGIX Music Studio 12 deluxe.

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Tutorial
2. Click on the "Monitor" button. This function lets you preview audio
material and monitor it while recording. The level meter will display
what enters at the sound card inputs. If it reaches the upper red
range, the input level is too high and clipping will occur. In this case
you should reduce the input volume.

3. Click on the "Record" button. MAGIX Music Studio 12 deluxe now
starts recording and indicates this in the record window by displaying
a counter.

4. Now stop the recording at a suitable position by pressing the
"Stop" button.

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MAGIX Music Studio 12 deluxe will then stop recording. You can now
either use the recorded material or delete it. You can repeat the
recording without saving the first attempt on your hard drive. If you
want to use your recording, MAGIX Music Studio 12 deluxe will add
the audio material to the first track as an object.

Record another track
Now we will record a second track. If you record dialog is still open,
please close it. Now perform the following steps:
1. Activate the Record button in the second track by clicking on "R"
left of the second track. The track is now ready for recording.
2. Right-click on the Record button in the transport console. You can
now enter further record settings. As we now want to play the first
track while the second is being recorded, you will have to activate
"Play while recording".

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Tutorial
3. Click on the "Record" button again.
4. Now stop the recording at a suitable position by pressing the
"Stop" button.
Hint: "Playback while recording" requires that your sound card can
play audio material while recording (full duplex mode). Some sound
cards can either record or play, but can't do both at once. In such a
case you should deactivate "Playback while recording".
Integrate audio material
Now add new, already available audio material. Audio material can be
added to your virtual project from different sources and in different file
formats. You can add audio CDs, WAV files, MP3 files, sample CDs
(such as the MAGIX Soundpool DVD) as well as other audio files.
There are several possibilities for loading audio material:
• In the menu bar click on "File > Load/import > Load audio file...".
• You can also drag audio files directly from the Windows Explorer®
into the MAGIX Music Studio 12 deluxe arrangement.
• Audio tracks first have to be copied onto the hard drive individually.
To do this, click into the top menu bar of MAGIX Music Studio 12
deluxe on "File > Load/import > Load audio CD tracks...".
You have now created your first arrangement from two of your own
arrangements and a completed audio file. You can listen to the result
anytime by clicking on the Start button in the transport control or
pressing the Space bar on your keyboard.
VIP and Wave projects
A wave object is created for each audio object you can see in the
arranger. You can generally work in two project types:
• Virtual Project (VIP): This is an arrangement made up of different
objects. The tracks in the virtual project are for recording or loading
audio material onto several tracks. You can conveniently record and
create sound on different tracks.
• Wave Project: This is the audio material of one object.
Hint: If you delete an object in a virtual project, the audio material and
the corresponding wave project on your hard drive will be retained.

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Tutorial
Switch to a wave project, for instance, your first recording: Mark the
corresponding object in the VIP by mouse-clicking, click into the top
menu bar of MAGIX Music Studio 12 deluxe on "Object", and select
the option "Edit wave project...".

If you have opened a wave project, you will see the wave display of
the audio material in enlarged view. The acoustic properties are
directly visible in the wave form. This means that where there's
something to see, there's something to hear. The higher the peak of
the wave form, the higher the volume. Press the Space bar on your
keyboard to play the wave project.
In wave projects you can directly edit your audio material. Direct
editing of the material is particularly useful: Mark a range in the wave
project with the mouse and then press the Del key. After editing the
audio material you can close the wave project. You now have to
decide whether you want to accept the changes or discard them. If
you want to accept the changes, click on "Save project". The original
audio file will now be overwritten.

Working with MIDI
What is MIDI?
A few words about MIDI: MIDI files do not contain the actual sounds
like audio files, only the note control information which is first played
by the synthesizer chip of the sound card. This has several
advantages:
1.

MIDI files need a lot less memory than wave files.

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Tutorial
2.
3.

MIDI files can be adapted to any beat (BPM) without affecting the
sound. Only the playback tempo is changed.
Similarly easy is the transposition of MIDI files to other pitches.
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 on the
right mouse button.
In MAGIX Music Studio 12 deluxe 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.
Audio + MIDI in one application
The division of previous versions into "Audio Studio" and MIDI Studio"
is now a thing of the past. Now there is only one Music Studio, thus
integrating audio and MIDI into one program.
Preparing a MIDI recording
Prepare an empty track in your VIP for recording. Click on "R". Then
click on "Track Editor" in the lower half of the MAGIX Music Studio 12
deluxe program screen to make track settings.

Use the small triangle to open up the MIDI section. Here you can now
define the in- and outputs for your MIDI data on the selected track.
• Input (In): Could be a MIDI keyboard here which you can use to
enter MIDI notes that are then recorded by MAGIX Music Studio 12
deluxe.
• Output (Out): Can be a virtual instrument (VST instrument) that plays
the MIDI notes entered with the MIDI keyboard as sounds. To
select a VST instrument, click on the small triangle next to the
word "Out" in the Track Editor and select "New instrument".
Hint: All global MIDI settings can be found in the System Settings
dialog ("Y" key), sub menu "MIDI".

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Via "Channel In" and "Channel Out"
in the Track Editor you can assign a
special receive and send channel for
every type of MIDI data. This is
important, for instance, if you can
want to control an external
synthesizer via a MIDI keyboard.

For instance, if your MIDI keyboard is transmitting on MIDI channel 1,
you should enter the value "1" in the "Channel In" menu. While
recording MAGIX Music Studio 12 deluxe will then receive all notes
transmitted on channel 1 by a MIDI keyboard.
You can generally assign a specific MIDI channel to external MIDI
synthesizers. For instance, if your external synthesizer is addressed
via MIDI channel 4, you should also enter the value 4 in the "Channel
Out" menu of the Track Editor in order to be able to address the
external synthesizer via this track.
MIDI record modes
There are several methods of recording MIDI. You can set the MIDI
record mode in the transport control.

• Normal: This Record Mode corresponds to that of the audio
recording, that is, for each recording process, a new MIDI object is
created over the existing object. The old object remains intact. This
way you can record multiple takes of a passage and then compare
them in the Take Manager later on.
• Overdub: The data is recorded into an already existing object,
available and newly recorded MIDI data is mixed together.
• Multi-Overdub: The data is recorded into an already existing object,
available and newly recorded MIDI data are mixed together. Existing
objects, however, remain the same.
• Replace: The data is recorded to an existing object, any MIDI data is
overwritten.
After you have selected MIDI record mode, you can prepare the
corresponding track by clicking on the "R" button for recording. Now
start recording by clicking on the "Record" button in the transport
control.
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Tutorial
Edit Objects
Many object edits require the objects to be selected first.
Individual objects are highlighted with a mouse-click. Multiple objects
can be selected when the Shift key is pressed. You can also click and
drag out a rectangle to select multiple objects. All objects contained
therein will be selected ("rubber band selection").
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 reduce the size of the object. If "Create looped object"
is activated in the top menu bar, you can stretch the object with the
right handle. This way you can create entire rhythm tracks from short
drum samples by simply stretching the object apart.
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 the objects. The handles of
audio and MIDI objects work the same way.

Tip: Several objects can be combined with others to make up a
group, to avoid the objects being unintentionally moved out of
relation to each other. First mark the individual objects. Then click on
the "Group" symbol of the tool bar.

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Tutorial
Object editor
Right-clicking on the object opens a context menu from which you
can also select the Object Editor. Here you can make all important
settings for the corresponding object. For instance, in the Object
Editor you can add effects to audio objects and change the
quantization on MIDI objects.

Tip: The Object Editor can be permanently open: It will adjust its
setting depending on which object is currently selected.
MIDI Editor
You can use the MIDI Editor for editing MIDI data. To access the MIDI
Editor, right-click on the object, open the context menu and select
the "MIDI Editor." The MIDI Editor displays the data of the MIDI
object.
MIDI data can be edited in the MIDI Editor in five main areas:
• Matrix Editor (Piano Roll)
• Drum Editor (toggle between the Drum Editor and Piano Roll
possible)
• Controller Editor (for example, velocity, MIDI volume…)
• List Editor (event list)
• Score Editor
Here various tools are available, for example, pencil or eraser.
Fundamentally, changes, for example, moving or deleting notes,
always refer to all selected MIDI events (red) with just a few
exceptions. You can, for example, select a group of notes in the

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Tutorial
Piano Roll and then change the velocity of these note groups which
modifies all selected notes simultaneously.
Working with the Matrix Editor
The Matrix Editor is particularly useful for conveniently arranging MIDI
notes (Piano Roll).

In the Matrix Editor you can edit MIDI notes for controlling sound
generators such as synthesizers, drum machines and virtual
instruments (VST instruments). If a MIDI instrument is activated, you
can play it via the keyboard at the left of the screen. Clicking on a key
makes the synthesizer create the corresponding sound.
Now select a pen and paint the notes into the score
sheet. MIDI notes can also be prolonged by holding the
left mouse button or double-clicking. The Eraser tool
deletes notes from the note field.
Tip: The tool for drawing the pattern is particularly interesting. Use the
selection tool to select specific notes and then click Ctrl+P on your
keyboard. The selected notes are played as a sound pattern. You can
now easily sketch the sound pattern with only one click.

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Tutorial
Tip: Pressing the "left" and "right" arrow keys on your keyboard
moves forwards and backwards in the notation. With the cursor
up/down keys you can adjust the note pitch step by step.
Using the Controller Editor

In the Controller Editor your can adjust MIDI parameters
such as velocity. A simple click in the left part of the MIDI
Editor opens the Controller Editor. Clicking on the small
button above opens a context menu. Here you can select
a MIDI parameter and then sketch it with the pen tool in
the Controller Editor.
From MIDI to Audio
If you are not controlling an external MIDI synthesizer with your
arrangement, you can convert its sounds into audio tracks with the
MAGIX Music Studio 12 deluxe record function. This is particularly
recommended if you want to enrich the sounds created with your
external synthesizer with audio effects, convert your project into MP3,
or burn it onto disc.
1. The audio output (Line-OUT) of your external synthesizer should be
connected to the audio input (Line-IN) of your sound card.
2. Set an audio track to "armed" by pressing "R".
3. Start audio recording as usual. The MIDI data is then played
recorded simultaneously via the record function. The result is an
audio file that can be edited and exported together with the
multimedia files.
Tip: Do not delete MIDI tracks in the arrangement after you have
generated audio files from them, simply mute them with the "Mute"
button. You can then later change melodies composed via MIDI and
record them as audio files again.

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Tutorial
Mixer
With the Mixer (keyboard shortcut "M") you can adjust the volume
and panorama of the recorded tracks as well as automate the fader
and panorama movements. Furthermore, you can add effects and
much more here. Adjust the volume of the tracks with the slider in the
lower part of the mixer until you have a balanced result and every
instrument in the song is sufficiently accounted for. You can also
experiment with the effects on the individual tracks.

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Tutorial
Effects
You can considerably enhance your music productions with effects.
Clever use of effects adds bass and simply sounds better. MAGIX
Music Studio 12 deluxe has plenty of effects. Experiment around with
the various effects in MAGIX Music Studio 12 deluxe and learn how
to use them.

Offline Effects and Realtime Effects
In the top menu line of MAGIX Music Studio 12 deluxe you can
directly access "Realtime Effects" and "Offline Effects": Offline effects
alter the audio files in the Wave Project resulting in imminent changes
to the initial audio file.
Unlike offline (destructive) effects, virtual effects are not added in
realtime to the wave projects to which the objects refer. Such effects
are recalculated every time they are played and can be modified,
varied, without altering your original audio material.
Hint: To add an effect to an audio object you first have to select it
with a mouse-click.
Processing audio effects
You can add audio effects in three different levels: audio objects,
tracks and master. When played, effects are first calculated in the
audio objects. The track effects are then added. The master effects
are added last.
First start with the object effects to distort individual objects while
other objects in the same track remain the same. For instance, if you
have saved a groove consisting of several audio objects on one track,
you can edit the last object of the groove with a distorter.
Then use track effects, for example to add reverb, to all objects
located on one track. Finish off your song with powerful master
effects that have an effect on the entire song.
Effects in audio objects: To add an audio object, right-click to open
the context menu. In the context menu you can directly access the
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Tutorial
object effects. Object effects can also be selected and edited via the
Object Editor.
Effects in tracks: To adjust track
effects in the Mixer, open the Mixer by
clicking on "Mixer" in the lower part of
MAGIX Music Studio 12 deluxe. In the
"Ins" section click on the arrow symbol
of an effect slot in the corresponding
channel.

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Tutorial
Effects in the Master: Open the Mixer
to add master effects. You will find
the master section at the right edge
of the Mixer. Here you can install the
desired master effects.
Hint: Track effects and master effects
are always in realtime.

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Tutorial
Burn CD
If your VIP is finished, you can burn it onto disc. To do this, click on
the button with the CD symbol. The CD burning dialog now opens.

Now click on the "Burn CD" button:
CD-R write settings
Enter the desired burn speed here. If you wish to add CD text, open
the "CD Text/MP3 ID Editor" by clicking on the "CD Text Settings"
button and entering the desired CD text for your tracks. Click on the
"Write" button to start burning.

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Program desktop overview

Program desktop overview
VIP window

1. Title bar: The title bar is located at the top of the window. It
contains the name of the application and the project. To relocate the
window, simply grab the title bar and move it to where you wish. You
can also move around dialog boxes by moving the title bar
2 Menu bar: You can find the menus of MAGIX Music Studio 12
deluxe directly below the title bar. A keyboard shortcut is assigned to
each menu item.
3. Button bar: Button bars are made up of buttons which carry out
specific commands with a mouse click. They can be found above and
below the project window. More information on the individual button
bars can be found in the button overview.
4. Grid/Marker bar: The grid/marker bar is positioned above the first
track in the VIP. In the upper half, you'll find the marker bar where the
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Program desktop overview
markers and playback cursors. The lower half displays the grid list
which displays the project time depending on the selected unit of
measurement. You can also open various ranges.
5. Project window/Clip: A "clip" refers to part of the project visible in
the project window. The part displayed depends on the position of
the section and the zoom setting.
There are many commands for moving (scrolling) the visible clip and
customizing its size (zooming). These can be opened via the menu
view, the grid/marker bar, and the shortcut keys.
6. Track box: The track box is the front range of a VIP track. It
contains various controls which range from mixer functions and
monitoring commands to other track parameters. More information
on the individual controls of the track box can be found in the track
box overview.
7. Setup / Zoom / Position buttons: This part of the work area helps
manage each of the four different setup and zoom settings project
clip displayed in the VIP window. Similarly, the "Pos.", "Len.", "End",
"Mouse", and "Mixer" fields can be configured with a right-click.
8. Status display: The status display appears at the bottom border of
the VIP window. For longer actions or calculations a bar is displayed
indicating the current state of operation.
Information regarding the CPU load, latency, buffer, etc is also
displayed here. You can also view the status display via "Window >
Open status display":

Transport control
Shortcut:

Ctrl + Shift + T

The transport control window contains the most
commands for playback, recording, and positioning.

important

Play / Stop / Fast forward / Rewind buttons: This way, the positioning
can be controlled like a cassette player.
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Program desktop overview
Right-clicking on the Play button: This opens the playback parameters
window for running in stereo master mode. Here you can, amongst
others, specify the sample rate, playback device, and
scrubbing/varipitch options.
Right-clicking on the Record button: This opens the recording
parameters window. Here you can adjust the recording settings, for
example, "Play while recording", you can also start a mono or stereo
recording straight from here.
Record button: This starts the recording for all activated tracks, that
is, tracks with a red "R" button in the Track info to the left. The
recording devices have to be set up before by right-clicking on the
"R" button.
Time display: Displays the current playback position. The unit of
measurement can be selected by clicking on the small triangle.
Range buttons: You can save ranges with buttons "1" and "2". Using
the arrow symbol you can open previously used ranges.
L/E time display: Here, the length and end position of a range is
shown and can be edited with a double-click.
"Marker" button: This button opens the marker manager for further
marker editing. More information can be found in the chapter called
"The Manager".
Marker buttons 1...12: The current play position can be saved at any
one of the 12 marker buttons with a simple mouse click. If one
position has been saved, the marker will appear bright. Another click
on the same marker moves the play position to the corresponding
marker. Right-clicking deletes the saved marker again, making it
available again to be allocated.
Recording modes: Here you can set up the appropriate recording
mode.
Recording without playback (play monitoring): If this option is
selected, playback of existing objects is deactivated while recording,
the cursor remains at the beginning of the recording.
Standard mode (record while playing): This is the typical recording
mode for multi-track productions. This adds further tracks to already
available audio material while playing.
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Program desktop overview
Punch Marker mode: This setting starts a recording process which
can be started and stopped at any time during playback. This setting
corresponds to using the "Punch" buttons.
Auto JamSession: Opens the "Auto JamSession" window.
"Rec M" button: This button activates MAGIX Music Studio 12 deluxe
record monitoring, i.e. you will see the incoming signal in the peak
meters of all tracks with "R" activated. Right-clicking on the "Rec M"
button lets you select from the various monitoring modes.
"Sync" button: This button opens the dialog with the synchronization
settings. Further information can be found in the "MIDI in MAGIX
Music Studio 12 deluxe -> Synchronization" chapter.
"Punch" button: This button shifts MAGIX Music Studio 12 deluxe into
Punch mode. This means that a recording can be started "on the fly"
using the record button during playback at any time, also multiple
times back-to-back. Punch In and Out markers are then placed
automatically. A punch recording is ended by pressing the record
button, playback is not interrupted.
"In" button: This button sets the starting point for a Punch recording.
"Out" button: This button sets the end point for a Punch recording.
If Punch In and Punch Out markers are set, the Punch recording can
be started using the Record button. While the recording button is
flashing, playback occurs until the Punch In Marker has been
reached. When reached, the recording button turns red. It now
records until it reaches the Punch Out marker, then MAGIX Music
Studio 12 deluxe changes back to Playback mode again.
Additional Punch In/Out markers can be set by holding down the Altkey.
"Loop" button: Use this to switch into Loop mode, that is, a specific
range is played repeatedly.
MIDI record modes: The following MIDI record modes are available:
Normal, Overdub, Multi-Overdub and Replace. These decide which of
the newly recorded MIDI files will be added to the VIP.
Tempo section: In the tempo section of the transport control you can
adjust the playback speed and the tempo of the entire arrangement.
All objects in the VIP are adapted to the speed of your choice with
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Program desktop overview
timestretching. In addition, you can fade in the bar grid with the
"SNAP" button and switch on the metronome click with the "CLICK"
button. Right-clicking on the "Click" button opens the metronome
settings button.
Scrub control: With the Scrub Control wheel, the playback speed can
be adjusted. This can be used to find audio passages.
The buttons beneath it can be used to start playback forwards and
backwards at a slower speed. This too can be used to improve
control over audio passages, like editing out crackles or other errors
later.

Track Editor

1. Track number display and track name: Right-clicking on the track
name opens the "Track Settings" dialog.
2. The "S" button: Switches off all tracks with the exception of the one
selected.
3. „M“-Button: Mutes the track.
4. The "Rec" button: Activates the track for the recording.
5. The loudspeaker symbol: Switches on playback of the incoming
signals when the "Rec" button is active, if "Manual monitoring" is
selected in the system options.
6. The Lock button: Lets you protect objects in the track and prevents
unintended moving or deleting of an object.
7. The "A" button: Activates track automation.
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Program desktop overview
8. Peak Meter: Both LED displays show the input and output signal
for the track.
9. Volume input box and volume controller.
10. The "FX" button: Opens the dialog for setting the effect
sequences as well as the integration of VST/DirectX plug-ins. Rightclick on this button to gain access to the track effect settings of the
active track. Specify your custom track effect settings in the program
directory in "FX Presets > Track FX". Of course you can also create
new subfolders here.
11. The "MIDI" button: Switches the track to MIDI recording and
opens the MIDI section of the Track Editor.
12. The Panorama button: Controls the position within the mix.
MIDI:

13. Arrow: Opens and closes the dialog box.
14. In device: Opens the MIDI Input device menu.
15. Out device: Opens the MIDI Output device menu.
16. Channel in: Set the MIDI Input channel here.
17. Channel out: Set the MIDI Output channel here.
18. Program: This button is used in MIDI mode for program selection
of the MIDI instrument.
19. Bank MSB: Set the device-specific control change messages for
controlling your external instrument here.

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Program desktop overview
20. LSB: Set the device-specific control change messages for finetuning your external instrument here.
21. Transpose: You can transpose the notes of the respective MIDI
input or output up or down here.
22. Drum map: Here you can select a drum map for allocating MIDI
notes to the device-specific sound.
Audio:
23. "In" slot: Specifies the audio input
device, e.g. your sound card.
24. "Out" slot: Specifies the audio output
device: This can be a sound card output
(in MIDI mode) or a VST instrument.
25. Plug-ins: You can use FX inserts,
MAGIX Plug-ins, DirectX, and VST
effects for this track. You can only
additionally select MAGIX synths, VSTi,
and ReWire for the first slots. Clicking on
the button to the right of the field beside
"Plug-ins" activates and opens the
DirectX/VST Plug-ins dialog with which
you can compile a plug-in setup for this
track.
26. Aux: Here you can specify the AUX
send feed for which you can then select
the desired effects in the AUX return
channel in the Mixer view.
27. EQ: Contains the parametric EQ for
this track. Right-clicking opens a
convenient input window.
28. Comments: Track info section for
quickly adding notes to tracks.

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Program desktop overview
Track box

1. Peak Meter: Both LED displays show the input and output signal
for the track.
2. "S" button: Mutes all tracks except the selected one.
3. "M"-Button: Mutes the track.
4. "R" button: Arms the track for recording.
7. Loudspeaker symbol: Switches on playback of the incoming
signals when the "R" button is active, if "manual monitoring" is set up
in the system options.
6. The Lock button: Lets you protect objects in the track and prevents
unintended moving or deleting of an object.
7. Track name: Right-clicking on the track names opens the "Track
settings" dialog.
8. "FX": Opens the effects/routing dialog with which you can
configure and edit multiple effect groups. Right-clicking opens the
context menu which contains all the available track effects for the
object.
9. "Vol." button: This button switches on the volume automation
curve. This way level adjustments in the track can be controlled via
an automation curve and drawn by moving the channel fader.
10. "Pan": With this button you can switch on the panorama
automation.
11. Volume and panorama controls

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Program desktop overview
Workspaces
The purpose of workspaces is to sort menu entries and toolbars in
such a manner that you have a good overview of the functions of
MAGIX Music Studio 12 deluxe. Workspaces bundle commands with
regard to certain tasks such as mastering, editing or recording.
Besides hiding menu entries (Options > Program Preferences > Edit
keyboard shortcuts and menus > Hide menu) and redesigning
toolbars (right mouse-click on the toolbar), you can also save your
settings as a preset.
You will see the selection box for the workspace at the bottom left
corner of the VIP window. Some workspaces are already predefined.
"Power user" displays all toolbars and commands, and is a good
starting point for defining customized workspaces.
Creating a new workspace: To create a new workspace, open the
context menu by right-clicking on the workspace bar and selecting
"New workspace". You will now be asked to enter a name for your
workspace. The new workspace contains all settings of the previously
activated workspace as well as your current changes. All further
adjustments are automatically saved in the workspace. Manual saving
is not required.
Adjusting the workspace: Open the context menu and click on "Edit
workspace". Here you can select which toolbar you want to have
displayed in your new workspace. You can activate or deactivate
each bar individually, or add/remove individual symbols. You can also
hide menu items in "Edit menu". Simply select the corresponding
menu item from the keyboard shortcuts and then press the button
"Show menu item" or "Hide menu item".

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Terminology

Terminology
The following lists some specific terms that where defined to describe
components of MAGIX Music Studio 12 deluxe that are mentioned
frequently throughout the documentation. Even if you were somewhat
familiar with some of the particulars, we would like to encourage you
to read the definitions for the individual terms. The terms are specific
context related and are not further covered in the rest of the
documentation.

Handle
Handles are the five little rectangles that appear on the outline of a
selected object.

Length Handle: Lower right and left-hand handles. These can be
used to change the object length.
Fade Handle: Upper right and left-hand handles. These handles
change the fade in and fade out of an object.
Volume Handle: Upper middle handle. This handle sets the volume
for the selected object or object group. The level is displayed in the
upper left-hand corner of the VIP window.

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Terminology
Section
MAGIX Music Studio 12 deluxe offers the possibility of displaying any
project window in up to three sections. This enables you to show the
complete sample in one section while displaying smaller sections in
one or two other sections. Each section can be accessed and edited
in separately.

Sections are defined similarly to ranges from the top to bottom edge.
While ranges are for working, sections affect the graphic display of
the project and its ranges.
If zoom commands are to be applied to a section, for instance with
the position bar, you should specify the corresponding section first.
This happens by clicking on the right or lower scroll bars of the
section.

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Terminology
Range
If you edit sound and multi-tracks inMAGIX Music Studio 12 deluxe,
you’ll mostly work with different ranges in your Wave- and Virtual
projects.

1.
2.
3.

Ranges are used to specify the sections that you want to edit (cut,
paste, normalize, fade in/out, volume controls, effects and delete).
Ranges define the loops considered in the playback of the
projects.
Ranges define the outlines (edge) of the section of the graphical
display of the object (rectangle).

Especially the upper and lower edges may be analyzed during
editing, which is not the case with some of the function groups! A
range can be selected with the mouse. Ranges can be played back
with the Space bar. It is defined by the beginning and end (horizontal)
and by the upper and lower limits (vertical). To highlight an range, left
mouse click the lower part of the beat line. (In the Universal mouse
mode, you can also highlight areas in the upper part of the tracks.)
Move the cursor with the mouse. You will see that there is an inverted
rectangle between the starting point and the mouse position.

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Terminology
Every project can have an unlimited number of ranges defined. Up to
10 ranges can be accessed directly through the function keys.
Additional ranges can be accessed with the Range Manager. The
vertical range borders can be locked with the function ‘Fix Vertically’
(Menu ‘View’). This will set the height of the range to a maximum
value, which is the default setting for Virtual projects.

Clip
Clip for Audio Data (Wave Projects)
The Clip is a storage place for samples from Wave projects, which
are copied from a Wave project window and can be inserted in the
same Wave project or a different one. In addition, the content of the
Clip can also be mixed with that of another Wave project window.
The Clip always takes on the attributes of the originating project (Bit
Rate, Sample Rate, Mono, L&R, or Stereo Mode). The Clip is
represented on the screen with a window that contains the word
‘Clip’ in its title bar. Otherwise, the Clip is like any other project that
can be played back, edited and saved with a different name.
VirtClip for Virtual Projects
While the Clip is responsible for transferring material from and to
Wave project windows, the VirtClip does this with data from Virtual
projects. Likewise, the window is not initially opened and displayed.

Destructive and non-destructive editing
In MAGIX Music Studio 12 deluxe, audio material can be recorded to
the main memory (HDP) or in the RAM memory (RAP). Editing can
therefore be performed in a destructive or non-destructive (virtual)
fashion.
When cuts, blends, effects etc. are to be a permanent part of a
recording, we speak of destructive editing.
With non-destructive editing, they can be added to a recording
without the original audio material being altered.
The MAGIX Music Studio 12 deluxe VIP window uses objects that are
coupled with wave projects. These objects can now be edited.
Because it deals solely with couplings, the wave projects are not

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Terminology
altered themselves. Non-destructive editing can even be performed
during replays.
Destructive editing can be performed in the wave project window so
long as the ”Destructive Editing” field has been activated.

Objects
Audio data is displayed in Virtual projects via rectangles, which are
located in multiple tracks. These are the so-called Objects. An object
is a representation of sample material from an audio file. In other
words: An object references or links to audio data contained in a
Wave project.

Additional information about objects is available in the definition list
for Virtual Projects.

Play-Cursor
The Play Cursor or the Position Line is the vertical moving line during
playback and shows the current playback position. The start position
of the Play Cursor (playback start) is set by clicking the left mouse
button into the project window. (Click next to an object for virtual
objects.) A sketched area is cancelled.

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Terminology
Virtual Projects (VIPs)
Virtual projects are the centerpiece of MAGIX Music Studio 12 deluxe!
In Virtual projects you can arrange objects taken from multiple Wave
projects and arrange complex audio projects.
All cut operations, volume level changes, fades, and more are
completely virtual, meaning that the audio material is not destroyed!
This allows you to select the proper cut position, cut length, volume
level, effect setting, etc. by experimenting without loosing audio
material or alter it. Detailed information about working with Virtual
projects can be found in the electronic Reference Manual.
Even if the present audio hardware can only play back up to 2
channels of audio (Stereo), multiple tracks beyond a stereo pair can
be played back in a Virtual project.
The display of the Virtual project can be switched between two
definitions. The Tab key allows you to switch between the two
modes. The key combination Shift + Tab displays the Editor dialog for
the Virtual project display preferences. Attributes such as displaying
only a single graphic form.

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Terminology
Wave projects
A wave project contains audio data. You can access the wave project
via the Window menu. In the title bar of the window you will see the
name of the wave project, the bit resolution, the length of the sample
and the resulting memory requirement.

To activate a wave project you have to click into the corresponding
window with the mouse. MAGIX Music Studio 12 deluxe can manage
an indefinite number of wave projects on the screen.
Working with wave projects is similar to what you may be used to
from conventional sample editors.
Right-clicking opens the context menu. Here you will find all
important commands.
Wave projects can be edited destructively and non-destructively.
More details can be found in the chapter "Working methods".
RAM and HD wave projects
With RAM wave projects the samples are held entirely in the main
memory of the PC. After editing or changing the audio data you can
decide whether you would like to keep the audio material or discard
it. So far it has only been changed in the PC's memory. To keep the
result you have to save the project back to hard disk (key "S"). The
file extension will then be changed to RAP.
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Terminology
This method corresponds with the regular functioning of a PC. With
larger amounts of data, however, this may result in a heavy loss in
performance if the PC starts swapping the data of the virtual memory
onto the hard disk by itself.
The samples of HD wave projects on the other hand are located in
files that are saved on a hard or swap drive. Only parts of the
samples that are required immediately for editing and playing are
loaded into the memory of the PC.
In HD wave projects unchanged or unedited audio data is
immediately written to the hard disk, just like you can play tape
recordings immediately after having recorded them. Therefore, you
should be careful when editing and cutting so that you don't
accidentally ruin the audio data.
For testing we recommend the following method:
At first, use a copy of the audio material by copying the selected
range into the clip. Now open or activate the Clip window and then
select the entire clip (Key a). You can now apply your changes to the
entire clip.
However, the solution is to use virtual projects. In this case an "Undo"
function is available (menu "Edit > Undo").
Mono, L & R, and stereo wave projects:
Mono: Contains mono audio files.
Stereo: Stereo with one-channel graphic display (simultaneously
displays both stereo tacks). Contains stereo audio files. A rightchannel sample follows the left channel.
You can also display both stereo channels separately. You can
change it by going to menu: "View > VIP display modes > Definitions
> Separate Stereo".
L&R: Stereo with 2-channel graphic display (separate display of both
tracks): Contains two mono samples (mono audio files) in both stereo
tracks. Use of L&R projects in MAGIX Music Studio 12 deluxe is
actually only requires as an intermediate step when separating stereo
wave projects into two mono projects.
All types of wave projects (mono, L&R, stereo) can be integrated into
a virtual project. To play L&R projects in stereo you have to set the
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Functional overview
panorama controllers of the two mono tracks to the leftmost or
rightmost position.

Functional overview
Working with Objects in the VIP
Loading an audio file into a VIP Object
Method 1: Loading a File into a VIP
Mark a range in the VIP and load the WAV file with File>Open
Project>Audio File. The file is inserted at the beginning of the selected
range as an object. The range also denotes the track into which the
WAV file is inserted.
Method 2: Drag & Drop from Windows Explorer
Open Windows-Explorer and arrange the Explorer and MAGIX Music
Studio 12 deluxe windows so that both are at hand. Access the
audio file in Explorer that you would like to use, and then simply drag
it over into MAGIX Music Studio 12 deluxe while holding down the
mouse button.
Load ranges from Wave Projects into the VIP
• Open a Wave Project.
• Mark a range, which is to be incorporated into a Virtual project.
• Create a new Virtual project with File>New Multi Track Project
(Shortcut: ‘e’) or with the corresponding button in the toolbar.
• Tile the open windows by pressing the ‘Enter’ key.
• Drag the selected range in the Wave project into the Virtual project
by clicking the left mouse button into the range and dragging the
range into a VIP track.
• A new object is created in the VIP at the position the mouse button
was released.
Accessing Audio Material in an Object
• Select any object.
• In the menu Object, select ”Destructive Editing”. (The same menu
option is available from the context sensitive menu when clicking the
right mouse button on the object.)
• This opens the corresponding Wave project window. The marked
range represents the audio material that is used in the VIP object.
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Functional overview
Selecting an Object with the Mouse
Clicking the left mouse button selects the desired object.
Prerequisite for this is the selection of the correct Mouse Mode:
Object Mode, Object & Curve Mode, and Universal Tool Mode all
offer this functionality. In the Universal Tool Mode, the object is
selected by clicking on the lower half of the object.
The five handles on the outline of the objects identify any selection of
objects. While the mouse button is held clicked, the outline of the
object is also displayed.
Clicking the mouse button outside of the object confines unselects
any object selection.
Moving and Duplicating Objects
If you would like to move several Objects simultaneously, you first
select them (selecting and unselecting several Objects; Switching the
selection). A mouse-click on one of the selected Objects whilst
holding the mouse key is required all selected Objects are moved
when the mouse is moved.
If the Shift key is pressed when moving the Objects, the time position
is retained and you can only change the track.
If the Ctrl key is pressed while moving the object selection, a copy of
the object selection is created. In this case, the copy of the original
object selection is placed at the destination. The original objects
maintain their position.
Changing Object Borders in Virtual Projects
The lower object handles of a selected object can be used to alter
the object borders. The mouse can be used to change the object
beginning or end. The object length can only be changed within the
confines of the physical Wave project window.
This means that the beginning of the object can not be extended
beyond the beginning or end of the corresponding Wave project.
Conversely, the end of the object can not be extended beyond the
beginning or end of the corresponding Wave project.

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Functional overview
Fade-In / Fade-Out and Object Volume
The object handle in the upper middle can be used to set the object
volume. The exact volume level in dB during the change is visible in
the pop up window at the object.
The upper left and right-hand handles of the object change the fadein and fade-out settings of the object.
Since these changes are applied in real-time, during playback of the
project, the original audio material is left intact. This allows easy set
up of fades and volume levels without having to fear data loss.
The curve types when fading in and out can be set in the Crossfade
Editor.
Overlapping Objects
A track (channel) can only play back one object at a time.
If one object is moved over another object, the previous object is
partially or completely taken out of the playback list much like one
sheet of paper covers another partially or completely. The invisible
part of a covered object will not be audible. By moving the covering
object out of the way, the covered section or the complete object can
be made audible again. To create a crossfade between two objects
that are intersecting each other, the Crossfade Editor in the menu
Edit can be used.
Object-Editor
The object editor is a very practical tool for editing the most important
settings for objects.
To open the object editor, double click the bottom half of an object.
Important settings such as length, position and volume can be edited
numerically in the object editor. To adjust the pitch tone or the
playing tempo, there is a Pitchshift/Timestrech effect.
Click on OK to save the settings. This closes the object editor. The
settings will now only affect the object when it is being played. Of
course, you can also edit the EQ in the mixer. There are an infinite
amount of effects combinations to utilise.

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Functional overview
There’s no need to close the new version of the object editor. You
can jump between different objects in the VIP – the open object
editor will automatically adjust to the currently selected object.

Working with Ranges
Initially, the correct mouse mode needs to be selected, since the
mouse is the center point of any range manipulation.
In Virtual projects, the Range mode and the Universal Tool mode
(upper track pane) are available. In Wave projects, the Range mode
can be used to select and manipulate ranges.
Selecting a Range
To highlight a field or area, left mouse click the bottom half of the
beat line.
Move the mouse-cursor with the mouse. You will see that there is an
inverted rectangle between the starting point and the mouse position
Let go of the left mouse key. In the text line beneath the project
window title bar, the horizontal borders of the selected field or area is
displayed.
If you want to select a different range, just click into the area next to
the inverse rectangle, but still within the waveform. The previous
range will disappear and you are able to select a new range.
Adjusting a Range
Click into the inverse rectangle if you want to extend or shorten the
size of the selected range. Move the cursor (hold the mouse key
down) into the direction in which you want to extend to. As soon as
you slide over the edge of the rectangle, the selected range will follow
your mouse movements. When you are done with the adjustments,
release the left mouse button. In this way you can move one edge
only to the desired position while maintaining the correct limits.
Moving ranges with the mouse
Hold the Ctrl or Shift key while clicking inside a range. Next, hold the
left mouse button clicked and move the range to the new position.
Thsi way you can also test an already found loop length with other
positions.

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Functional overview
Changing Range Ends
This is most often needed when searching for optimized loop borders
in Wave projects.
The sections can be split with a keyboard shortcut (Shortcut: ‘b’) or
with Range>Split Range. All range borders are displayed with a highresolution zoom level.
Using Shift + b returns the display to a single section.
Saving Ranges and Special Range Commands
Ranges and markers can be saved with the help of menu functions or
keyboard shortcuts.
MAGIX Music Studio 12 deluxe can store an unlimited number of
ranges and markers. These and other special functions to define,
change, and use ranges can be found in the menu Ranges.
To manage saved ranges, use the Range Manager (Menu ‘Tools’).
Playback of a range
A range can be played and then stopped by pressing the space bar
on your keyboard.
If no range is selected, the VIP will start playing from the position of
the play-cursor, which itself can be positioned with a mouse click in
the beat line.
A sketched range is played. There are different types of play modes
available in the playback menu as well as in the play parameters (the
”p” key).
• ”Play once” plays the field one time only
• ”Repeat play” plays the field in loops endlessly.
• ”Play into area” plays from the play-cursor position into a highlighted
field or area. (especially important when testing loops.
• "Forward/Reverse" switches the direction of playback.
• With the Jog/Shuttle wheel of the transport control you can move the
play cursor forward and backward to preview the material – just
like a reel tape machine. In such cases playback speed
corresponds to the tape speed.
If a range has been selected, it will be played from beginning to end.
When you adjust the range (while playback) it will play the new range
immediately. If only a marker is set but not a range, it will only play
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Functional overview
from the start of the marker to the end of the sample. When you set a
marker within a range, it will play a loop from the marker to the end of
the range.
The All bit resolutions can be reflected immediately. Conversion of the
data works in real-time meaning while playback. That means also a
high CPU activity, and sometimes the CPU is overloaded or not able
to process the request at once and the system stops and/or doesn’t
react to any regular stop and play commands. In this case, you can
press ESC to interrupt the conversion process.
Shortcuts for range editing
• Cursor left, right: The active range scrolls to the left or right
• Cursor left + shift: The edge or the active range will be moved
smoothly to the left.
• Cursor right + shift: The edge or the active range will be moved
smoothly to the right.
• Cursor left + Ctrl: Zoom into the active range
• Cursor right + Ctrl: Zoom out of the active range
• Cursor left + shift + Ctrl: The selected range will be doubled to the
left. This function is very handy when you search for Drum loops:
When you have selected a bar in a Rhythm sample, you can use this
function to select the previous bar. This will also easier the use of the
Virtual projects.
• Page Up: The beginning of the range will be adjusted to the next
smaller volume level (to avoid glitch/disturbing noises).
• Page Up + shift: The start of the range is set to the previous "0"
position, for instance, to create crackle-free cuts of loops.

Working in wave projects
A wave project contains the audio files. Objects in VIP refer to these
audio files.
Access to the wave project is through the respective wave window.
When a VIP is open, you can’t normally see the wave window. In
order to view it as an icon, activate the ”wave project as icon” option
in the menu window. To hide it again, select ”Hide wave project”.
In the title bar of the wave window is the name of the wave project,
the bit resolution, the length of the sample and the subsequent
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Functional overview
memory required. To activate a wave project, the appropriate window
must be clicked with the mouse. MAGIX Music Studio 12 deluxe can
administer many wave projects on screen simultaneously.
Virtual wave editing
MAGIX Music Studio 12 deluxe now offers real non-destructive
(virtual) wave editing. Basically, wave project edits are saved in a
virtual domain as long as editing is being processed. This saves an
enormous amount of time when editing waves!
In order to start non-destructive wave editing, deactivate the settings
in the Options > project properties > Destructive wave editing mode”.
When you select ”Wave Editing”, the wave project will by default be
set to non-destructive editing mode.
Selecting ”Destructive Edit” confines the wave project to destructive
wave editing mode
One can always see in the title bar of the wave window what wave
editing mode (destructive or non-destructive) one is currently working
in. The wave project in the image above is thus in destructive mode.

Using markers
Position marker
Position markers serve as reminders for position points. They are
visible as in a special line at the top edge of a project as named
orange bars. Markers can be placed during playback as well as
during recording.
• Markers in wave projects are saved in the audio file (*.wav) as socalled audio markers and are available in this form in other
applications as well.
• Markers in wave projects can also be viewed and set in the VIP
object (VIP display options).
• A project can contain any number of markers. The first ten can be
accessed directly using the number keys and receive the
corresponding names "1" to "10". You can save these by pressing
"Shift" + "Number key". By pressing the corresponding number key
you can jump back to the marker once again.
• With the menu point "Range > Remember marker > Other" you can
define and name other markers.
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Functional overview
• To delete a marker, click on it and press the Del key. Markers can be
moved by grabbing them and dragging them to where you want to
go, the mouse pointer changes into a double arrow <->.
• If you right-click within a marker line, a context menu will appear
from which you have access to all important commands.
• You can manage and name markers in the Marker Manager (Tools
menu or Marker context menu).
• To stretch a range between any two markers, click on the first
marker. Then click on the second marker while holding down the
Shift key. This selects a new range.
• To quickly move between the marker positions, use the shortcuts,
see Keyboard Shortcuts (menu "Range > Move play cursor >
Marker left/right").
CD Markers
CD markers are triangular markers for various CD burn functions.
There are
• CD Track Markers
• CD Subindex Markers
• CD Pause Markers
MIDI Markers
• Beat markers for tempo changes at a specific position in the project
• Signature markers for changes of the beat type from the marker
position onwards (e.g. from 4/4 beat 3/4 beat)
• Beat marker (option "Lock musical position (bar)"). Beat markers
assign a certain musical position to a certain part. This way, the
bar frame/grid and MIDI events can be easily synchronized with
existing audio material.

Volume
The volume levels of objects and tracks/channels can be changed at
various stages.
Wave Project Level
The volume level changes are applied to the audio material with
Effects>Normalize>Normalize File or with Fade In/Out.
The audio data is changed. The computer usage is not affected
during playback.
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Functional overview
Object Level
Every object can have an independent setting for its volume level.
This can be performed by changing the upper handles of the object
or with Effects>Amplitude/Normalize>Normalize Object.
The audio data is not changed. The calculations are performed in
real-time during playback.
Track Level
The volume of every track can be changed dynamically with the
volume automation curve and the volume fader in the Mixer or the
VIP.
The audio data is not changed. The calculations are performed in
real-time during playback.

Output Mode
You can setup the output mode in the Playback parameter dialog
(key P).
With the sample rate option you can choose a different sample rate
as playback. With Device you can select the desired playback device
(if you have more then one active soundcard).
Please note that some soundcards are not be able to playback all
sample rates.
Note: Different recording and replay devices for individual tracks can
be selected in the ”Track information” dialogue rather than the Play
parameter window. Track information opens a click on the track
number.

Record
Hard drive Recording
The device used to digitize audio signals is already included on the
sound card and is called an Analogue Digital Converter (A-to-D, ATD
or A/D). In order to record, the A/D Converter gathers, in determined
time lapses, samples of the signal that has to be digitized, measuring
its frequency. The rate is called ”sample rate” and normally lies in the
kHz ranges. KHz means a vibrating frequency of several thousand
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Functional overview
times per second. The higher the rate, the more samples are taken
by the A/D Converter and the more natural the digital transformation
of the sound will be.
The precision with which the A/D Converter measures the analogue
signal is determined by the sample resolution. Here, too, the finer the
resolution, the better the digital transformation.
CD-quality audio recordings are recorded with a sample rate of 44.1
kHz and a 16 bit resolution.
Recording Source
First of all, the Recording Source must be connected to the Sound
card. There are several ways to do this, depending on your
equipment.
Microphone: Microphone signals must first be amplified before the
soundcard modifier can record them. Most soundcards have
separate microphone inputs that pre-amplify signals, but the results
are rarely of a professional
Quality. Connection to an external mixer or external microphone
amplifier produces far better results.
Amplifier: If, for example, you possess a guitar amplifier that has a
line-out output, you can connect it with the line-in input of the
soundcard.
stereo system: The stereo system’s amplifier usually has separate
line-out. If instead, you see ”Aux-out-Sockets,” you should use these.
Connect them with the Input of the Sound card (usually shown in
red). Normally, a hi-fidelity (hi-fi) amplifier has chinch sockets, and the
Sound card mini-stereo catch sockets. You must have the
corresponding cable to connect these properly.
If the amplifier doesn’t have separate outputs (other than the loud
speakers), you can use the phones socket for recording. In this case,
you need a cable with two mini-stereo headphone connectors. This
process has an advantage: you can control the signal level through
the phones input. The disadvantage is that phones outputs are
normally not very good. With cassette recordings, always use the
Tape-Decks Line-Out. Often with record transfers you have no other
choice. Never connect a record player’s outputs directly to the Sound
card, because the phono signal must be pre-amplified first. If you

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Functional overview
don’t have a pre-amplifier, the only way to do this is via the phones
output or an external amplifier
Adjusting the Signal
Digital recordings through the Sound card need optimal control in
order to obtain the best sound quality.
Once the recording source is connected to the Sound card, open the
Recording Dialogue with the Record Button and start the recording
source.
You can check the control on the LED displays in the Recording
Dialogue.
If the level is too high, reduce the incoming signal. If the recording
source is connected through the amplifier or tape deck’s Line-Out
connectors, you can reduce the incoming signal only by using the
Sound card’s Mixer Window. This is located in the Recording
Dialogue under the Level Control tab.
If you reduce the input sensibility with the Sliding Regulator (fader),
you also reduce, in many sound cards, the precision of the resolution
with which the analogue signal is digitized. This is why these controls
should be kept at the loudest possible setting!
The standard for optimal adjusting is naturally the loudest section of
the material. This should be turned to the maximum setting
Digital Transfer
With the Recording Function, digital audio data can be transferred to
the hard drive through a digital interface (e.g. S/PDIF or ADAT).
ADAT or DAT Recorders normally produce data with a sampling rate
of 48 kHz. For a CD Project with 44.1 kHz you must convert the
sampling rate. This is carried out in real time by MAGIX Music Studio
12 deluxe. The digital signal is read at 48 kHz but is automatically
converted and inserted into the project as an audio file at 44.1 kHz.
For this to occur correctly, you must first set the sample rate of the
incoming signal in the Recording Dialogue. Click on the Dev. Button
in the Recording Dialogue. In the following Dialogue, Sound card
Characteristics, set the audio recording formats supported by the
Sound card.

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Functional overview
Now, connect the digital output of your recorder to the digital input of
your Sound card – and start recording!
24 bit audio support
Audio files in MAGIX Music Studio 12 deluxe can not only be
recorded in 16 bit quality, but also in far superior 24 bit resolution.
Simply click the ”device” button in the recording dialogue, and select
the ”24 bit” option under ”soundcard properties”. 24 bit recordings
require a high quality audiocard with 20 or 24 bit converters, as well
as a 24 bit-compatible NME drive. 24 bit audio material can also be
transmitted via audiocards with SPDIF digital interfaces.
We have had positive experiences with the 24 bit audiocards
produced by Marian, RME, SEKD and Terratec.
The high resolution audio files are stored and edited in the 32 bit
”floating point” file format by MAGIX Music Studio 12 deluxe. This
ensures the full 24 bit quality independent of the gauge. The
dynamics may increase to over 140 dB, while the recording’s
jamming transmission sinks, according to the type of audiocard, to
110 dB and more. Thanks to floating point processing, there is no
need to worry about internal editing being distorted. Floating point
processing only starts to distort at around 1,500 dB above zero – in
contrast to a 16 bit signal that distorts immediately once the zero dB
line has been traversed.
Even in cases whereby audio material is intended for burning onto a
16 bit CD, it is worth selecting 24 bit recording because all effects
calculations are made in a higher quality and therefore no ”rounding”
mistakes can be detected in the audible 16 bit range.
24 bit recordings (via storage as 32 bit float files) take up twice as
much storage space on the harddisk as 16 bit recordings. But with
current harddisk storage capacities, it works out as a good
compromise when one considers the increase in quality.
High resolution audio files can be imported and exported as 24 bit
WAV files, enabling trouble-free file exchange with other high quality
audio systems.
Further Recording Dialog possibilities
The recording dialog also offers

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Functional overview
• a string instrument tuner for creating the best sound possible before
recording. Deviations from the standard pitch are graphically
displayed.
• the option of laying track markers (either manually or automatically)
while recording a CD.
• the possibility of directly incorporating a variety of audio formats e.g.
to save fixed-disk space.
Please read the “Recording Options” section of the “Playback Menu”
chapter to learn about all of the Recording dialog options.

Tips & Tricks
A few tricks that help make working with MAGIX Music Studio 12
deluxe easy:
Working in Projects
• The ‘a’ key will select the complete sample as a range.
• With the keys Home and End you can set the play cursor to the
beginning or end; all selected ranges will disappear.
• A range can be selected from one exact marker position to the next
by clicking on the marker above the waveform. Next, hold the Shift
key and click on the second marker.
• Using the Shift + mouse click a range can be moved horizontally.
• Shift + Ctrl + Cursor keys will flip a range to the right or left. This is a
great way of testing a loop at a different position.
• Objects in Virtual projects can be displayed in two different modes.
By pressing the Tab key you alternate between the modes. Pressing
Shift + Tab will open a dialog window in which you can set the
parameters of the display modes.
• Using Ctrl + mouse click on an object copies the object.
• Double-clicking the mouse button on the volume curve you can
create and delete volume handles. Activate the volume automation
curve with the V-button in each track of the VIP!
• Change the function of the mouse buttons in VIPs with the menu
Preferences>Mouse Mode or use one of the Mouse Mode buttons in
the Mouse Mode toolbar!
• The function Lock Objects allows you to lock objects to prevent for
example accidental movement. This is especially useful for multi
track recording when the individual tracks need to stay in sync with
each other.
• To determine the tempo of a selected range (BPM), open the Snap
Definition dialog (Shift + ‘r’) and select the number of beats the
selected range represents (for example: 4) in the Section Free Bar
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Functional overview

•

•
•

•

•
•
•

•

Snap. Next, click on the button Get Range in the section Free Bar
Snap to retrieve the length of the selected range. The BPM display in
the Fixed Bar Snap section now displays the BPM of the audio
section.
Try the right mouse button on various components of the VIP
window! A context sensitive pop-up menu is displayed, which
features useful functions depending on the window component you
clicked on. Among them are objects, Record and Mute buttons, and
the scrollbars.
The Delete key deletes markers when the Play Cursor (real-time
cursor) is located exactly on the marker. The same key deletes any
selected objects and deletes ranges that are selected.
The key t separates a selected object at the position of the Play
Cursor. If a range is selected within the object, the object is
separated on the range borders, which results in three objects. If the
Auto Crossfade mode is active while the separation takes place,
MAGIX Music Studio 12 deluxe adds smooth crossfades at the
separation points. These crossfades can later be edited for further
refinement. Use the Crossfade Editor to change the crossfade
aspects.
Multiple zoom levels can be saved to the four Z buttons in the lower
left-hand corner of the Virtual project window. Use the Shift + left
mouse click to store a zoom level to a specific preset button. When
clicking on a previously assigned preset button, the zoom level is
recalled. The S preset buttons can be used with the Shift + left
mouse click to store a complete window configuration set. This
includes the scroll position of the window and the Mute/Solo
assignments for the tracks. This offers four Mute/Solo groups that
can be quickly recalled.
Multiple objects can be selected by holding the Ctrl key and
individually clicking on the desired object.
Holding the Shift key and clicking the mouse button behind the last
object you want to select can select objects between two points.
WAV, HDP, and RAP Projects, as well as stored objects can be
opened with the Windows Explorer by dragging them from the
Explorer window to the MAGIX Music Studio 12 deluxe window. A
special menu option is available to open the Explorer from within
MAGIX Music Studio 12 deluxe with Tools> Explore the HDP
Directory. The default folder opened in Explorer is the same as the
HD-Project setting in the System dialog (Shortcut: ‘y’).
Shift + Tab can be used to display the VIP Display Mode dialog. This
dialog allows you to change the VIP Display aspects such as the VIP
window behavior when an object or range is moved toward the
confines of the currently displayed window borders (VIP Border
Scroll).

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Functional overview
• When pressing the Return key, all open windows are tiled on the
MAGIX Music Studio 12 deluxe screen. This is a good starting point
when using drag & drop functionality to move ranges and objects
between individual project windows.
• Use the menu option Edit>Edit Tracks to manipulate complete
tracks. This includes adding new tracks, inserting tracks and
rearranging tracks.
Mixer
• Clicking the right mouse button on a Mixer effect control knob or
element opens the associated effect dialog.
• A double click on the middle of a control knob or element returns it
to the passive default setting. Another double click resets the
element to the previous position.
• Clicking on the left or right outer limits of a control knob changes the
setting in individual increments.
• In the Mixer window, multiple channels can be soloed
simultaneously. When holding the Shift key and clicking on a Solo
button, all previously soloed channels are un-soloed and the single
channel is soloed.
• The Master Normalization function in the Mixer window can be used
to instantaneously adjust the output level to 0 dB, no matter how
loud or soft the master output signal is.
Performance
If errors occur during playback, you have the following options:
• Increase the VIP and HD buffer in the "System" dialog ("Y" key).
• Zoom out to project full view (button "A" at position bar")
• Deactivate the "Autoscroll" function in the "Playback parameters"
dialog (key "P").
• Reduce the number of displayed image elements of the VIP window
in the dialog "Object display in virtual projects" (Shift + Tab).
• Bounce several tracks by Mixdown and mute the original tracks.
• Reduce the used realtime effects in the object editor or mixer.
• Do not use plug-ins as they increase the CPU load.
• In Windows NT the playback performance of the hard disk system is
particularly good if the corresponding files are played for the first
time. So, if a VIP with many tracks is not played perfectly, save it,
close all windows (key "h") and open the VIP agein. Now the NT file
system performance is optimum again.
• It often helps to run two copies of MAGIX Music Studio 12 deluxe at
the same time (simply start it twice from the Desktop). This allows
you to work on an extensive effect processing, a longer recording,
the creation of a CD, or any other unattended procedure, while
working on another aspect of a second VIP or project. When
working on dual processor systems in Windows NT, both
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Functional overview
instances use the full capacity of one of the processors. Even
under Windows 95 this technique can be used to work more
effectively. Make sure you disable the option Check Space Bar for
Playback… in the System dialog (Shortcut: ‘y’) to prevent the
program in the background to stop any process.
Recording/Playback
• The Recording window can be displayed by pressing the shortcut
key r. The recording can be started with the key r and stopped with
the key s when the Recording window is displayed and active.
• The playback can be started and stopped with the Spacebar. When
stopping, the Play Cursor returns to the original position. If the
playback is stopped with the 0 key on the numeric keypad, the
cursor will stop at the current playback position. Continuing to hold
the 0 key, while moving the mouse (Scrubbing) can alter the exact
position.

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Effects and effect plug-ins

Effects and effect plug-ins
MAGIX Music Studio 12 deluxe contains lots of high-quality effects
and effect plug-ins ("MAGIX plug-ins") as well as interfaces for
external VST plug-ins and DirectX plug-ins.

What effects are there and how are they
used?
In general there is a difference between the effect types. The
following effects occur in MAGIX Music Studio 12 deluxe:
Realtime effects: These effects are also referred to as "nondestructive" or "virtual" effects. They are added to the original sound
while it is played. This means that the original file remains unchanged
on the hard drive.
Offline effects: These effects are also called "destructive effects".
They are added to the audio file before it is played. This means that
either the original file is changed or a copy is created on the hard
drive for working in.
These effects are independent effects modules, i.e. they are provided
by third party vendors or programmers. In MAGIX Music Studio 12
deluxe we distinguish between three types of effect plug-ins: "MAGIX
Plug-ins", "DirectX plug-ins" and "VST plug-ins".
The place of use is a further criteria for effects. The following are
integrated into MAGIX Music Studio 12 deluxe:
• Object Effects (can be accessed via the Object Editor or the
Realtime Effects menu)
• Wave Effects (can be accessed via the Offline Effects menu)
• Track Effects (can be accessed via the trackbox plug-in selection
button or the trackbox plugin)
• Mixer channel effects (can be accessed via the Insert section of the
Mixer): These realtime effects affect track effects the same way as
complete tracks.
• AUX effects: (accessible via the Track Editor and Track Box): These
effects can be installed identically for several tracks, or individually.
• Surround effects (accessible via the Insert selection box of the
corresponding surround bus channel, Track Editor and Track Box):
These effects serve for editing surround material.
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Effects and effect plug-ins
• Master effects (can be accessed via the Master section of the Mixer):
These effects are for editing the master sound.
Most of the effects modules - equalizers, compressors, reverb, echo,
etc. - can be used in several of the above versions. However, they
are only described at one position within this documentation. All
effects and effect plug-ins that are NOT offline effects, and can be
activated via the Offline Effects menu, are explained in the following
sections of this chapter. The other effects that, amongst other things,
can also be activated via the chapter "Offline Effects", are described
in more detail in the "Offline Effects menu" chapter.

Saving Effect Parameters (Preset
Mechanism)
The effect dialogs contain Preset selection boxes. These presets are
saved and recalled to/from the 'FX-preset' directory (a sub-directory
of the main MAGIX Music Studio 12 deluxe program directory).
If a preset is not located in this directory, it still can be loaded via the
'Load Setup' function, but it will not automatically appear in the
selection box, so you'll need to browse for it.
Effects that are added/launched from within the Mixer or Object
Editor are pre-configured with the values assigned to the Virtual
Project. If the Virtual Project is to adopt particular changes made to
the settings in the effect dialog, you will need to click on the OK
button to transfer them to the VIP.
You also have the possibility to apply the settings of the last
destructive effect, a corresponding entry can be found in the Options
box. If there is no destructive application of the effect, the parameters
selected in the list entries will be applied to the default parameters for
destructive editing.

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Effects and effect plug-ins
Cleaning FX (object editor)

Dehisser
The Dehisser eliminates regular ”white” noise, typically produced by
analogue tape recordings, microphones, pre-amplifiers, or
converters.
Noise Level: Set the Dehisser’s input threshold as precisely as
possible. Low settings result in incomplete deletion of the hissing. An
incomplete deletion of the hissing produces artefacts and should be
avoided. High settings produce dull results. Useful signals (e.g. the
blow of a wind instrument) that are similar to hissing are also filtered
away. If the level of the hissing is low, the setting is no problem.
Audiotype: Lets you set the audio material that is to be edited; the
algorithm is adjusted accordingly.
Noise Reduction: Here you can set the attenuation of the hissing in
decibels. Often it makes sense to reduce the hissing by only 3 to 6
dB in order to keep the audio material sounding natural.
Removed Hiss: To test your results, you can listen to the filteredaway part of the music prior to downloading or burning onto a CD.
(Remember this is for test purposes only.)
Quality: The processing quality can be set in two stages. You can use
this to precisely adjust the values in the dialog for standard quality
adjustment without skipping playback, and can then select a higher
quality for final burning.
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Effects and effect plug-ins
Adaptive: The value for the noise level parameter is set automatically
by determining the hiss contained in the signal. If the noise level value
is changed, its effect is then relative, i.e. the resulting value is
determined from the automation as well as the noise level fader
settings.
One advantage is that you no longer have to set the noise level value
manually and that this value can also be adjusted later if the noise
share fluctuates, for example, if you use music tracks with differing
hiss levels within one project.
If the noise level is constant, a better result may be obtained manually
(Adaptive off). However, the noise level value must then be set
precisely.
Denoiser
The denoiser is especially useful for eliminating long-last
ing disturbing noises, such as: a humming in the main connection;
hissing; noises from sound cards, disturbance noise from ground
circuits; interference from audio equipment with high microphone
outputs (record-player); impact noise; or the rumbling of records.
The denoiser requires a sample of the pure disturbance noise. Some
of the typical sounds are at your disposal. Another possibility is to
create
a
noise
sample
yourself.
You need a short sequence of the music, where only the disturbance
noise can be heard.
Processing Section
Quality: The processing quality can be set in two stages. You can use
this to precisely adjust the values in the dialog for standard quality
adjustment without skipping playback, and can then select a higher
quality for final burning.
Noise Level: Here you can precisely adjust the entry threshold of the
disturbance noise’s clearing function. If the values are too low, it will
result in insufficient noise reduction and it will contain artefacts, such
as disturbing sounds or ”chipping.” If the values are too high, the
result will be too flat. We suggest that you take some time to
experiment and obtain the best adjustment.
Noise Reduction: Here you can adjust the balance between the
original signal and the cleared signal. Draw the disturbing signal

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Effects and effect plug-ins
about 3-6 decibels in order to preserve the natural sound of the
material. In the case of humming, we recommend complete clearing.
Adaptive: The value for the noise level parameter is set automatically
by determining the noise contained in the signal. One advantage is
that for oscillating noises the noise level is always adapted to the
current noise. If the noise sample was not sourced from the signal
that is to be edited and if a preset is used instead, the difference
between the strength of the noise in the audio material and in the
noise sample is equalized automatically. If the noise sample has been
sourced from the signal that is to be edited and if the noise is
constant, you should not use Adaptive mode.
Removed Noise: To test whether or not a noise has been removed
satisfactorily, you can play back the part of the music cleared by or
filtered by the Denoiser. (This is for test purposes only.)
DeRumble: Activates a special filter for low-frequency rumbling
noises, such as those on old record players and wind noises on
microphone recordings.
Preset: All settings of the DeNoiser, i.e. the used noise sample and
the settings of the processing section, can be saved for later use as a
preset.
Noise Sample Section
Here, a Noise Print is generated. A short sample from the actual play
position is taken as a noise sample. The noise sample should not
contain any music or other parts of the desired signal - just the pure
disturbance signal.
The play position can be shifted with the transport bar to search for a
suitable position while the sample section is open. When the play
position is situated between two objects, no noise print can be
generated. A failure message appears.
Play: You can listen to the noise sample to test it.
Auto: When this switch is activated, the duration of the noise sample
is automatically adjusted.
Length: The duration can be adjusted in milliseconds when the ”Auto”
switch is turned off.

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Effects and effect plug-ins
Save: Store the created noise sample in the Noise Print Sample
Directory.
Then it will be available as a new noise sample in the noise sample
preset selection list.
Noise Sample Presets: Choose a noise sample from the Noise Print
Sample Directory. When the noise sample has been created by the
Pick function, the item Noise Print appears in the directory.
Play (Preset): You can listen to the chosen noise sample.
Wizard: Opens a Wizard which helps you to create noise samples.
The Wizard mainly features a search function which lets you search
the audio material for a suitable noise sample. You can choose from
different noise types.
Audiotype: Lets you set the audio material that is to be edited; the
algorithm is adjusted accordingly.
Spectral View
If selected, the spectrum of the noise sample is displayed. Use the
button at the right border to switch to Spectral View. The played
audio material is then displayed in a spectrogram. The spectral parts
removed by denoising are displayed in red color shades.
Mode
Anti-Noise
The entire noise is removed.
Hum Mode
If this mode is selected, the hum is removed instead of the hiss also
included in the sample. The advantage of this is that far less changes
are necessary than in anti-noise mode.
If you want to remove a noise containing both hum and hiss, it is
preferable to remove the hum with the Denoiser in Hum mode and
then remove the hiss with the DeHisser, or by applying the DeNoiser
twice with different settings, e.g. as a master effect and then as an
object effect.
Video camera

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Effects and effect plug-ins
This should remove the camera noise in Hum mode, as this is far
more annoying than hissing and can be removed more easily!
Artefacts on Cleaning Effects
If you adjust the Denoiser too high, it can result in a metallic chipping
sound, or an ”artefact” sound. Due to its synthetic character, this will
have quite an impact on your ears. Usually, this happens only in
especially difficult cases.
To obtain the best results, follow these suggestions and instructions:
• First choose a Preset from the Selection Menu. There you will find
several types of disturbance noises.
• Be careful with the ”dosage” of the effect—less is more. Adjust it
until you cannot hear any of the disturbing noises, otherwise
artefacts can appear.
• Clean the material before applying cleaning effects. Select the
disturbing objects and choose ”Remove DC-offset” from the Edit
Menu.

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Effects and effect plug-ins
Sound FX (object editor, mixer channels,
mixmaster)
Sound FX features an Effects rack with the following virtual effects
devices:

Equalizer
The 10-track equalizer divides the frequency spectrum into 10 areas
(tracks) and supplies them with separated volume controls, which
allows you to achieve many impressive effects, from the simple rising
of the bass, to total sound transformation. If you raise the low
frequencies too much throughout the whole level, it can cause
distortions. In this case, lower the master volume using the master
volume control on the main screen.
Thumb controls: All of the 10 frequency areas can be raised or
decreased separately by the 10 volume controls.
Link Bands: Using this switch you can match the frequency areas in a
flexible way to avoid the overemphasizing of single frequency areas
that sound artificial.
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Effects and effect plug-ins
A/B: If you have selected a preset for the effect and later you change
it manually, you can compare the original-preset-sound with the new
adjustments using the A/B-switch.
Reset: Reset inserts the sound effect into the neutral starting position
where no processing power is used and where no effect is calculated
in the sound.
Touch-screen (right EQ-Section): This is the ”sensor-field” of the EQ:
Use your mouse to draw a curve that will be transferred immediately
into the corresponding EQ control adjustment.
Compressor
The compressor is essentially an automated dynamic volume control.
Tune dynamics are limited, loud passages stay loud, low passages
become louder. Compression is often used to make the material
more powerful. The degree of compression is adjusted by the ratio
control, and the ”Threshold” determines the entry threshold. Rise and
decrease of time can be influenced by Attack and Release.
The processing is realized ”in advance” as occurs in high-quality
studio equipment. This means that there won’t be any overdriven
peaks or other artefacts, as the algorithm can never be ”surprised” by
the peak levels.
Sensor-Field: The sensor-field of the compressor can be intuitively
altered with movement of the mouse.,
Ratio: The parameter controls compression intensity.
Threshold: Here you can adjust the entry threshold, under the
compression.
Attack: Here you can adjust the time in which the algorithm responds
on the rising level. Short attack times can produce a ”pumping”
sound, as the volume is reduced or raised.
Release: Here you can adjust the time in which the algorithm
responds to decreasing levels.
A/B: If you have selected a preset for the effect and later you change
it manually, you can compare the original-preset-sound with the new
adjustments using the A/B-switch.

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Effects and effect plug-ins
Reset: Reset places the sound effect into the neutral starting position
where no processing power is used and where no effect is calculated
in the sound.
Load/Save: Here you can store the current adjustments as an effect
file in order to use them for other projects.
AmpSim
The Ampsimulator is a newly-developed real-time effect that
simulates tube amp sound properties. It is especially suitable for
guitar sounds, but also for the organ or recordings of vocals.
Amp Model: Here you can select from a range of amplifiers whose
sound can be simulated.
Speaker Model: Here you can select from a range of speakers whose
sound can be simulated.
EQ-Section: A 3 band equalizer for setting the bass, mid-tones and
treble.
Bright: The Bright button is for a particularly sharp sound display, that
can be jarring when used with the following automatic controllers:
Distortion: Creates distortion in typical analog amplifier fashion.
Volume: Controls the entire volume of the amplifier module.
Echo / Reverb
Reverb
Reverb supplies a high-quality reverberation which can be defined
more closely with ‘room size’, ‘time’ and ‘colour’ and mixed into the
original sound with ‘mix’.
You can choose between various reverb styles in the presets.
Room size: This control button controls a room simulator which
calculates the reverb effect in dependency on the room size. If the
control is turned completely to the left, it sounds as if the audio
object has been recorded in a tiny room, turned completely to the
right, one can listen to the object as if it had been recorded in a
cathedral.

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Effects and effect plug-ins
Time: Here the length of the ‘reverb trail’ is determined, i.e. the fading
phase of the sound.
Colour: Here it is possible to control the type of reverb – rather dull
than high-pitched or vice versa.
Mix: This control determines the mixing ratio between the unedited
original sound (‘dry’ signal) and the reverb portion (‘wet’ signal).
Echo
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 echos can be
determined; the more you turn the control to the left, the faster will
the echos follow each other.
Feedback: Here the number of echos can be adjusted. Turned
completely to the left, there is no echo at all, turned completely to the
right there are virtually endless repetitions.

Parametric Equalizer (mixer channels,
mix master)

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Effects and effect plug-ins
This dialogue contains a 4-Band parametric equalizer. You can adjust
the sound of your sample activating filters on three independent
frequency bands. This allows you to raise the bass and treble in a
broad spectrum as well as making very specific corrections in the
dynamic frequency spectrum.
However, you will first have to highlight an area of the current project
or the entire project with the a-key (wave-projects).
Don‘t forget that the mixer (m-key) also includes one equalizer per
channel that works in real time and does not modify the saved audiomaterial! (Non-destructive manipulation process).
Frequency: Adjust the middle frequencies of the different filters
between 10 Hz and 24 kHz using these switches. As your choice is
completely unrestricted, you can also set various filters to the same
frequencies in order to obtain more pronounced effects.
Q: Here you can set the frequency-spectrum of each filter between
10 Hz and 10 kHz.
Gain: These switches control the activity and intensity of each filter. If
the switch is set to 0, the filter will be inactivated, saving system
resources.
Volume: This button controls the general volume should the filters
produce an extreme increase or decrease of the individual levels.
Setup A/B/C: Here you can switch between three various setups so
that an acoustic comparison between the various settings can be
performed, for example, during the preview function (Play/Stop
button).

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Effects and effect plug-ins
MAGIX Mastering Suite

Parametric Equalizer
The parametric equalizer consists of four filter bands with which you
can mainly form the sound of the music track. Each band is a filter
with a typical “bell shape”. Within a certain frequency range 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 so as to give it more “depth” (lower center
200-600 Hz) or more “air” (Highs 10Khz). You can also decrease the
narrowband width (high Q-value) in the frequency response to
remove, for example, 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. The blue bullets 1-4

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Effects and effect plug-ins
symbolize the four wave bands. You can move them around with the
mouse until you find your desired frequency response.
Peakmeter: With the peakmeter you can control 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): Here you can set the bandwidth of the individual
filters to between 10 Hz and 10 kHz.
There is still a peculiarity among bands 1 and 4: Their filter curve 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 decrease in all frequencies
happens above or below the filter frequency, 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.

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Effects and effect plug-ins
Stereo FX
The Stereo-FX-Enhancer allows you to reposition your audio material
in the stereo panorama. Whenever a stereo recording sounds
undifferentiated, the extension of the basic stereo-width can provide
a more transparent sound.

Basic stereo width controller: Here you can adjust the width of the
basic stereo panorama from mono (leftmost side), over unchanged (in
the centre) to maximum width (”Wide”, rightmost side). When setting
the stereo panorama to smaller values, the sound level may rise. In
an extreme case – it means that if the left and right channels contain
identical audio material and the Basic stereo width controller is set to
”mono” – the sound level increase can be as much as 3 dB.
While increasing the basic stereo width (values exceeding 100) the
mono sound compatibility gets worse. This means, that recordings
that have been manipulated in such a manner will sound hollow
during mono playback.
Volume fader: Adjust the volume for each channel and the stereo
panorama. The damping for the left and the right channel will be
indicated in dB values under the controllers. This allows you to
reposition an originally centred recording to the right or to the left
inside the stereo panorama.
Stereo-meter (correlation indicator): This is a graphic display of the
phase position of the audio signal. Here you can check the
orientation of your signal inside the stereo panorama and the effects
caused by the Stereo-Enhancer.
In order to achieve the best possible mono-compatibility, the graphic
should resemble a diagonal line. If not, some frequency areas may
eliminate each other when the stereo signal is played back on a
mono player.
Karaoke Preset: THis preset opens a special karaoke effect that more
or less eliminates vocals during playback by deleting middle-range

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Effects and effect plug-ins
frequencies typical for the human voice when singing. This allows
someone else to take over the singing.
Multimax
The MultiMax is a compressor with three independent frequency
bands. The dynamic processing takes place separately for each
band.
The main advantage of a multi-band compressor over a ”normal”
compressor is that warping and other bothersome side-effects are
reduced drastically by the dynamic processing. This means, for
example, that a single peak level in the bass section will not drag the
level of the whole signal down.
Otherwise, the multi-band technology enables precise treatment of
individual frequency bands.

Frequency Band Settings: Made directly in the graphic display. Simply
click on the dividing lines to shift them.
Bass/Mid/High: Regulates the degree of compression for each
frequency band.
Limiter: The MultiMax contains a limiter that harmonizes levels so
that, for example, too high a level is automatically reduced, and quiet
passages remain unaffected.
Presets
Two further special functions can be called up by using the presets in
MultiMAX.
Dynamic expander: Too high compression will result in audible 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.
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Effects and effect plug-ins
Cassette NR-B decoder: MAGIX Music Studio 12 deluxe 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 suppressed noise entirely below a
certain noise level. This lets you create, for example, song transitions
that are entirely noise-free.
Leveler: This function brings the entire material up to a uniform
volume automatically. The volume control handle is made void. Larger
volume differences can therefore be adapted within a song. To
balance volume differences between different songs, also use the
function “Volume adjustment” function in the effects menu.
De-Esser: These special presets remove overemphasized “s” sounds
in speech recordings.
Tip: The limiter can also be used independently of the MultiMax.
Digital Audiometer
On the lower border of the MAGIX Mastering Suite there is a digital
audiometer, which provides separate control method displays for
every channel for 10 wave bands. This device is used for orientation,
for example, for selective equalizer editing.

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Effects and effect plug-ins
Vintage Effects Suite
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
artefacts 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 the tape echo units of old, where the delay
time was determined by the tape speed and speed changes were
slow and affected the pitch. („Feedback"). The feedback has a twoband filter that can be used to create dark, high or mid repetitions
depending on the settings.
You can use these characteristics to your advantage, creating for
example ‘out-there’ dub/reggae-style delays that become less
defined with each repetition and are slightly warbled. Here "Analog"
means that you can not digitally overdrive the delay. Even in a
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Effects and effect plug-ins
'looped' repetition the signal can not be distorted indefinitely but
compressed by an increasingly slight degree and distorted similar to
a tape.
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 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 at the 9-11 o’clock position.
Filter
"Low"
"High"

This control progressively reduces the bass
frequencies as it is turned to the right, making the
signal sound ‘thinner’.
All the way to the right, the control only attenuates the
treble very lightly; turned to the left, the delay
repetitions become progressively less trebly.

Feedback
Width: This controls the stereo width of the delay repetitions. When
you turn “Width” to the right, a further effect is achieved: the panning
of the delays increases. This is commonly referred to as a ‘pingpong’ delay.

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Effects and effect plug-ins
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
time.
The actual strength of the effect is dependent on the material as the
feedback loop - as explained earlier - is addressed via compression
and uses a "tape saturation" effect. If you send a "loud" signal to the
dela, 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 you may require a short adjustment period.
However, will most probably sound "livelier".
Flanger

The "flanger" effect is similar to the chorus, although it has a different
history: It was developed by coincidence: someone (according to a
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,
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Effects and effect plug-ins
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
time (under 10 ms). Flangers do not strive to double or disembody a
sound like a chorus 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, alternatingly 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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Effects and effect plug-ins
Filter

"Filter" is a modulation effect like Chorus and Flanger. However it
controls the frequency response of a modulation source as well as
the pitch. There are various filter types and modulation sizes available
for this.
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.). With guitars you can create typical
'wah' effects: either by tempo modulation or in a special mode,
modulation via the envelope curve.
Filter parameters
Speed: The modulation speed is set by note values ranging from 1/1
to 1/16 (even or dotted). Like in the Analog Delay, the tempo
information is automatically provided by the arrangement.
A peculiarity of the final position of the controller:

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Effects and effect plug-ins
Tempo synchronization stops and modulation is controlled via the
signal level.
Freq: This is the base frequency for modulating the filter. This
generally takes place above this frequency, i.e. the modulation
increases the filter frequency..
Depth: This control determines the modulation depth, that is, 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

Band-pass

A filter with a slope of 24 dB/octave and a
small amount of resonance. The treble
frequencies above the base frequency (cutoff frequency) are filtered steeply. This is
great for filter sweeps on synth pads and
drum loops.
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, for example,
guitar chords. This 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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Effects and effect plug-ins
Chorus

Chorus creates a ‘floating’ sound typically associated with guitars
and synth pads. It can acoustically ‘thicken’ an instrument, making it
sound fuller or creating the illusion that several instruments are
playing.
The Chorus sound is created by using the so-called doubler 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 in at least two: direct sound and effects
part. The double 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 double a guitar track for
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Effects and effect plug-ins
instance. A short delay in the mix already sounds "doubled" but is 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 ‘under-water’ 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 cut” is designed for bass-heavy signals such as 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’. This makes the character of the sound livelier than with
a single voice only. It is also distributed over the stereo panorama so
that this mode sounds "broader".
“Quad, low cut” is ideal for creating sounds such as deep synth pads
with tight bass frequencies.
Tip: Like on 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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Effects and effect plug-ins
Distortion

The distortion pedal is a “high gain” distorter for crunch and lead
guitar sounds. If you like typically “British” amp sounds and want to
quickly record a guitar track with little effort, this pedal is 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. pick-up 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; however, these
interact with each other and can thus generate quite a variable
sound:
• 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
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sound. You should set the bass controller depending on the basic
sound of the guitar and the sound you are aiming for (“powerful” 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, we recommend setting the controller to the middle position
or even moving it slightly to the right. This way the “sharp” highs
disappear, which all guitar amps generate without the suitable
loudspeaker. At the same time the mids stand out more, which gives
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 surely sufficient to set the
controller to 10-11 hours at 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 signalmove to the fore so that the “high-gain” lead sound is
better heard.
You can also use the distortion effect in combination with the amp
simulation.
BitMachine (only available as a download after registration)

Audio material can always be edited into high quality with MAGIX
Music Studio 12 deluxe. Nevertheless, there are situations when, for
example, a more imperfect lo-fi sound would perfectly suit a drum
loop or a synthesizer sound.
Remember, for example, the first hardware samplers from the 80s
that usually only ran in 8- or 12-bit resolution and at low sample

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Effects and effect plug-ins
rates. With the BitMachine, changing the sound with such an
„antique“ device is no problem.
You can use the BitMachine to bring back to life the times when
minimalist and scratchy soundchips in home computers were
commonplace.
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.
Furthermore, the effect has a modulation section with which you can
control individual parameters using an oscillator (LFO) or the input
signal.
We have designed a range of „typical“ presets to demonstrate the
time travel abilities of the BitMachine. These can be opened at the
top right of the interface.
„Filter“ section
The filter in the BitMachine is a digital model of one of the most wellknown filters in music electronics. The filter in question is the
‘Chamberlin 2-pole’ filter, which was used in old Oberheim
synthesizers. These types of filters sound exceptionally musical. They
can also be used in quite creative ways in the BitMachine and must
not be called upon solely to smoothen out existing artifacts.
The filter works in the so-called high-cut mode, that is, it lets through
deep frequency (or medium) material according to setting, and
dampens the highs and medium areas.
freq:
With this dial, you can specify the cut-off frequency of the filter.
Filtering starts above this frequency.
reso:
With this, the signal in the area around the cut-off frequency can be
strongly elevated („resonance“: to just below the self-oscillation).
Sharp, cutting sounds are now made possible. The effect becomes
even clearer when you vary the cut-off frequency.
drive:

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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
up this dial, the more the signal is overmodulated. In this case, the
parameters of the internal workings of the filter interact with one
another. This way, for example, 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.
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, if this
were the case, 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, you’re, effectively, turning down the control signal.
Waveforms of the modulation section

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Effects and effect plug-ins
We’ve already explained this example with the help of sine oscillation.
The LFO can be in:
• Sine form
• Square wave (that is, only 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, the LFO adapts to the song speed, and the dial locks
musical values into place (for example, ¼ note). With it, rhythmic
paths of the sound distortion are made possible. 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, 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 roughly set the input
sensitivity with the „gain“ dial. To do this, use the control LED: With
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 in a
rough direction.
„Reduction“ section
Bits
This dial controls the resolution of the audio material. Turning the dial
to the left results in 16-bit quantization, and thereby 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.
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In 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, that is, the
internal sample rate is reduced. Here, 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.
Tape Simulation
Tape simulation lets you add an “analogue touch” to your recordings
by reproducing the typical aspects of an analog tape recording. Many
studios today still use 1" and 2" tape machines that are believed to
have a “warm” and “saturated” sound, which is in contrast to the
rather neutral and analytical digital technology.
There are numerous factors that are decisive for the sound of tapesupported recordings. Some of these are:
• Distortions that occur when the tape is forced into the saturation
range
• Changes in the frequency curve as the signal is edited at the
recording and playback end. In addition, all machines more or less
have distinctive frequency spectrum peaks, particularly in the bass
range (so-called “head bumps”)
• Treble loss due to self-deletion as a result of the HF current (“bias”,
pre-magnetization) and intermodulation between the signal and
the HF signal.
level: Specifies the input signal. You can specify when the “virtual
tape” is saturated and how strong the effect of the tone coloring is.
You simultaneously gain more “loudness”.
eq low/hi: Adjust the frequency curve (spectral balance controller).
You can choose whether you would like to have an output signal with

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Effects and effect plug-ins
a heavy bass or whether it should rather include more trebles. The
pre-filtering during “recording” and the equalization are adjusted.
However, please observe that the frequency curve of the simulation
will not be neutral even if the “eq low/hi” controller is set to the
neutral position: A frequency-selective amplification always occurs.
bias: Bias adjust: Increasing the bias will result in a higher “recording
level”, but tape saturation will occur sooner. You will also increase the
above mentioned loss effects, and the result will be a (dynamic)
reduction of the highs.
Turning the bias controller to the left results in the opposite effect.
The highs are not reduced, but the signal level stays lower. Even
harmonics (distortions) develop simultaneously. Your ear decides
which settings you prefer in a specific case.
Using the distortions that occur during tape simulation can quickly
lead to a state of “acoustic fatigue”, particularly with material
including many highs. The differences can be heard more easily in a
1:1 comparison when the tape section is deactivated. In most cases
minor editing using the simulation is sufficient to create a slight
“analog touch”.

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Track Dynamics (track effects, mixer
channels)
MAGIX Music Studio 12 deluxe provides two different dynamics
modules: one that can be opened via the "Offline Effects" menu and
which is talked about in further detail in the corresponding chapter,
and a second one that is only available via the track effects and in the
Mixer.

Use this Editor to edit the dynamics of a sample. All functions can be
previewed in realtime.
The graphics display shows the corresponding resulting dynamics
curve to improve the overview.
The following functions are available:
Compressor: The dynamics of a piece are limited, loud sequences are
dampened, quiet sequences are retained. Compression is often used
to add power to audio material or to increase the loudness. The level
of compression is adjusted by the ratio controller, the activation
threshold is determined by the threshold. You can also influence the
attack and release.
Limiter: Only the loudest passages are limited (above the threshold).
Quiet passages remain unedited. Limiters are used to reduce the
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Effects and effect plug-ins
occurrence of big level peaks without reducing the master dynamics.
After the Limiter process, the master level can be increased using
normalization without having to worry about overmodulation. The
>Limiter< setup preset sets a threshold of -0.2 dB when using the
Limiter as a Peak Limiter in the master range of the Mixer.
Limiter 100%: Performs the same editing as the Limiter; however, the
level is immediately raised to 0 dB – this corresponds with
normalization in one single step.
Expander: The dynamics of a piece are increased, loud sequences
remain quiet, quiet sequences become even quieter. Dynamics
expansion is often used for recording speech with a high noise level.
The expansion causes the level of the speech to be raised which the
noise is suppressed. Please note that a powerful denoising algorithm
is also provided.
Gate: Very quiet passages (below the Threshold Level) are dampened
or set to zero. This way, hissing can be effectively suppressed during
pauses between individual takes. Using the Gate function also makes
sense at high compression levels (ratio > 5), in order to raise the most
quiet passages and prevent background noise.
Ratio: This parameter controls the strength of the corresponding
effect, 1.0 means that there is no effect.
Threshold: Here, the volume threshold can be set, below or above
the one which applies the effect.
Attack: Sets how quickly the algorithm takes to react to increasing
sound levels.
Release: Sets how quickly the algorithm takes to react to falling
sound levels.
Gate level: This parameter specifies which levels should be set to 0.

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Track delay/reverb (track effects)
MAGIX Music Studio 12 deluxe provides two different dynamics
echo/reverb modules: one that can be opened via the "Offline
Effects" menu and which shall be talked about in further detail in the
corresponding chapter, and a second one that is only available via
the track effects and in the Mixer.

Use this Editor to calculate an echo effect into a sample. To avoid
overmodulating the sample, there should be a certain volume control
reserve, that is, the sample data should not be allowed reach the
maximum/minimum. This can be accessed, if required, using the
normalization function (some 70%).
Echo Delay / Rev. Time: This button displays the delay between the
individual echoes/original signal and the first echo in seconds. You
should note that the delay is dependent on the sample rate, that is, a
change in the sample rate after creating the echo leads (logically) to a
change in the echo delay.
Reverb properties: Here the values for the size of the simulated room
and the reverb coloration can be specified numerically as well as by
using the scroll bars.
Wet/Dry Balance %: Here the dampening between the individual
echoes can be entered as a percent. A number close to 100% results

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Effects and effect plug-ins
in slower sounding echoes, a value under 40% has quick sounding
delays.

Elastic Audio
General information on the Elastic Audio Editor
Elastic Audio is a specialized editor with which the pitch of audio
material can be changed. Resampling and pitch-shifting algorithms
that can be automated as well as a basic frequency recognition
enable 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 Studio 12 deluxe
provides various pitch-shifting 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 time-stretching: Time-stretching 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 can take up more time with longer objects. After the
analysis is complete, the objects are split up into individual slice
objects according to the recognized pitches. The medium pitches of
a slice object determine its position in the graphic, independent of the
set progression of the pitch curve inside the slice object. 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 keeping the
small changes in the basic frequency (vibrato).
The “Tune” function for automatic pitch correction can be found
beside the Draw pitch function.

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Effects and effect plug-ins
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
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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Effects and effect plug-ins
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 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, jump-like pitch-shifts change from a “kick” to a
glissando.
Formant control: Selecting the Monophone 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. With humans
the formants are created by the anatomy of the vocal tract.
With most algorithms the formants are also influenced by changing
the pitch. With the Monophone Voice algorithm you can change the
position of the formants independent of the pitch. Acoustically this
corresponds with stretching or compressing the above-mentioned
geometries, which can lead to interesting effects.

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Effects and effect plug-ins
HARMONIZER box

Chord: Here you can set the chord that make up the parallel voices of
the Harmonizer. 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. This 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: Usually parallel voices are generated taking the
keyboard and Humanize settings into account. However, if this option
is deactivated, 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
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Pitch characteristic tune!: This button quantizes (“levels out”) the pitch
characteristic of selected slices.
With quantization smoothing you can determine the “Strength” of
quantization: Lower values are quantized the most. As a
consequence, the small pitch fluctuations that always occur in natural
sound sources, like, for example, 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 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 when editing 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. Slice objects and
curve handles can also be selected. Multiple selection is possible with
the Ctrl or Shift keys, as is the stretching of a slice object lasso.
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Effects and effect plug-ins
Free-hand draw function
You can freely draw the pitch curve using the draw tool.
If you press the Shift key as well, a straight line will be drawn between
the start position on drawing and the current mouse position. When
the Ctrl key is pressed, the slice objects are combined when drawing.
Drawing with quantization
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 the Shift key and compiling slice objects
with the Ctrl key 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. Slice objects can be
connected to one another with 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.

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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
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 unquantized).
• Draw in the pitch modulations.
Creating "Plastic voices" (Removing vibrato by strong quantization of
the micro pitch characteristic)
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Effects and effect plug-ins
• Set the parameter Quantization smoothing to 0.
• Press the "Tone pitch characteristics" button
• If required, switch off format correction when using the "Monophone
voice" algorithm.
Creating "Robot voices" – quantizing to a pitch
• Select the slice(s) with the Selection tool (arrow).
• 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
In the basic-frequency analysis the objects in pitch-slices are taken to
pieces that ideally correspond to one note in the melody in unison
music or one syllable in speech. In speech the pitches correspond to
the level of the vowels.
After the analysis all the slices are shown selected (blue)
The sub-division into slices can be corrected manually. The slices are
cut apart with the scissor tool and merged together with the rubber
band gripper tool with the Ctrl key 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 can be applied that are
to be found in the “Editing sliced-object” group: the correction of the
pitch sequence and the mid-range pitch.
The possibility exists of resetting the corrections for selected slices.
Selecting sliced objects
Sliced objects can be selected and deselected. With Ctrl+a all slices
are selected; clicking on the “empty space” deselects them.
Fundamental frequency analysis correction
General options

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The fundamental frequency analysis and the related fundamental
frequency-dependent pitch-slice-analysis may fail or cause errors for
the following reasons:
•
•
•
•
•

Reverbed material,
Runtime stereophonics,
False analysis,
Voiceless vowels (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 of
achieving 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, 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.

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Effects and effect plug-ins
Ctrl +
The slice borders can be manually
changed by connecting two slices to one
another with the pen
and using the cutting tool to cut through
at the correct position.

Keyboard commands and mouse-wheel assignments
Navigation via 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

Play Solo/Stop
Play/Stop
Select all
Up-date view
Undo
Select tool for left-hand mouse button
Select tool for right-hand mouse button
Show/hide pitch curve
Enlarge wave form
Enlarge wave form
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).
Ctrl + NUMPAD 4,5,6 Saves zoom snapshots 1,2,3
Alt + NUMPAD 4,5,6 Loads zoom snapshots 1,2,3
without any vertical zoom
NUMPAD 4,5,6
zoom snapshots 1,2,3 with vertical zoom

Effect Calculations
When working withMAGIX Music Studio 12 deluxe, audio material
manipulation can be performed on five levels. The signal flows
through these five levels in sequence:
1.

Wave Editing (Destructive Editing),

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2.
3.
4.
5.

Manipulations on the object level in Virtual projects (Real-time
Processing),
Volume and panorama automation, including track volume fader in
the Mixer or VIP (Real-time Processing),
Real-time effects in the Mixer tracks (Real-time Processing),
Real-time effects in the Mix Master section (Real-time Processing).

When working with volume, panorama, and filter manipulations, the
sequence is not important. For example, it is of no significance
whether you first apply a filter function and then change the volume
or vice versa. Even when working with a multiple of effects, the input
signal level is unimportant. Among them are the Reverb, the Delay
(Echo), Resampling and Timestretching, or Pitch Shifting.
However, all Dynamics functions and those that remove or reduce
noise (De-hisser and Noise Reduction) are dependent on the input
signal level and in some cases on the frequency response of the input
signal. If you have found an optimal setting for the parameters, you
should not apply other changes to effect blocks that precede these
types of effects.

MAGIX Music Studio 12 deluxe as an
external effects device
With the help of ASIO driver support, you can also use MAGIX Music
Studio 12 deluxe as an external effects device. The signal is pushed
through the real-time effects section by MAGIX Music Studio 12
deluxe and then re-issued. All real-time effects from the mixer can be
used directly: MAGIX AmpSimulation , MAGIX multiMAX, reverb,
echo, compressor, 4 band equalizer and vocoder. Requirements: You
need an ASIO driver for your soundcard.
Here’s how it works:
• In the system dialog (Y key), select the “ASIO Software Monitoring
with Track Effects“ option from the “Record options“ card.
• Connect your instrument (e.g a guitar amp) to the soundcard.
• Select one or more real-time effects for the track activated for
recording.
• Play it. The sound now has the selected effects added to it.

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Mixer

Mixer
Overview
You can open the MAGIX Music Studio 12 deluxe mixer via "Window
> Mixer". It strongly resembles a hardware mixer. As a result of the
digital environment, however, it is by far more flexible than an analog
mixer.
All settings made in the mixer are processed and edited in realtime.
This includes track and master effects, panorama and level settings,
device allocations for individual tracks/busses as well as device
allocations for the master section.

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Operating the Mixer
Every VIP track has its corresponding Mixer track. However, you can
hide any VIP or Mixer track in the Track manager.
Alternative mixer skins
In System Audio (keyboard shortcut: "Y") in "Design > Skins" you can
select an alternative for the Mixer skin. A further option for changing
the Mixer skins is to click on the System menu in the Mixer window
(the symbol at the top left corner of the Mixer window).
Using the keyboard
• Cursor keys: Select the active Mixer element (fader, button or switch)
• Page up/Page down: Changes the value of the active Mixer element
• Home: Resets the Mixer element to its preset (passive) initial value.
When pressing Home again, the element is reset to the last value
which allows for a simpler comparison between the changed and
initial preset states.
• End: Opens the assigned sub-window of an element, e.g. the EQ
window for one of the EQ buttons. This corresponds with rightclicking on a button.
• Return: Enables the numeric entry for a marked window box.
Operating the Mixer with the mouse and keyboard
Left-click: A control element is selected.
Ctrl & Left click: Several control elements can be selected (multiselection).
Shift & Left click on buttons: Permits changing of special functions
such as mute single track or solo single track although they are
members of an active group.
Shift & Left-click on buttons or faders: Reverses the link selection
(negative selection)
Ctrl & Left-click: A single control element can be temporarily
positioned within a group by pressing the “Alt” key and operating the
element.
Double-click on numbers: Opens the entry box to allow manual entry
of numeric values.

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Mixer
Double-clicking on buttons: Resets the control element to its preset
(initial) value. Double-clicking again sets the value back to the
changed value.
Left-clicking on value displays, below the faders or on the left button
corners decreases the values. If the key is kept depressed, the value
is automatically reduced until the key is again released or the end of
the scale has been reached. (Keyboard: Page down).
Right-clicking on value displays, below faders or on the right button
corners increases the values. If the key is kept depressed, the value
is automatically increased until the key is again released or the end of
the scale has been reached. (Keyboard: Page up)
Right-clicking on buttons (e.g. Compressor) opens the corresponding
window. (Keyboard: “End”)
The level faders can be adjusted very precisely. If you click on these,
keep the mouse button pressed, move the mouse pointer away from
the fader to the left or right. You can then adjust the settings by
moving the mouse in a vertical direction. The steps of the settings
become smaller as the mouse button is moved further away from the
selected fader.
The step size of the fader movement also becomes smaller if you
keep the “Shift” key depressed while moving a fader key.
There are two ways to change knob settings. After clicking on a knob
you can either move the mouse around the knob this is the standard
method - or move it up and down similar to moving the faders. You
can reduce the step size of the value settings by keeping the “Shift”
key depressed.

Channel strips
Each track in the VIP is sent through a specific mixer channel, that is,
the sound settings of the respective mixer channel are applied to the
objects on the track.
Each channel strip provides the following setting options. Each
individual section can be opened and closed by clicking on the
corresponding arrow symbol.

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Input: Specifies the audio input for the recording.
Gain: Controls the ratio of signal input to signal output of
each channel.
Aux Sends: AUX parts for various AUX busses can be set
using these buttons. A right mouse-click opens the AUX
Routing Dialog.
Inserts: „Insert“ means that you can loop through
additional mixer, freely selectable effects in the channel
strip. Clicking on the arrow to the right of the
corresponding insert slot opens the selection menu. You
can choose from: FX-Inserts (these are realtime effects of
MAGIX Music Studio 12 deluxe: FFT-Filter, Dehisser,
Multiband Dynamics, Advanced Dynamics, Multiband
Enhancer, Room simulator, Amp Simulator and Vocoder)
as well as MAGIX Plug-ins, VST- und DirectX-Plug-Ins.
Dynamics/Distortion/Delay (Echo/Reverb): Right-clicking
opens the Dynamics/Distortion/Delay/Echo/Reverb dialog
for the track (only in the Recording Mixer, MAGIX Music
Studio 12 deluxe, and Single Track Mixer views).
Equalizer: This chapter enables changing the sound
picture of the track signal using a 4-band Parametric
Equalizer. The dials change the volume of the frequency
range.
You can numerically edit the volume and frequency width
of each band in the number fields.
Right-click on one of the dials for fine-tuning. MAGIX
Music Studio 12 deluxe shows the EQ dialog in which
you can specify exact settings.
Panorama: Here you can set the direction of the signal in
the stereo panorama. The setting of the dial has a
different effect on mono and stereo tracks. In the mid
position, the setting holds the track's signal in the middle
of the stereo picture, regardless whether the track is a
mono or stereo track. If the dial leaves the mid position,
a mono signal within the stereo picture is shifted (to the
left or to the right). For a stereo track, the alignment
between the left and right channels within the track
signal changes.
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Mixer
Beside the panorama dial, you'll also find a switch to reverse the
phase.
Link: This button connects the corresponding channel with the one to
the right of it. All settings and adjustments affect both channel strips.
Automation: Use this function to record fade movements of the
volume/panorama/AUX faders as Vol/Pan/Surround or AUX curves
during playback. Curves that already exist are shown in the mixer by
movements of the AUX bars, panorama faders, and volume faders.
Solo: The solo button switches off all tracks with the exception of the
selected one. Right-clicking enables the selection of the output
device for the track.
REC: Arms the track and starts recording.
Mute: The mute button mutes the track. Right-clicking enables the
selection of the output device for the track.
Volume Fader: Controls the level of the tracks.
Monitoring: Click on the loudspeaker button to activate the monitoring
function. This means that audio material is always passed through the
inputs of the sound card and forwarded to the outputs.
If the "Hybrid Engine" is set up for monitoring, all mixer channel
effects for the feeds can be used. This requires working ASIO drivers
for the sound card. This way, MAGIX Music Studio 12 deluxe can be
used as a live effect device.
Further information on monitoring can be found in the chapter
"System Settings" > "Global audio options" > "Monitoring settings".
Track name: You can enter the name of the VIP track here. A mouseclick opens the track settings dialog where you can change the track
name, among other things.
FX: This key activates each track's VST or DirectX extra effects from
which you can configure and edit any number of effect sequences.
This lets you specify the sequence in which the effects are used.

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Find out more about this in the "Effects and Effect Plug-ins" chapter
> "Order of Effect Calculations".
Right-clicking on the button opens the control dialog. This lets you
add or delete effects and makes the individual track effect settings
dialogs accessible. You can copy, insert, reset, save, or load your
personal track effect settings. Specify your custom track effect
settings in the program directory in "FX Presets > Track FX". Of
course, you can also create new subfolders as well as "instruments"
or "Mid Side Processing".
Out: Sets the audio output for the channel. This can either be a
submix bus in the mixer or a wave out device.

Master section
The master section can be found to the right beside the channel
strips.

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Mixer
Master Plug-ins: This function lets you set VST or
DirectX plug-ins for the master out signal. Rightclick on the control button to show the plug-in
dialog. If you wish to quickly switch the plug-in
effects on or off, click the control button.
DeHisser: The effect master "DeHissing" helps
you reduce existing distortions which often
exhibit themselves as high-frequency hisses. You
can open the DeHissing dialog with a right-click.
FFT EQ: A right mouse-click opens the FFT filter
dialog.
Vocoder: Here you'll find the Vocoder for the
entire signal. A right mouse-click opens the
dialog.
RoomSim: Here you'll find the Room Simulator
for the entire signal. A right mouse-click opens
the dialog.
Multi-band Dyn: A right mouse-click opens the
entire multi-band dynamics section.
Dyn. /Limiter: The limiter for the master signal
opens with a right-click.
Master Equalizer: This Equalizer affects the sum
signal.
Stereo Enhancer (StE): This Stereo Enhancer lets
you modify the stereo picture of the entire signal.
Mono: This button plays the entire signal in
mono. It serves to temporarily check mono
compatibility.
Normalize (N): This is the master normalization. If you click on this
button, the output faders are customized in such a way that the
loudest sections reach 0 dB.
This function requires that the loudest sections in the VIP be found
and played. After clicking on the Normalize button, the program sets
the peak value of the entire signal to 0 dB. To display the maximum
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values after having made changes, please use the Peak Reset
button. This deletes the peak display. Clicking on the numerical
display of the peak value when stopped sets the play cursor to the
VIP position of this value.
Link: This key connects both faders. Please use this function if you
wish to change the left and right faders simultaneously.
Faders: Both of these faders adjust the left or right master signal.
Double-clicking on a fader resets the fader to 0 dB.
FX: Opens the effects/routing dialog with which you can configure
and edit multiple effect groups. This lets you specify the sequence in
which the effects are used. Find out more about this in the "Effects
and Effect Plug-ins" chapter > "Order of Effect Calculations".
Mix to File: The entire VIP is calculated into a file with all the settings.
You can find out more about this in the "Tools" menu > "Track
Bouncing".
On: This function allows you to mix the entire signal every time a
stereo WAV file is played. It comes in hand when you want to se the
processed output signal of the mixer, e.g. when monitoring.
Make sure that the "On" button is deactivated if you don't wish to mix
the master signal into a new file. Otherwise, the system creates a
wave file every time the file is played.
Hint: You don't have to use the Mix-in-file function to record dynamic
mixer movements during playback. It is usually better to control
effects movements via the AUX busses, to record volume and
panorama curves, and to then use the mixdown function.
Device / Master Out: Here the playback device for the entire signal
can be entered, which can then be set in the System/Audio dialog
under "Audio devices".

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Mixer
Global Settings
Some further buttons for adjusting the global settings of the Mixer
window and Mixer handling can be found at the right side of the
Mixer window.
This includes (clockwise from bottom left):
Start Track: If the VIP has many tracks, only a section of the
corresponding Mixer channels are generally displayed in the Mixer
window. The visible section can be moved using the scroll bar at the
bottom of the Mixer.
Hold the “Shift” key down and click on one of the “Start Track”
buttons to save the current view (a left-click is sufficient the first time).
You can recall the previously saved section by clicking again on the
“Start Track” button.
Preset: Through clicking on the preset menu you can select various
mixer setups.
In the menu reference "Options Menu", please read the section
"Project properties > Mixer Setup"
Setup: A Click on the "Setup"-button opens the mixer setup dialog.
Show-Functions: Right of the Master Volume Fader, individual
sections of the Mixer Window can be switched on and off. Particularly
single Tracks, Master Section, Input Pad, AUX Section, Inserts, EQ
and Visualization Display.
+ Buttons:Additionally, the category "Aux" contains a function with
which the amount of Aux routes and Insert slots can be in- and
decreased.
Solo/Mute: All solo and mute functions can be globally activated and
deactivated using this button.
BypassFX: Bypasses all Mixer effects for comparing the settings.

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AutoRec: This display indicates recording of automation data such as
volume and panorama. Automation has to be enabled on at least one
track.
Play/Stop: Playback of the VIP can be started and stopped using this
button. A right-click opens the transport controller.
Group selected controls: Those two buttons are used to to group
elements of the Mixer and ungroup the when they are not needed
anymore. Should you be wanting to create a group, select the
desired elements holding down the Ctrl key and then click on the
button "Group Controls". To ungroup, choose one of the Elements in
the group and then press "Ungroup Controls".
Snapshots:The Snapshot Function is particularly useful to compare
various Setups with each other. You can easily switch between the
Setups. The naming of the Snapshots is possible through doubleclicking the name field. The two buttons on the bottom of the last
name field enable you to save and load Snapshots.
A right-click on a Snapshot opens a context menu from which
Snapshots can be saved, loaded and deleted as well as switched
between the banks of snapshots. Through that, up to 32 Mixer
Snapshots can be saved.
In this menu, Mixer Settings can as well be stored to a separate file.
When loading a snapshot, the current Mixer settings are temporarily
saved and can be restored by clicking on “Load last Mixer”. This also
allows for A-B comparison between the snapshot and the current
settings.
Reset (Mono): Resets all Mixer settings to the default settings for
mono tracks (when using mono or LR Wave Projects).
Reset (Stereo): Resets all Mixer settings to the default settings for
stereo tracks (when working with Stereo Wave Projects).
Reset Aux: Resets all Aux shares of the channel strips to their default
values (= no Aux share).
Reset EQ: Resets all equalizer settings.
Reset Peaks: Resets the LED peak meters (peak hold display).

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Mixer
Reset FX: Resets all effect parameters to the default settings so that
effects can no longer be processed.

Busses and Routing
AUX busses
An AUX bus is a collecting bus combining all signals of the
corresponding AUX Sends of the individual channels. AUX busses are
usually used for controlling realtime effects via the volume curve. For
this purpose part of the signal of the desired Mixer channel is sent to
the AUX bus ("AUX Send") where effects are added. The fader of the
AUX bus represents "AUX Return". This means: the higher the volume
of the AUX bus, the more effects in the mix will be audible.
Hint: The AUX tracks contained in the VIP tracks are usually not
objects. They only provide dynamic effects to other tracks.
Working method
• mAn AUX/a Submix Bus can be created in the Mixer at any time. To
insert a Submix Bus after all channels, for instance, right-click on the
number of the last channel, shown in the mixer. In the appearing
context menu, select "Insert Tracks -> new Submix Bus". If the
output of several previous channels is now routed through this Bus,
the Volume of all of these can be controlled centrally through the
new Bus. In case you have created a AUX-Bus with "Insert Tracks ->
New AUX Bus", you can the signals of the previously created AUXSections into the the newly created AUX-Bus. AUX-Busses are also
the target for AUX-Sends with a lower channel number.
• Right-clicking the number of a channel gives the possibility to select
between the properties "AUX-Bus", "Submix Bus" or even both for
the according channel strip.
• Submix or AUX busses are always stereo busses.
• Submix busses can be fed from tracks with a lower channel number
just as a physical output device.
• Submix and AUX busses can be used for all channel effects,
including volume, panorama automation, and AUX Send. You can
align your output to output devices or submix busses with a higher
channel number the same way as any other channel.
• Automation of volume and panning for AUX and submix busses are
the same as for all other channels.

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Submix busses
A submix bus combines several tracks. It controls the volume,
panorama and effect settings of all tracks that are “routed” to the
submix bus. For example, all drum tracks (Hi-hat track, bass drum
track, etc.) can be combined to one submix bus so that the entire
drum kit can then be controlled via the volume controller of the
submix bus.

Embedding external effects devices
In order to include external effects devices you require an audio
interface with several in- and outputs, whereas one input/output pair
is reserved for the external effects device.
Routing the signal:
• You can loop in the signal either as an effect or insert.
• Insert send: Route the channel output directly to the physical output
of the card that is to feed your external device.
• Insert return: Select a Mixer channel that is to act as an insert return
channel. In the input section of the channel select the sound card
input connected to the output of the device you want to loop in.
• External send effect: CreateS an AUX bus is to be fed from different
channels of the corresponding AUX send. The output of the AUX
bus has to be routed to a physical output of the sound card.
Connect the output of the effects machine to the desired input of
the sound card. The sound card input is connected to the Mixer
channel by selecting the corresponding input section of the sound
card of the AUX Return channel.

Tips and tricks
• With Master Normalization the Mixer has a feature which allows you
to quickly set the output level to 0 dB. If the limiter in the master
section is active, the output level is also monitored thus preventing
level clipping.
• Clicking on the displayed top peak level numbers of the master sets
the cursor to the VIP peak position. This can be controlled with the
function "Play over cut".
• The Mixer function "Mix in file" (to the right below the Mixer) writes
the master output of the Mixer to a WAV file (or HD wave project).
If parameters are changed during playback, the sound that was
changed live can be recorded. If you use the live input of MAGIX
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Mixer
Music Studio 12 deluxe, all Mixer effects can be used in the mix
file while recording. Warning: the mix file is overwritten at every
play start. Therefore, if you want to keep the result, you have to
rename this file or save it under a different name.

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MIDI in MAGIX Music Studio
12 deluxe
What is MIDI?
A few words about MIDI: MIDI files do not contain the actual sounds
like audio files, only the note control information which is first played
by the synthesizer chip of the sound card. This has several
advantages:
1.
2.
3.

MIDI files need a lot less memory than wave files.
MIDI files can be adapted to any beat (BPM) without affecting the
sound. Only the playback tempo is changed.
Similarly easy is the transposition of MIDI files to other pitches.
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 on the
right mouse button.
In MAGIX Music Studio 12 deluxe you can use VST instruments
which play the notes contained in the MIDI files.

Connect external equipment
Interface Connection
Please consult your soundcard or MIDI interface manual for
information on its 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.
• via a General MIDI module or keyboards’ integrated interface, usually
labeled as “To Host”.

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MIDI in MAGIX Music Studio 12 deluxe
MIDI Cabling
MIDI Inputs/Outputs: If your computer has an internal or external MIDI
port, or has a MIDI-capable soundcard installed, connect your MIDI
keyboard’s “MIDI Out” to the computer’s “MIDI In” (on the interface,
soundcard etc.).
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 tone generators to these. If the computer only has one MIDI
output, you need to connect the second tone generator’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 another. 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,
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 generator. This behavior, however, is not what you want to
happen when using your keyboard with MAGIX Music Studio 12
deluxe. In this scenario, the keyboard is used as the computer’s input
device, and MAGIX Music Studio 12 deluxe is sending (i.e. playing)
MIDI information to any connected tone generators, be they the
keyboard’s own sound generator, a soundcard 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 tone generator— which is why the keyboard must
be separated from its own internal sound generator. 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 Studio 12 deluxe will act as the
“missing link” in this scenario.
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Convert MIDI objects into audio files
If you use VST instruments, you won't have to convert these MIDI
objects into audio data before exporting your entire arrangement as it
creates the sound on your computer and can be processed there.
If you still wish to do so (for example, to free up processing power on
your PC), 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
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 (for example,
the sound 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,
which can, as usual, be exported together with the multimedia files.

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MIDI in MAGIX Music Studio 12 deluxe
MIDI settings
All global MIDI settings can be found in the System/Options window
(keyboard shortcut: “Y”) “MIDI” submenu.

Please read the chapter "System settings --> MIDI Settings".

MIDI: Import, Record, Edit
Recording MIDI tracks
As with the routing settings of audio tracks you can tell the program
which MIDI input is to be used.
To do so, open the "Track settings" dialog by right- clicking on the
field that contains the track name (Track info box). In the "MIDI"
section of the track settings, select your "MIDI recording device" (the
MIDI input device you use, for example, MIDI IN of your sound card),
to which your keyboard or external sequencer is connected. As the
"Playback device" or MIDI output device, select the MIDI playback
device you use (for example, MIDI OUT of your sound card or a VST
instrument. In the same dialog, activate the "MIDI" radio button in the
"Recording" section.

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Note: You can activate the MIDI section of the Track Editor ("Menu
Window > Track Editor") by clicking on the "MIDI" button in the track
box. Now right-click on the "Rec" key to select the MIDI input device
as well as the instrument outputs of each selected playback device
from the context menu. You should also check the instrument
outputs if the MIDI signal in the level display can be seen, but no
sound can be heard, and adapt this to the MIDI outputs device (VST
instrument).

The following MIDI Record Modes are available: Normal, Overdub,
Multi-Overdub, and Replace. These decide which of the newly
recorded MIDI files will be added to the VIP.
You can specify the settings for MIDI Record Modes in the transport
control. Click on the arrow on the left beside the "Close" button in the
transport control to display this section.
Alternately, you can select the MIDI recording modes from "MIDI
Record Mode" in the "MIDI" menu.
Normal: This Record Mode corresponds to that of the audio
recording, that is, for each recording process, a new MIDI object is
created over the existing object. The old object remains intact. This
way you can record multiple takes of a passage and then compare
them in the Take Manager later on.
Overdub: The data is recorded into an already existing object,
available and newly recorded MIDI data is mixed together. If you
record over several objects, these are combined into a single new
object.
Multi-Overdub: The data is recorded into an already existing object,
available and newly recorded MIDI data are mixed together. Existing
objects, however, remain the same. This mode makes sense, for
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MIDI in MAGIX Music Studio 12 deluxe
instance, for recording MIDI controller changes subsequently over
several objects.
Replace: The data is recorded to an existing object, any MIDI data is
overwritten. Several existing objects are combined into a single
object.
After selecting the mode, make sure that the recording is activated
for the track. The record button, which is set to standby, changes to
violet to signal that this MIDI track should record MIDI data.
Now you can now start the MIDI recording using the shortcut key "R".
After recording you will be asked whether you want to keep or delete
the recording. At the same time, and within this dialog, you have the
chance to change the Record Mode for the recorded MIDI data. After
confirming this with "OK", your newly recorded material will appear as
a "MIDI take" in the VIP.
Importing MIDI data
Already existing MIDI files can be imported into a MAGIX Music
Studio 12 deluxe project as objects. However, you can also load a
MIDI file as a separate object, the same way as a WAV, HDP or RAP
project.
Menu: File/Open/MIDI (*.MID) …
Shortcut: Shift + M
Mouse: Drag & drop from file browser or Windows Explorer.
If you import MIDI files, please note that only type 0 or 1 MIDI data is
compatible with the import function. Each file should end with *.MID
so that it can be recognized as a valid format.
MIDI files are generally imported like a WAV file, irrespective of
whether they are imported in a VIP window or a MIDI project window.
For a VIP you can specify at which position you want to insert the
new MIDI object. Set the play cursor at this position, select a range in
the desired track or drag the file from the internal explorer or
Windows Explorer directly into the track position via drag & drop.
Hint: The following dialog is automatically displayed if a VIP os already
open as an active window. If you want to open the MIDI file in a
separate MIDI project window without inserting the content into a
VIP, please ensure that no VIP project window is active. MAGIX

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Music Studio 12 deluxe will also display the MIDI import dialog if only
one range of a MIDI project window is dragged into a VIP track.

The Import dialog contains status information on the MIDI file you
want to load:
Each standard MIDI file also contains temp information. MAGIX Music
Studio 12 deluxe displays this information in a separate section of the
dialog. At this position of the import you can decide whether you
want to adjust the VIP tempo to the tempo of the imported MIDI file. If
necessary, a tempo marker is displayed in the VIP.
If you select the option "All MIDI channels into one track", MAGIX
Music Studio 12 deluxe inserts the MIDI object into the currently
selected VIP track. The created MIDI object then contains all MIDI
channels of the MIDI file.
Editing MIDI objects
Editing MIDI objects in MAGIX Music Studio 12 deluxe follows the
same principle as editing audio objects: MIDI objects can be copied,
split and trimmed, have fade handles for fading in or out, and a
volume handle that scales the MIDI velocity. MIDI objects refer to the
MIDI data you have recorded while playing or importing, but are not
saved on the hard drive as a MIDI file but are saved as a project file
instead.

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MIDI in MAGIX Music Studio 12 deluxe
You can edit MIDI object in the MIDI object editor as well as in the
different MIDI editors Piano Roll, Drum Editor, Controller Editor, Listen
Editor and Score Editor.

MIDI Object Editor
“Object” menu / Object Editor
Shortcut: Ctrl+O
Mouse: Shift+double click
With the MIDI Object Editors, which is designed similar to the audio
object editor you can easily edit the parameters for the MIDI objects.
Here you can adjust sound, length, volume and program changes
individually for each MIDI object.
A MAGIX Music Studio 12 deluxe MIDI object may contain up to 16
channels and up to 16 MIDI SMF tracks (initial track number in
imported standard MIDI file). For instance, you can use a single
object to control a multi output VST instrument via several MIDI
channels. Within this object you can edit the notes in the
corresponding MIDI Editor in all channels or only in a selected
channel. You can use the max mode of the Object Editor to get an
overview of which MIDI tracks or channels are within one MIDI
Object. that, for example, may have been created from a General
MIDI file (“Max” checkbox).

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If there is only a single track in the MIDI Object, the settings are only
available for this MIDI track.
You can use the MIDI Object Editor to quantize MIDI data in the MIDI
Object. Please note that these settings affect the MIDI Object in realtime and not destructively. so that you don't see these changes in the
MIDI Key or Drum Editor.
Important functions and settings in the MIDI Object Editor:
Velocity
The velocity fader is comparable to the volume fader in the Wave
Object Editor. Normally, each MIDI note has a velocity value which
determines how “hard” the note is played. Changing the velocity
value in the Object Editor scales the volume of the notes in the MIDI
Object from its physical maximum or minimum values (0 to 127), and
is therefore included in the actual velocity note values. Changing the
fader is identical to changing the middle handle of the MIDI Object in
the VIP track.
Position/Length
This sets the starting position of the MIDI Object as well as the length
of the Object. The settings correspond to moving the Object in the
VIP track or changing the length using the length handle at the
bottom left and right of the Object.
Crossfades (Max Mode)
You can set/get the global fade settings as global settings in the
menus of the Fade In/Fade Range setting.
The Crossfade Editor allows you to make global settings for MIDI
crossfades. However, this corresponds with the basic setting for all
crossfades of the project. Crossfades between MIDI and audio
Objects are possible. Create a crossfade between two Objects and
press the “Set” key to save the crossfade. If the crossfade is set, you
can use it for other Objects anytime by clicking on the “Get” key.
Fade In/Out (“Max Mode”)
These settings determine the Fade In and Fade Out effects of an
Object. If you add a fade effect to a MIDI Object, the changes are
interpreted as a change to the velocity values of the affected notes.
The fade lengths can be changed directly in the Object by using the
upper left and right Object handles. In Max Mode the Object Editor
provides a selection of different curves.

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MIDI in MAGIX Music Studio 12 deluxe
Object-Name
Enter the name of the Object.
MIDI Real-time Effects
All 16 possible MIDI channels are displayed in Max Mode. If the MIDI
Object does not contain data for a channel, this is displayed in
grey.Only settings for one MIDI channel can be found in the preset,
reduced mode.
MIDI IN Channel (Max Mode only): Mutes the channel of the MIDI
Object.
MIDI OUT channel: Routes the MIDI data of a channel to a different
channel.
Transp.: Transposes all MIDI notes of this channel.
Program and Bank change: The values entered here are always
transmitted if the Object is played back. Use these settings if different
Objects of a MIDI track are to use different programs of a synthesizer.
Quantization
This is a virtual quick quantization without further options, while the
quantization settings changed in the MIDI Editor immediately affect
the notes and adjust their starting positions.
Track selection
Use this if you want to split a multi-track MIDI file into separate VIP
tracks but still would like to change all MIDI Objects as a group. You
should take into account that this function is only activated if several
MIDI Objects are active in the VIP. Selecting several Objects with the
Object lasso or individually using Shift+Mouse-click can also achieve
this.
Mute Controllers
Deactivates MIDI controller
Mute SysEx
Prevents control via SysEx data
Bypass effects
Deactivates all real-time effects for this MIDI Object.
Link all channels
The settings are changed for all channels simultaneously.
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Background color
Changes the background color of the MIDI Object.
Reload Object
It may be necessary to reload the MIDI data from the file from which
the Object has at some point been created. Note: All previous
changes are overwritten.
Bar definitions
This allows you to make your own bar settings for the MIDI Object.
The settings can differ from the rest of the Project or other MIDI
Objects. The four values in the settings window (Numerator,
Denominator, tempo and PPQ) can help you if you would like to
increase the quality of the MIDI notes and data. For example, you can
specify a different resolution (PPQ) to enable a finer quantization.
MIDI Editor
Opens the MIDI Editor (Piano Roll), where you can easily set, edit and
quantize MIDI events.
Play/Stop
Starts and stops playback from the current position.

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MIDI Editor

MIDI Editor
Open MIDI Editor
Double-clicking on a MIDI Object in the project opens the MIDI Editor.
Alternatively, the Editor can also be started for the selected MIDI
Object by clicking on the “MIDI Editor” command in the “MIDI” menu.
When opened it displays the MIDI data from the active position over
the length of a selected object or a selected range.
If no MIDI Object is selected, a window appears which lets you create
an Object at the playback position. You can then choose between a
menu of pre-defined MIDI templates from within the MAGIX Music
Studio 12 deluxe “Templates” sub-menu.

Notation display, movement, zoom
The MIDI Editor features five main areas for editing:
• Matrix Editor (Piano Roll)

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MIDI Editor
• Drum Editor (toggle between the Drum Editor and Piano Roll
possible)
• Controller Editor (for example, velocity, MIDI volume…)
• List Editor (event list)
• Score Editor
Here various tools are available, for example, pencil or eraser. Exact
values for each MIDI event can also be set in the edit fields via the
Piano Roll.
Fundamentally, changes, for example, 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. You can, for example, select a group of notes in
the Piano Roll and then change the velocity of these note groups
which modifies all selected notes simultaneously.
Notation display in Piano Roll and Controller Editor (with velocity
curves)
Notes which are not selected within the Editor are displayed in blue.
The intensity of the color symbolizes the velocity: the velocity
increases while getting darker/stronger in color.
Selected notes: Multiple selected notes are displayed in red. Here
too, a more intense color symbolizes increased velocity.
Current event: Appears in bright red with a red border. The properties
of the currently selected events are displayed in the edit fields above
the Piano Roll. If an event is selected with the mouse, it turns into the
current event.
Display of filtered events: To get a better overview of the events of a
MIDI object, you can filter specific events for the display.
Example: The MIDI object as 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 Roll and the List Editor.
Events in the filtered channels can be completely hidden using the
"Hide filtered MIDI data" in the Options menu.

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MIDI Editor
The List Editor provides additional display filters that only function
within the list. The display filters are initiated with the settings of the
playback filters (mute settings), but the filters can be set
independently of one another.
Display of muted events: MIDI object settings (in the MIDI Object
Editor, "Ctrl+O") can be used to mute notes and filter other MIDI
events. This type of "muted" event is displayed lighter or paler in the
Piano Roll and List Editor.
Events in front of or behind the beginning/end of the object
(recognizable by the blue lines in the Editor or when the display is
active and transparent as grayed-out ranges) appear similarly pale as
non-muted events within the object borders.
Events above and below the current picture section: Two small red
displays above and below the vertical scroll bar to the right-hand side
of the MIDI Editor screen show in red if there are notes outside the
screen's display.
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

Synchronized MIDI Editor and VIP screen
view
If you change the horizontal display or zoom using the scroll bars,
holding the Shift key changes the corresponding VIP window.
Play/Play Solo
“Play Solo” only plays the MIDI Object that is currently opened in the
MIDI Editor (corresponding with the filter settings in the “Options”
menu). “Play” plays the entire arrangement.

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Using the MIDI Editor: Selecting events
• Select event: Left-click on event
• Add/Remove event to/from selection: Ctrl + left-click on event
• Change/Set current event within multiple selection: Left-click on
selected event
• Set current event, deselect all other events: Double-click on event
• Selection of events within a line or range: Click while holding down
Shift-key
• Selection of all notes of a pitch: Double-click on the assigned key on
the left keyboard
• Selection of all notes: Ctrl+A (functions for pitches selected with a
key on notes with this pitch)
• Select next or preceding note: Cursor left, right
Special selection options in the Piano Roll
In order to directly select all notes of a certain pitch, double-click on a
free section with this pitch in the Piano Roll Editor or in the keyboard.
Hold down the key to select notes with this pitch only from this
click position.
Holding Shift and double-clicking on a free area selects all notes (all
pitches) from the click position onwards.
Note: If you press as well during any of these selection
methods, the new selection is added to the current one (i. e. the
previous selection is not canceled).

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MIDI Editor
Editing Events: Piano Roll

Editing tools
There are several editing possibilities for notes within the Piano Roll;
so-called Mouse Modes. The same functions for editing notes (except
delete) apply in all modes, so that these modes only differ by their
reaction to clicking in empty spaces.
Selection (1)
Lasso: You can draw a selection frame by holding down the mouse
button.
A click in an empty space removes a selection.
Draw Pencil (2)
Left-clicking draws a note. The beginning and the length are
determined according to the current quantization settings (Toolbar
Editor).
Drum Pencil (3)
A sequence of notes is drawn. The length of the notes and the note
intervals are determined by the current quantization settings.
When holding Alt: The pitch of the first note is also maintained for all
notes drawn subsequently. Moving the mouse backwards (to the left)
while depressing the mouse button removes drawn notes.
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Pattern Pencil (4)
Draws a freely definable note pattern (Ctrl+P).
When holding Alt: The pitch of the first note is also maintained for all
notes drawn subsequently. Moving the mouse backward (to the left)
deletes just added notes again.
Velocity change (5)
If you hold the mouse key and drag the mouse vertically, the velocity
values of the selected events are increased or decreased relatively to
each other: The velocity values are changed absolutely, i.e. all
changed events have the same velocity values after editing. In the
graphic velocity display mode you can change several velocity values
at once by clicking + dragging the mouse over the notes.
Delete (6)
Clicking on a selected note deletes all selected notes. Dragging the
mouse deletes all notes underneath the eraser.
Magnifying glass (7)
Left mouse button:Zoom in
Right Mouse Button: Zoom out
Left mouse button + drag: The sketched area is always zoomed. The
zoom mode can be temporarily accessed by holding a special key
(Z). After releasing the key the mouse mode is active again.
Glue notes (8)
Glues the note with the next note of the same pitch.
Split notes (9)
A notation bar is split in the matrix at the next grid position by
clicking.
Mute (M)
Individual notes or selected note groups can be deactivated or
activated by clicking on them. Also available as a command in the
"MIDI Functions" menu.
Hints:
• You can freely define the shortcut for switching the mouse mode
(tool). The Delete mode can be activated anytime by
clicking/dragging with the right mouse button. For instance, you can
use the pen to insert new notes when left-clicking and remove
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MIDI Editor
already inserted notes with a right-click, without having to change
tools.
• Notes created in Draw mode contain the MIDI channel and velocity
of the Edit boxes of the "New" section above the Piano roll.
• You can select the previous/next note with the cursor left/cursor
right keys. With the cursor up/down keys you can adjust the note
pitch step by step.
Editing 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
• Change note length (Grab note length at end)
• Shift + set fixed note length (for multi-selection hold shift key and
drag 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/shorter – changes the note length
relatively, i.e. the reference note will become twice as long and thus
all other notes will be double length)
• Move note freely (pitch and start time is changed)
• Move note horizontally only, retain pitch (in free move mode, hold
"Alt")
• Move notes vertically, keep position (hold "Shift" key in move mode)
MIDI functions
The commands in the MIDI Functions menu always refers to all
selected notes. If no notes have been selected, all functions are
applied to all notes.
Legato: Notes may be prolonged to be played in legato:
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.
Mute notes (Mute): Mutes and unmutes notes or selected note
groups with a click.

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Quantize: Small irregularities when playing to record can be
smoothened with the quantization function. In contrast, the "swing"
function makes mechanically sounding sequences groovier.
Clicking on "Quantize" 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 can be selected as starting time (grid).
(Uneven quantization values such as triplets can be created with "ntole" (see table).
Quantization options (menu options in the MIDI Editor): "Strength" in
%: "100" moves the event precisely to the quantization grid point
"50" at the center between the current position and the quantization
grid point, "0" does not mean movement = quantization off.
"Swing" activates "triplet" play mode. Specifies the division for
uneven grid points before 50.
"50-50 division": The uneven 1/8 note is exactly half way between the
even eighths ("even play" mode) 67..." triplet play, 3-2 division
"Window": Quantization window, events in the window are quantized,
those outside remain at their position.
100 - Window covers the total range from the grid points of the
quantization grid.
50 - The window covers half of the quantization interval. Events with
gaps of 1/4 of the grid width left and right of the grid point are
quantized - no window -> Quantization off.
"Offset": The entire quantization grid is moved: -100 is a half grid shift
to the left (earlier), +100 is a corresponding shift to the right (later)
"N-toles": The grid is divided by the number of sections set as ntoles. You can enter any number you like, as well as the previously
defined numbers.
"Reset": Restores the default values. If snap is activated, the notes
"snap" to the quantization values when created or edited. In this case
the quantization values are also taken into account. For instance, the
notes snap to the corresponding positions within the quantization
window.

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MIDI Editor
Editing selected events (Edit fields): The properties of each event in
the Piano Roll, Controller and List Editor can be edited by clicking on
the edit tools below the edit buttons. The following buttons are
available for each note:
•
•
•
•
•

Channel
Byte 1 (or pitch)
Byte2 (or velocity, attack)
(Start-)time in bars:beats:ticks
Length in bars:beats:ticks

The display of the ticks has a resolution of 384 PPQ (i.e. 384 ticks
correspond with a quarter note).
To edit, click and drag the displayed value. Hold the left key and drag
the mouse up or down to increase or decrease the value.
Hint: The value steps are greater if you press the Ctrl key.
You can also edit the value numerically via the keyboard. Simply
mouse-click on figure.
A few special characteristics have to be observed when multiselecting events:
You can relatively change the values by dragging the mouse, using
the mouse wheel or entering numeric values and then confirming by
pressing enter (for pitch and attack rate).
You can make permanent changes by simultaneously holding the
shift key when dragging & dropping or confirming entry with Shift +
Enter.

Controller Editor
Open: The Controller Editor is located below the Piano Roll and can
be hidden. It can display and edit up to 4 MIDI controller types or
velocity values simultaneously.
It is opened by clicking either on the
keyboard or with the shortcut "ALT + V".

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- Button below the

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MIDI Editor
The values of existing events are displayed as colored bars in the
Controller Editor, whereby darker and higher bars symbolize higher
values. The bars are located vertically directly below the notes.
Selection
Combo tool, also used for value changes as well as freehand and line
drawing. Select the controller bar by clicking and dragging or singleclicking in the range within a bar.
Click on the bar end: The controller value can be adjusted by
dragging vertically.
Shift+Drag: Set all bars to the same value.
Ctrl+Drag: Scale (relative value change)
Shift: Draw curve (envelope)
Alt: Draw freehand (envelope)
Freehand drawing: Click and drag to draw a controller curve, click
and drag backwards to correct the curve while drawing.
Just one click: Creates a single controller event.
Shift + Click: Draw line
Hint: If you edit velocity, no new notes are generated; only existing
velocity values are modified.
Draw lines: Click and drag to draw a controller ramp.
Just one click: Creates a single controller event.
Hint: If you edit velocity, no new notes are generated; only existing
velocity values are modified.
Multi-view
The four multi-buttons are used to display or hide the view of all
possible controller curves. Clicking on the menu area of the buttons
opens a menu which allows you to choose a MIDI Controller for this
controller slot.
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MIDI Editor
Selecting and processing notes: By clicking in the upper Range of a
controller column, the controller value can be changed immediately
by dragging the mouse. Clicking in the lower two thirds of the column
selects the corresponding note, which is subsequently displayed in
the Editor in red.
Tips:
The size of the controller editor can be determined by the dragging
the mouse to the top edge (directly below the horizontal scroll bar).
Several controller events can be shifted simultaneously. First select all
values you want to move (hold Ctrl if necessary, to select different
controller types together). You can now move the selection in the
time box by entering a value and confirming with Enter, or by
dragging the mouse.
Use the display filter function for velocity values.
Especially in multi-phonic events the columns are located above each
other, making it difficult to select the respective note. To edit only
notes of a certain pitch, e.g. all C1 notes in the Controller Editor, click
on the respective key on the keyboard. The key and the background
of the selected pitch are highlighted. Only notes of this pitch are
displayed in the Controller Editor.
Notes of different pitches, e.g. all C1, D1 and A1 notes can be
displayed with Ctrl+Click (or Shift+Click for the area between the
clicks, respectively). These are simply view options of the Controller
Editor. Multiple note selection by double-clicking is not possible.
A further possibility is to selectively edit controller bars located on top
of each other, which is based on the fact that the bar of the currently
selected note is selected/edited using the mouse. Therefore, first
click on the note within the Piano Roll, or click on the columns
located on top of each other and then select the required note using
the cursor keys. Then change the controller value by clicking in the
upper third of the red (current) area of the column.
Besides directly changing the velocity values of a selected note you
can change several velocity values at once by clicking in a free space
and dragging the mouse over several velocity values while holding
down the key. You can then also create sequences by moving the
mouse in a curve. A previous (multi-)selection is ignored. For
example, you can easily create a crescendo or decrescendo effect.
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MIDI Editor
List Editor (midi event list)
Open List Editor
The MIDI Editor has an integrated display of all events in list format.
This List Editor can be opened with the button above the keyboard or
by using the “Alt+L” keyboard shortcut.
When the List Editor is opened and activated for editing it has a
narrow red border. This is to make clear that certain functions, e.g.
select next/previous event (cursor keys) or the “Select all” command,
refer only to the List.
Working with the List Editor
The List Editor does not only display Note Events, but also MIDI
Controller and Sysex data. This controller and the data can be hidden
and can even be filtered during playback (“mute”).
Double-clicking on a Sysex entry of the list opens a simple Editor for
viewing and editing the Sysex information.
A note always has a Note On and Note Off event. These are always
selected and edited in pairs (Note Off events are not displayed by
default, but can be displayed by checking the box below the Editor).
New events can be created directly in the List Editor by using the
“Insert Button”. The current values of the edit fields in the upper
frame of the Piano Roll always apply. Therefore, before editing these
fields please ensure that no event in the Piano Roll is selected.

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MIDI Editor
Tip: If no current event has been selected, you can determine the
insert position by setting the play cursor.

For editing certain events only, the List Editor has a view filter for
each column. These are small checkboxes above the List Editor
columns.
Select a representative format. For example, this could be a note of a
certain pitch. Then click on the display filter of a specific column to
display only events of this type, e.g. of the selected pitch. All other
events are now hidden.
View Filters can be combined. For example, you can use the “Select
all” command (Ctrl+A) to select and edit all Type 10 control change
events (volume) of MIDI channel 6.
MIDI Editor tips & tricks
You can copy & paste MIDI data within the Editor and between
different MIDI Objects. MIDI data is always inserted at the current
position of the play cursor.
Duplicating: If the grid is activated (“Options” menu Quantization grid
active), the selected notes are copied and inserted from the next grid
point following the selection. They are otherwise inserted immediately
after the selection.

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MIDI Editor
Quantize
Irregularities when importing can be corrected using the quantization
function. Clicking on "Q" shifts all selected notes to a customizable
quantization grid. All notes are quantized without previous selection.
As a quantization value for the length display of the individual MIDI
events, note values of whole notes up to 1/64, and n-tuplet and
dotted values can be selected. Quantization options (Options menu in
the MIDI Editor):
• Strength of the quantization in % (Strength 0... 100):
• "100" moves the event precisely onto the quantization snap point,
• "50" moves it into the middle between the current position and
quantization snap point,
• "0" means there is no movement > Quantization off
Swingin % (Strength 0...100):
Starts swinging, groovy playback (for example, triplet). Specifies the
division for uneven grid points.
• 50 ... "50-50 division": The uneven 1/8 note is exactly half way
between the even eighths ("even play" mode)
• 67... triplet play, 3-2 division
Window in % (Strength 0... 100):
Quantization window, events in the window are quantized, those
outside remain at their position.
• 100: Window covers the total range from the grid points of the
quantization grid.
• 50: The window covers half of the quantization interval. Events with
gaps of ¼ of the grid width left and right of the grid point are
quantized.
• 0: No window -> Quantization off
Offset
• Value range: -100...+100
• Offset moves the entire quantization grid:
• -100 is a half grid shift to the left (earlier), +100 is a corresponding
shift to the right (later)

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MIDI Editor
N-Tuplet (off, 3, 5, 7, 9)
The grid is split into n-tuplet quantization values (for example, 8T,
16T). You can enter any number you like, as well as the previously
defined numbers. Please note that you can only work either with the
swing setting or n-tuplets.
Reset
Restores the default values.

MIDI Editor shortcuts
Apart from few exceptions such as "Space" for stop/playback the
keyboard shortcuts can be defined freely with the keyboard shortcut,
menu and mouse editor. For some basic functions such as scrolling
and zooming, all keyboard shortcuts from the VIP are applied. You
can explicitly define shortcuts for all commands that are available in
the MIDI Editor menu.
Hint: The mouse wheel settings are also applied from the VIP, as is
the switch for the temporary zoom mode (special) which is predefined
with the Z key
Playback/Stop
Close MIDI Editor (apply changes)
Close MIDI Editor (discard changes)

Space bar
Return
Esc

File
Import MIDI
Export MIDI

Ctrl+I
Ctrl+E

Edit
Undo
Redo
Cut
Copy tracks
Insert
Duplicate
Select all
Create pattern from selection
Delete selected MIDI data
Delete all MIDI data
Select next event

Ctrl+Z
Ctrl+Y
Ctrl+X
Ctrl+C
Ctrl+V
Ctrl+D
Ctrl+A
Ctrl+P
Back, Del
Ctrl+Back, Ctrl+Del
Arrow right

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MIDI Editor
Select previous event

Arrow left

MIDI functions
Legato
Quantize notes

Ctrl+L
Ctrl+Q

Options
Scroll mode
Show Event list
Show Velocity/Controller Editor
Play clicked notes
Quantization grid active
Show quantization grid
Quantization options
MIDI Object Editor editor
Audition Panic-End played edit notes

F
Alt+L
Alt+V
Alt+P
Ctrl+G
Alt+G
Alt+Q
Ctrl+O
Ctrl+F

Mouse mode
Selection
Draw
Drum (-draw)
Pattern (-draw)
Change velocity
Delete
Magnifying glass
Glue note mode
Split note mode
Mute notes (Mute) mode
Select next event
Select previous event
Event pitch higher
Event pitch lower
Select next grid quantization value
Select previous grid quantization value
Select next length quantization value
Select previous length quantization value
Move play cursor forward
Move play cursor forward (fast)
Move play cursor backward
Move play cursor backward (fast)
Velocity/controller selection
Velocity/controller draw freehand

1
2
3
4
5
6
7
8
9
M
Arrow right
Arrow left
Arrow up
Arrow down
Alt + Arrow down
Alt + Arrow up
Alt + Arrow right
Alt + Arrow left
Page down
Ctrl + Page down
Page up
Ctrl + Page up
Ctrl+1
Ctrl+2

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MIDI Editor
Velocity/controller draw freehand

Ctrl+3

Drum Editor
Open
After opening the MIDI Editor (double-click on the MIDI object), open
its "Options" menu and select the "Drum Editor" entry. Instead of the
piano keys to the left, you now see a list of drum instruments.

Note: If a drum map is active in a track (recognizable by the cross
beneath "Drum" in the trackbox), the Drum Editor is loaded
automatically when the MIDI Editor is loaded.
Drum Editor: In the trackboxes of the Drum Editor you can individually
adjust MIDI channel, grid, quantization length, display width in cell
mode and velocity scaling for each drum instrument.
Velocity scaling: The velocity value of each note is multiplied ny the V
value/100 entered here and adjusted to the MIDI velocity between 1
and 127. Scaling is audible but is not visualized further.

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MIDI Editor
• Cell Mode: When the Drum Editor opens, Cell Mode activates by
default. This is solely a view mode which permits an alternative view
of the MIDI events.
• Notes are displayed as cells, that is, the note length is not displayed,
but rather a specific display width can be set. In Cell Mode of the
Drum Editor, the display width for each instrument can be set
individually in each trackbox. (In Cell Mode of the Piano Roll, the
length value sets the width).
• Cell Mode serves to improve the overview especially when editing
MIDI drums and permits a structured and efficient workflow. This
is because the display can be limited to the most important
information, starting note positions, and velocity.
Editing drum events
Mouse modes
The following modes are available for editing events, just like in the
piano roll:
Selection mode (1): You can use this mode to select drum events,
move or change the length of one or several events simultaneously.
Draw Pencil (2): In this mode you can draw drum events. If
quantization is also activated, they snap to the grid immediately when
you enter them.
Drum Pencil (3): This mode also entails a draw function. However, the
quantization length is also taken into account when the events are
drawn.
Pattern Pencil (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+P
simultaneously (or go to menu "Edit" in the MIDI/Drum Editor >
Create pattern from selection"). If you have created a preset pattern,
you can start drawing at any position. The lowest note in the pattern
is then the pitch you are drawing.
Velocity Tool (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.
Eraser (6): This tool lets you delete events with a single mouse-click.

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MIDI Editor
Zoom mode/magnifying glass (7): Sketch a rectangle to zoom in. The
left mouse button is used to zoom in, the right one is used to zoom
out.
Velocity
If this button is active, the bar height is used when displaying the
velocity value of the note. In all mouse modes (except for "Delete")
the velocity can be changed by directly clicking on a note without
have to switch to the Controller Editor.
Drum Maps
Drum Maps specify individual instruments, for example, Bass, Drum,
HiHat, Snare, etc. An individual output notes, MIDI channel, and
velocity scaling can be set for each of these instruments. To split the
drum names a "General MIDI" map is used by default.
The Drum Map can be set in the track info (should the track be set to
MIDI recording), via the "Drum" field and via the Drum Editor itself by
clicking on the "Map" field.
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
get a High Tom). In this case you will have to re-sort your mapping
setup.
Drum Map Editor
This editor lets you route each played note to a different one and give
them their own individual names. It's also possible to assign each
individual instrument its own quantization and a new (MIDI) output
channel.
Pitch: This is the incoming MIDI note.
Instrument: Here is where you can find the name of the drum
instrument, for example, "Bassdrum 1".
Grid: If desired, you can set up a grid for the starting point of the
drum event.
Length: In this field you can set the grid for the note length.

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MIDI Editor
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. Furthermore, you can select swing, window, and near
quantization for each instrument in the Drum Editor.
Quantization
The global quantization settings can be found in the menu "Options >
Quantization options". Press "Q" to trigger global quantization. Each
drum instrument can have its own quantization. To make the
necessary settings, select the arrow next to the track name of the
instrument you want to edit and open the quantization options.

Score Editor
Introduction
The Score Editor displays the MIDI data of a MIDI object as a score
sheet. It "interprets" the available MIDI data into realtime. If you move
or change the MIDI data, such changes are immediately reflected in
the score image. If you insert a new note in the Score Editor, a
corresponding MIDI Note On event is created immediately. Therefore,
do not view the Score Editor as a score painting program but more
as an interpreter for MIDI data.
For instance, it is not possible to insert or delete rest symbols
directly. MAGIX Music Studio 12 deluxe automatically "registers"
rests in the gaps between the MIDI notes. You will therefore always
have a valid score sheet and "complete" bars, even if the MIDI object
should only contain a single MIDI note: the necessary rests are
automatically inserted into the bars.
The common controllers of the MIDI Editor in the Score Editor
operate as usual, e.g. the eraser is used for deleting notes or the pen
for creating, copying and inserting new notes. In this chapter you will
learn how you can edit your MIDI objects within the regular score.
While the Event Editor contains specific editing options for certain
details (dynamics, note length), it is better to make MIDI changes
directly in the score sheet as it guarantees a better overview.

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MIDI Editor
Opening the Score Editor
The Score Editor is integrated into the MIDI Editor window. If the MIDI
Editor is opened, you can activate the linear score view by pressing
the "Score Editor (linear)" button.
Score Editor (linear) button
Navigation : You can adjust the play cursor directly in the score by
holding shift and clicking the desired position. You can set the
playback range by holding the shift key and left-clicking the left
border and right-clicking the right border of the range.
Score Editor Modes
MAGIX Music Studio 12 deluxe offers two alternatives for viewing the
score: linear display and page mode.
The linear note display can be combined with the matrix display
which offers ideal MIDI Editing options, as the detail in depth of the
matrix editor and overview can be supplemented by several score
systems. You can select the score in the score sheet and perform
fine adjustments in the piano roll. Selection and zooms in all editor
views (linear score, piano roll, event list, velocity editor) are always
synchronized.
Linear view
Score Editor (linear) button

For detailed editing of the MIDI data in the score you should
preferably select linear view mode as both matrix and velocity display
are available. All parameters such as pitch, note length, and velocity
are displayed.

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MIDI Editor
Please note: Only the notes of the currently active system are
displayed in the Velocity Editor if notes and velocity are parallel. The
red bar mark indicates the currently active system.

Notation view in Linear mode (move bar between score and matrix)
The horizontal zoom above the scroll bar zooms parallel to the matrix
view.
In linear mode details can no longer be displayed correctly if you
zoom out horizontally as the note symbols overlap. It may then be
necessary to reduce the size of the notation symbols (+- buttons on
the right). Despite the no longer correctly displayed details, zooming
out can still provide you with a good overview, particularly in large
scores. MAGIX Music Studio 12 deluxe can adjust the notation
symbols automatically. To do this, please select "Automatic zoom" in
the Score menu.
Page view
This page mode displays the notes just like on a musical score sheet,
which also serves as a print preview. Here you can select notes and
allocate them to voices/systems and delete them, although you
cannot move them with the mouse or pen.

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MIDI Editor
Score Editor page mode

Page view is not only useful for preparing a score sheet (e.g. for titles,
borders), but also for editing longer sequences. The stave break
allows you to display considerably more bars than with the linear
display.
Scrolling in full view mode: Use the vertical scroll bar to scroll from
page to page.

Page mode as print preview: You should first change the page format
(in the Score Properties dialog) to the paper format of your printer
before setting up the page for printing as the display depends on the
page format. You will then see your score exactly as it will be printed.
The score
The automatic conversion of MIDI data into score is usually sufficient
for editing MIDI data as efficiency is required here instead of a
perfect, ready-to-print display. However, it may still be necessary to
adjust some of the display options while editing. The display options
can be found in the MIDI Score Properties dialog, which you can
open by clicking on the "Print" button.

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MIDI Editor
Opens the Score sheet settings dialog for notation and
page properties.
This is also where the presets are stored. These are pre-programmed
standard settings for certain instruments or instrumentation such as
strings or orchestra. Selecting a preset improves the score display
and its readability.

Treble clef view (preset)

Switch notation display by selecting the piano clef preset.
Further explanations of the notation system can be found below.
Editing MIDI data in the score sheet
Selection
As usual you can select notes by clicking them. You can select a
group of notes (e.g. a chord) by sketching a frame over them while
holding down the mouse key. Select multiple single notes by pressing
the Ctrl key.
Note parameters
The parameters pitch, velocity, and length can be changed for one or
several selected notes. If you have selected one or several notes the
data of the current note will appear in the info bar above the score
view. Changing a parameter may have a comparable effect on all
selected notes, just like in the Matrix Editor.

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MIDI Editor
Move and transpose
To move notes, first select and then drag them to the desired
position. Here the info box can help you keep track of the pitch or
position. The step size when moving is determined by the selected
quantization raster in the MIDI Editor.
Copy
Select the desired notes and copy them by holding down the Ctrl key
and dragging the mouse. Alternatively you can also use the copy
function of the Edit menu.
Insert new notes
You can also insert new notes in the score editor by using the pen.
Click on the desired position with the pen, hold down the mouse key
and, if necessary, correct the position and pitch. If you let go of the
mouse key, MAGIX Music Studio 12 deluxe will add a new note of the
same length as the selected length quantization value. You can only
insert new notes into the active stave. For instance, to insert a note in
the lower part of a piano system, first click on the lower staff in the
system on the left.
Only notes are inserted that correspond with the current pitch. Nonscale notes or chromatic intermediate steps are skipped. When you
enter conventional music material with the mouse, diatonic insert
mode increases the chances of hitting the correct note. If a new
prefix is to be added to the note, you can move the note
chromatically with the arrow key. This way an inserted F in C-Major
can be transformed into an F# by pressing the "Page Up" key.
Delete notes
You can delete notes by
• selecting them and pressing the "Del" key or
• by clicking on them with the eraser (or the right mouse button).
Insert notation symbols
Clef symbols can be inserted at the current cursor position by
pressing the corresponding clef symbol in the active system.
Delete notation symbol
Notation symbols such as clef and pitch cannot be selected as they
are meta information for the notation display and no MIDI Events have
been allocated to them. They can also be deleted by clicking on them
with the eraser (or the right mouse button).
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MIDI Editor
Adjusting and optimizing the score.
MAGIX Music Studio 12 deluxe automatically generates a notation
display from the MIDI events contained in the MIDI object. This is
always correct as regards pitch and position. However, this does not
mean that the notation can be optimally read as displaying note
lengths also plays an important role in this context. In this case the
notation permits more interpretation flexibility so that the user usually
has to intervene. The illustration shows a typical example of how poor
a readable transformation of a sixteenth note piano sequence would
look in notation.
This representation may be correct; however, it is not readable. Why
is that? The MIDI events contain very precise information on the start
of a note, its length and pitch, which has to be taken into account
during playback. It may influence the groove of a song if the notes
always are slightly shorter than sixteenth notes. If this were to be
displayed correctly in the notation, the score would be unreadable as
in the example above. The MIDI events also do not contain
information on whether the gap between two notes is a real rest, its
harmonic correlations (pitch), and the characteristics of the dynamic
sequences. This is why automatic processing of notation always
differs from what would be ideal. MAGIX Music Studio 12 deluxe
includes an number of automatically and manually controllable
functions for making it easier to read the notation. The reworked
version of the the above score illustration shows how big the
difference can be.
Note allocation in multiple systems
The term "System" refers to an individual line in a stave as well as all
staves of a score. In cases where it is important to be able to
differentiate a score and a staff from one another, we use the term
"System" for the score and "staff" for a single system.
What is meant by a "System" can often be interpreted from this
relation, for example, in a two-handed piano piece, "upper" or "lower"
systems are referenced.
MAGIX Music Studio 12 deluxe provides multiple systems, for
example, for piano notation or entire scores, which can be comprised
of up to 16 individual systems.
To manually assign notes to a system, click on

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MIDI Editor
to move the selected notes one line on a stave higher and
correspondingly on

to move them one line lower. This results in the note being connected
to the line (independently of the MIDI channel or pitch). This manually
set allocation can be undone by clicking on
"Automatic staff allocation"

When transcribing a MIDI piano recording, splitting the notes into a
two-line piano system using the split point is recommended. The
points where individual notes are placed incorrectly in a line can be
corrected easily by assigning the notes manually with a click to the
desired system.
The automatic allocation of the score to a specific line is flexible:
either the MIDI channel of the note event, the pitch or even a
combination of the two can make up the criteria. This permits simpler
and faster distribution of MIDI notes in the score line.
Example: It's often the case that, with some standard MIDI files, the
notes of a lower system of a particular piano piece have a different
MIDI channel to that of the notes of the upper system. Let's assume
the notes for the right hand are on channel 1 and the notes for the
left hand are on channel 2. In this case you should set up two staves
for the system in the note system settings. The easiest way to do this
is with the "Piano" preset. For the first staff, set the MIDI channel
allocation to "Ch. 1" in the "Channel" selection box and "Ch. 2" for
the second staff. Deactivate allocation according to pitch by setting
the split point to 0 (see MIDI Score Settings dialog).
The rules for allocation are as follows:
If the (preset) option "Automatic system allocation" is set for the note,
the staves will be played through until the MIDI channel corresponds
with it and the pitch is over or equal to the split point.
Note: It may happen that some notes are not shown at all as they are
not yet allocated to a system.

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MIDI Editor
Multi-voice notation
Up to two independent voices can be annotated for each staff. The
voices differ in the direction of the note stems: the first voice is
always with the stem pointing upwards, the second with the stem
pointing downwards. Rests are displayed individually for each voice.
Multi-voice notation can simplify the score considerably and enable
multiple instruments or parts to be displayed in one staff together.

You can set the voice by selecting the notes and clicking on the
button or menu command "Assign first voice" or "Assign second
voice".

Here, the stem direction of the notes, and therefore the voice itself,
are set.
This assignment can be undone by clicking on
"Automatic staff assignment for notes".
For automatic voice assignment, the note's MIDI channel has to be
analyzed.
To do this set up a MIDI channel for the second voice in the "Note
system properties" dialog. This can be set individually for each staff.
All notes of a system whose MIDI channel has not yet been assigned
to a second voice, are added to the first voice.

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MIDI Editor
Voice assignment via the MIDI channel can be practical when
displaying standard MIDI files with multi-voice piano pieces if the
voices of the right hand are set to the first and second MIDI channels
and the voices of the left hand are set to MIDI channels three and
four. In this case, apply the following settings:

Note: If there is no MIDI channel selected for voice assignment, only
one voice will be annotated (if manual voice assignment does not
occur).
MIDI Score Settings dialog
Open Score Settings dialog for note system and page
properties

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MIDI Editor
Here, note system and page format settings can be set. None of the
settings have any influence on the MIDI data itself, but rather only on
the display of the score.

Note: The affected note system settings are always applied to all MIDI
objects situated on the current track. The page format settings are
global and valid for every VIP.
Notation system settings
All settings for the system an display parameters/options can be
accessed via this dialog page. Here you can enter the clef.
MAGIX Music Studio 12 deluxe provides MIDI files with up to 16
staves on one track. For each staff, the clef, display transposition (for
instruments that transpose, for example, a saxophone), and display
quantization can be specified individually.
Furthermore, an instrument's prefix ("Name") can be set as well as
the MIDI channel for automatic system/voice assignment.
Similarly, the split point serves automatic system assignment: Notes
above the split point are added to the upper system, while those

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MIDI Editor
under the split point are added to the system beneath it (as long as
the MIDI channel matches).
The active staff is recognizable via the index marked in red. The list of
16 staves can be scrolled vertically using the arrow buttons
(up/down). In the lower range the display options of the active staff
are shown.
Optionally, all changes to settings, display options, clef, and display
quantization are always transferred equally to all staves.
Note display: Interpretation options
None of the options have any influence on the MIDI files or playback.
Simplify note lengths (Interpretation)
Displays rests and slurred notes in such a way that the score is as
legible as possible without influencing playback.
Automatic staccato articulations
A staccato symbol is added to a note whose value is considerably
longer than the "real MIDI note". This is practical when working with
simplified length display.

Option: "Simplify note lengths (interpretation)" selected.
Additional option: "Automatic staccato articulations".
Hide note overlaps:
Prevents the overlapping of sequential notes which, for example,
arises as a result of playing legato:
Recognize triplets

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Activate this option if triplets are present in the MIDI object.
Please note: The display quantization value always has to be one
step finer than the smallest discernible triplet value. To recognize one
eighth triplets, display quantization has to be set to at least one
sixteenth (or to 1/64 for 1/32 triplets).
Strict measure/pulse division:
There are no note or rest values longer than a beat subgroup (pulse).
Longer notes are displayed as multiple slurred notes. This can
simplify the legibility of the score.
Larger beam groups:
Beam groups are partially compiled across beat subgroups. This can
simplify the legibility of the score.
Recognize grace notes
Note values which are much shorter than the display quantization
value are annotated as flam notes as long as a base note is present.
Notation symbols
Clef

There are four clefs available in MAGIX Music Studio 12 deluxe: violin,
bass, tenor, and alto clef. MAGIX Music Studio 12 deluxe
differentiates between base clef and clef change. The base clef can
be set up for every system in "Score settings" (and applies to all MIDI
objects on the current track). A clef inserted from the tool bar, will be
interpreted as a clef change. Clef changes are possible any number
of times in a song and also within beats.
Insert: Activate the staff into which the clef should be inserted (by
clicking on the staff signature to the left).
Position the play cursor at the desired insert point and click on the
desired clef in the symbol bar. Move the playback cursor to the
desired insert position and click on the desired clef in the symbol bar.
The clef will be inserted musically, not graphically, that is, with a clef
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MIDI Editor
change at position 10:01:000 (the beginning of the tenth beat) the
clef symbol at the end of the ninth beat will be displayed according to
note set rules.
Clef changes can also be deleted by clicking on clef symbol with the
eraser (or the right mouse button).
Beat signature
The metric and beat signature symbols are created automatically
from the tempo markers of the VIP project.
Beat changes are possible at every full beat border. In addition, you
might want to create a beat count measure marker with the new
signature (for example, 6/8) at the desired position. If there are no
beat count measure changes, it's enough to set the bar type of the
piece (for example, 3/4) in the transport control.
Accidental
Enharmonic change
MAGIX Music Studio 12 deluxe sets the sharps and flats according to
the clef description you selected. It is often the case, however, that
enharmonic change can considerably optimize the legibility of certain
passages. In this case you can act manually. To change one or more
selected notes enharmonically, click on the corresponding button.
The function transforms flats into sharps and vice versa.

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Page format settings
You can select the page format independent of the printer settings so
that it always has the same note layout regardless of workplace and
independent of the printers installed in Windows.

In the score–page format setting, texts for tempo description,
composer, and an additional text can be entered. Similarly, you can
choose which layout elements should appear on the page
(checkboxes for beat numbers, page numbers, and texts).
Printing score
MAGIX Music Studio 12 deluxe automatically creates the layout of the
score and caters for optimal division of staves and systems on the
page. You only need to specify the page size, orientation, and page
borders.
• Note size: Here you can scale the size of the note symbols/the
printout. This is actually irrelevant for working with the monitor's
display as you can zoom whenever you want anyway. However, the
size of the notes does influence at which position a line or page
break occurs.
• Set a value smaller than 100% to get more beats/systems onto one
piece of paper.
• Set higher values than 100% in order to keep larger note symbols on
the printout.

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MIDI Editor
Print notes
Activate the print process in the Score > Print Notes menu or via the
Print button. Furthermore, a printer dialog window appears which
appears differently for each printer or printer driver. Depending on the
printer there are various options, for example, the selection of pages
you wish to print and the number of copies. Make sure that you have
set up the same paper format for the printer as for the page mode,
otherwise the printout may be scaled and the page ratio changed.
The following won't be printed, it's only visible on the monitor.
• The lines which highlight the page borders on the monitor
• Mouse pointers
• The color display of the currently selected notes and playback areas.

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Software/VST instruments

Software/VST instruments
Introduction
MAGIX Music Studio 12 deluxe provides the option of integrating
software instruments as well as MAGIX Synths (for example Roboto
Pro) into a virtual project according to VSTi standards (for example,
Sample Tank) and can be controlled via the internal MIDI functions
and editors. All instruments as well as their multiple outputs are
seamlessly integrated into the Audio Engine with all of their effects
and routing options. The maximum number of instruments is limited
by the performance power of your processor. You can increase this
number by using the integrated freeze function.

Software Instrument Robota Pro

Installation of instruments and path
settings
Install every VST instrument according to the instructions of the
manufacturer. MAGIX Music Studio 12 deluxe searches for installed
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Software/VST instruments
VST instruments in the "VST Plug-ins" program subfolder. You can
install your VST instruments either in this folder or use any other path
to an already existing folder, for example, to another host application.
You will, however, have to enter this foreign path in the system
settings ("Y" key) in the "Effects > VST / DirectX / ReWire" subdialog
(entering multiple paths is also possible). Simply enter one path after
the other, all paths will be taken into consideration. MAGIX Music
Studio 12 deluxe will automatically find newly installed plug-ins
contained within the selected folders.

The first time the program is opened, a search for existing
instruments and plug-ins is executed when the track settings are
opened. Here, not only are all the plug-ins imported, but they are also
checked for their usability within the program. This search is only
necessary once, the next time it is opened, the track settings will be
opened immediately.
Tip: For problems with your current configuration, you can reset all
paths and installed instruments or plug-ins. To do this, delete the
"VST Plug-ins.ini" file in the MAGIX Music Studio 12 deluxe folder. All
paths will have to be newly entered. Plug-ins which were removed
from the program prior to this will still be shown.

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Load instruments
These are managed in MAGIX Music Studio 12 deluxe under "Track
menu -> VST Instrument Editor". You can also assign an instrument
to each track – the instrument is selected as a MIDI playback device.
Selected instruments or their individual outputs are shown directly in
the first VSTi Plug-in/Insert slot of the track box and mixer track and
can also be muted (left-click) and opened (right-click) from there.

• Load an instrument by selecting a "New instrument" in the project
window as a track output. This can happen at various points:
• Playback device menu (right-click on "Mute" button -> MIDI -> New
instrument)
• Plug-ins slot -> VSTi in the Track Editor
• Insert effect slot of the mixer -> VSTi: You will only find this option in
the top Insert slot of the individual mixer channels.
• "Out" slot -> New instrument in the MIDI section of the Track Editor.
• "Out" slot -> MIDI -> New instrument in the Audio section of the
Track Editor.

Adjust instrument parameters
Graphical instrument interface and parameters dialog
The instruments editor (panel) is then opened when an instrument is
loaded and can be opened again at any later date by right-clicking on
the VSTi slot in which the instrument name is displayed. Alternately,

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Software/VST instruments
the VSTi Editor can also be opened by right-clicking on the record
button on the track -> Instrument output -> VSTi Editor.
The graphical interface opens by default. If the selected instrument
(or plug-in) does not have its own interface, the parameter dialog will
open. This display mode is limited to just a few control elements and
can only be opened via the menu of the instrument window. Use this
mode if you find the panel of the plug-in too unclear or if it takes up
too much space on the screen. In this dialog eight freely selectable
parameters of the instrument are clearly and numerically displayed.
Bar controls can be used to adjust the parameter values.
Alongside the combi-boxes for the selection of all instrument
parameters, the "Auto" checkbox is also of importance. Once
activated, the automatic processes of the selected parameters are
started. The automation curve is shown in the project track and can
be edited. The parameter can be automated using the fader.
Activate automation parameters by checking the "Auto" control box.
The parameter selection is saved for each plug-in so that the next
time you use the same plug-in in a different project, the same
parameters are used. This way you have the advantage that every
frequently used parameter of the corresponding instrument is
available immediately after it has been opened.
Dialog menu
Further options can be found in the menu of the Instrument window:
Bypass: Deactivates the instrument and mutes it. Note that some
instruments use up processing power if bypass is switched on but
are still located in the Insert slot. In such cases, the instrument should
be removed completely from the Insert if it is no longer required.
Monitoring: This option must be switched on if you wish to be able to
hear the instrument when it is being played or recorded. If you wish
to always have monitoring active when the track's REC button is
pressed, please select the "Tape Monitoring" option in the
System/Global Audio Options ("Y" key, Audio setup tab) dialog.
Loading/Save patches/banks: Here you can save an instrument's
settings and sounds. The standard formats for this are: *.fxp for
patches or *.fxb for whole banks. Some instruments have their own
patch/bank format, settings are then loaded and saved directly via
the instrument's interface.
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Set parameters randomly: Use this function to set all parameters of
an instrument to a random value. For synthesizers, this option can
lead to surprising results and provides interesting results for the
sound design thanks to the random generation of a new sound. Here
you should note, however, that parameters can only be set when
they are accessible via the interface. With some very complex virtual
synthesizers, like, for example, modular systems, some parameters
may not be modifiable using this option. Please note that thanks to
the random placement of various parameters, very extreme sounds
can be generated. This may lead to no sound being produced at all
or extremely loud volumes and frequency ranges being reached. For
this reason you should keep an eye on the preview volume when
experimenting with this function.
Automate next parameter: If you activate this function, an automation
curve will be drawn from the next parameter (fader, switch, or button)
that you modify on the graphical interface.

Play and monitor instruments live
Monitoring
In order to play virtual software instruments you require a device to
enter the data. Typically this would be a MIDI keyboard. Of course
you can also use any other PC that transmits MIDI data or a
hardware synthesizer.
For direct monitoring while playing you will in any case require an
audio interface with ASIO drivers. Simply playing instruments,
however, is also possible with MME or WDM drivers.
• For live monitoring you also have to make the following settings:
• ASIO drivers (System/Options > System/Devices > Global audio
options > Playback devices > Driver system)
• Activate global record monitoring in the Transport Control ("Rec M"
button)
• Activate the track monitoring button (loudspeaker symbol)
• Software Monitoring or Hybrid Engine (Options > System/Global
audio options > Audio setup)
Tip: You can also select monitoring mode by right-clicking on the
Record Monitoring button on the Transport Control.

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Software/VST instruments
Latency: Please not that a system-dependent delay between
pressing the key and the instrument sound occurs when you play
virtual software instruments. This so-called latency time is mainly
determined by the buffer size set for the ASIO drivers. For playing in
an acceptable manner we recommend a buffer size of 1024 samples
max. This corresponds with 23ms at 44.1 kHz. For many users,
however, a latency of 3ms, i.e. 128 samples, is optimum. Please note
that the CPU load also increases at a lower buffer size. The "live"
delay only occurs when an instrument is played, playback latency of
an already recorded MIDI track over a virtual instrument is
compensated later.
As software instruments are fully integrated into the audio engine of
the program, the signals can be routed, mixed and equipped with
plug-ins any way you like. There may be some restrictions when
playing, but all functions are fully available during playback.
Hint: Please note that "Track FX Monitoring Mode" or "Mixer FX
Monitoring/Hybrid Engine" have to be acvtivated.
Recording and playback of an instrument
An instrument is recorded much in the same way as a normal MIDI
track. Make sure that the MIDI recording is active in the desired track
and then press the record button in the transport control. The
recording begins immediately.
When playing already recorded MIDI tracks, track monitoring should
be switched off.

Preset management
If an instrument has presets, these are displayed in the “Program
Slot” (“Prg”) with their internal name (if MIDI mode is activated).
This flip menu can be used to easily “step through” the presets of
your instrument. These presets can also be selected using the
“Program” menu of the instrument window.
If your MIDI input device can send “Program change” commands, you
can also directly select programs of this instrument. The program slot
is automatically updated in the track, so you have an overview of the
program all the time.
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Freezing instruments (Freeze)
Software instruments require CPU power for playback, which at
some point can be quite considerable and is required during every
playback. Therefore, please use the Freeze function to release the
CPU power for VSTi tracks temporarily. You retain full control over
the MIDI Objects of this track, which can be restored (“de-frozen”) at
any time.
To “freeze” an instrument, select the “Track Freeze” option in the
track menu (keyboard combination: Ctrl+Shift+F). After a short
processing time, all MIDI and audio Objects are replaced by a single,
resource-friendly 32bit stereo audio Object, which is now played
back instead of the original Object and the instrument. The existing
automation data and track effects are already included in this Freeze
Object.
The actual instrument of this track is no longer addressed by MIDI
files of this track and can even be deactivated, provided that it is not
used by other MIDI tracks.
Select “Track Unfreeze” (Ctrl+Shift+U) to change the original MIDI
data at a later point in time that was 'frozen”. The track is now
returned to the state in which it was 'frozen', but again requires the
initial CPU power for processing the instrument.
Alternatively, you can use the feature “Edit Track Freeze”. In this case
a new single-track VIP is opened with the original track. This track
cannot be played together with your arrangement. As soon as you
save this project, a new Freeze Object is processed and included in
the original project.
Freeze also works with single outputs in different tracks than the main
output track (Instrument outputs 1+2). You can also freeze these
tracks if they do not contain MIDI information and do not hold
Objects. The MIDI data that has been routed to the track or to the
individual output of the instrument automatically creates an audio file
that is now played instead of the original instrument. In order to
prevent double playback of the data, deactivate the single output of
the instrument manually in the frozen track.
To edit Freeze data you cannot only use the Track Freeze Edit
Function as there are is no MIDI data available on this track that

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Software/VST instruments
could be edited. Therefore, “unfreeze” the track and edit the MIDI
data of the send track. You can then refreeze the track.
Note: As long as the instrument is not entirely unloaded from the
track it remains loaded into the RAM memory of the system.
Samplers or instruments that require considerable amounts of
memory also require this when their Insert Tracks have been frozen.

Tips on handling virtual instruments
• You can realize so-called stack sounds (i.e. sounds that use several
synthesizers and play these in unison) by opening several
instruments and activating monitoring for all channels.
• To program beats, you can create and save individual drum maps in
the MIDI Editor that match the respective instruments.
• If an instrument can limit the amount of voices, you can use this
option to save CPU power if you do not require the full number of
voices.
• Some instruments use sound sets according to the General MIDI
standard. You can use these instruments for playing back MIDI
files according to the GM standard. Please import the entire MIDI
file to a single track including all channels. Please ensure that
virtual instruments can also receive program change commands
that are also saved in such a file, so that the correct sounds are
played during playback.

ReWire
If this option is activated, ReWire-compatible client applications (like,
for example, Propellerheads Reason) can be integrated into MAGIX
Music Studio 12 deluxe as synthesizers.
Activate ReWire functionality in the program settings ("Y" key).
Afterwards, installed ReWire applications can be loaded as
instruments into a MIDI slot. All ReWire client applications appear as
individual sections in the selection menu of the plug-in slot of the
track and are loaded as software instruments (VSTi). The client
application should always be launched after Samplitude and should
be closed before exiting Samplitude. Some client applications can be
opened automatically by right-clicking on their name in the MIDI slot
(red) – just as you can open the plug-in window for VST instruments
by right-clicking.

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The ReWire application can then be accessed like a software
instrument via MIDI, the audio output signal of the ReWire client can
be routed to the MAGIX Music Studio 12 deluxe tracks. (-> more
details on loading the software instruments). The client application
runs, starts, and stops synchronous to the time position of
Samplitude.
ReWire supports up to 4096 MIDI busses. A ReWire client only
registers the MIDI busses that are actually available with the host
(MAGIX Music Studio 12 deluxe). You can therefore select the bus
within the track in the MIDI channel menu (e.g. the receiving
instrument for Reason):
The "classic" MIDI channel of MIDI
notes and events is not important,
it is replaced by the ReWire MIDI
bus system. For each track a MIDI
object is able to control a ReWire
MIDI BUS. This means that all
events of a MIDI object apply to
the track for this ReWire bus,
independent of the channel
number the events originally had.
Multi-timbral MIDI objects, like
those created in the MIDI file
import, cannot be played correctly
with ReWire. You can, however,
access the ReWire client across
multiple tracks on various ReWire
MIDI busses.

Only a few ReWire clients support the direct opening of the client
application via the host application (MAGIX Music Studio 12 deluxe).
In this case, you will have to start the client application 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.

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Synth Objects

Synth Objects
MAGIX Music Studio 12 deluxe supplies several synthesizer plug-ins
to create your own drum pattern, bass or melody lines. The
synthesizers produce ‘synth objects’ which are arranged on the
tracks together with the other objects.

Working with synth objects
Opening the synthesizers
The software synthesizers can be found in a special folder which is
copied to your hard disk on installation. To open it, click on the synth
button.
You can find all available synthesizer plug-ins in the selection box.
Object synths and track synths
In MAGIX Music Studio 12 deluxe there are two different types of
software synthesizers.
Object synths: These synths build individual synth objects in MAGIX
Music Studio 12 deluxe. A corresponding synth object can be moved
onto any track without anything changing on the synthesizer settings.
Object synths are the Drum & Bass machine, BeatBox, Atmos, Vita,
LiViD, Robota, SilverSynth, and CopperSynth.
Track synths: These synths do not build any individual synth objects
in MAGIX Music Studio 12 deluxe, rather "normal" MIDI objects. They
correspond to functional external hardware synthesizers or VSTi plugins, which are similarly controlled by MIDI. Like all MIDI objects, they
are dependent on the track, that is, the corresponding track synth is
specified in the MIDI track settings. Correspondingly, the track synths
can also be selected in the Track Editor and modified. Vita,
SampleTank, and Revolta belong to this type of software.
Programming the synth object
Depending on the plug-in, various functions to create and control
sound can be applied via the operating console. Please read the
following chapters pertaining to the individual synthesizers in this
regard.

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To monitor programming, playback can be started and stopped at
any time with the space bar while the operating console is open. If
the synth plug-in has its own play button (e.g. the beat box), it will
start the plug-in solo, without playing the other tracks of the
arrangement as well.
Arranging the synth object
Once you have finished programming the melodies or rhythms of the
synth object, you can close the operating console and arrange the
synth objects on the tracks. They can be stretched or compressed,
faded in and out, turned down or up etc. with the help of handles:
These steps are the same for all objects.
The operating console of every synth object can be reopened at a
later stage by double clicking or via the synth button if you would like
to reprogram the object. In addition, you can drag as many other
synth objects of the same software synthesizer as you like onto the
tracks and program them separately.

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: 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).

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Synth Objects
Set-up

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, for example, turn off the bass section,
so that you take only the drum section break beat into the
arrangement. The MAGIX Music Studio 12 deluxe arrangement
mixdown will then only include the drum section in the mixdown file.
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 Studio 12 deluxe.
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
the programming of the velocity row.
The rhythm section (top half)
Here you can easily create complex and authentic jungle break beat
sounds. In a professional recording studio, jungle backbeats 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
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.
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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
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 mouseclick 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

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Synth Objects
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:
it stops the bass sound play 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
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.

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Beatbox 4.0

The BeatBox is a high quality drum computer plug-in. It can be used
to generate completely new rhythms and drum grooves.
Programming
Each line of the Drum Matrix corresponds with a percussion
instrument, e.g. bass drum or hi-hat. Each column corresponds with
a bar unit (a 16th note is preset)
The drum sounds are played as soon as you click into the Drum
Matrix with the mouse. A note in the lowest line (bass drum) at bar
positions 1, 5, 9, and 13 creates a straight bass drum rhythm to
which you can add more great percussion instruments.
Drum kit
Click on the drum kit button to open a list of available 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.
New drum or effect sounds can by added to the current drum kit by
drag & drop from the Media Pool.
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Synth Objects
This does not mean that you are restricted to drum sounds. Any WAV
file can be dragged & dropped into the drum kit from the Media Pool
and can thus form part of the rhythm. Try it with the rap voice
samples or your own recorded wave files.
Track Effects
To the right of the Drum Matrix you can find the track effects. This
lets you specify the settings for each active drum instrument. The
active instrument is selected by clicking on the drum kit, which then
highlights the instrument.
Buttons
Play: Here playback of the current rhythm pattern starts in solo. Only
the BeatBox can be heard, any other tracks which may be in the
Arranger will not be heard. If the entire arrangement is to be played,
the play start position must occur above the transport functions.
Stop: Ends playback or recording process.
Record: Here the realtime recording function of the BeatBox starts.
Up to 16 drum sounds can now be imported using the computer
keys 1...0 above the letter keys on your keyboard or 1...6 on the
number pad. A drum sound is played for each key and the
corresponding note is activated in the Drum Matrix.
Random Rhythm: This button creates a random rhythm for the
selected instrument.
Random Velocity: This button randomly changes the Velocity (volume)
of the individual beats. This way, a rhythm can be made much more
lively than when the volume is set to the same for all beats.
Volumes: Here you can set the volume of the current instrument.
Pitch: The pitch of the current drum instrument can be set here. You
can access great effects, for example, by downpitching the bass
drum.
Pan: Here the stereo panorama of the current drum instrument can
be set. Add the same instrument (for example, Snare) to two tracks,
one panned to the left, the other to the right. Rhythms, which
alternately use both tracks, now sound much more interesting.

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Reso: You can set the filter resonance here. The higher the value, the
more clearly the filter frequency can be heard, including resonating
whistling sounds, which we already know from analog synthesizers.
Cut-off: This fader sets the filter frequency. The sound of the drum
beat is increased at the set frequency position. Frequencies above it
are dampened which creates the typical filter sound.
Distortion: This fader controls a distortion of the current drum sound.
This can be used to create really "dirty" sounds as well as for
distortion sound effects.
Shuffle: This fader changes the timing of the BeatBox. 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.
Note Velocity: Use this fader to set the volume of individual drum
notes. If multiple notes are selected, they will be edited together.
Bars 1-2-4: With this button you can set the length of a loop of the
BeatBox in bars. You can choose from 1 bar, 2 bars, and 4 bars.
Auto Draw: If more than one bar has been activated as a loop length,
the Auto Draw mode makes sure that the drum notes which are set
automatically in the first beat are set in the subsequent beats. 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.
Quant: Here you can set the tempo of the BeatBox. You can choose
from 1/8 notes (only for very simple rhythms), 1/16 (default), 1/32 (for
more refined constructions) and "free". In this case, the timing is set
by the exactness of the mouse click – ideal for the more lively design
of fixed rhythms by moving individual notes here and there.
Playing BeatBox on your computer keyboard
The lower octave is on the keys: < z x c v b n m ; the upper octave is
on the keys: q w e r t y u i.
The black keyboard keys are in between, i. e. the "A" key for #C (C
sharp).

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Synth Objects
Playing BeatBox on the MIDI keyboard
There is not a lot you need to take note of here. You can start playing
away once the proper MIDI driver has been selected! The sounds
listed in the column on the left can be accessed with the keys of the
C0 octave.
Effect automation
The new version "BeatBox 4.0" enables the automation of all
BeatBox effects. Click on "Automation" at any time during playback.
All effect settings will be recorded from now on and will be taken into
account when playing the synth object in the arrangement.
The recorded effect automation can be deleted via the Options menu
of the BeatBox.

Atmos
Upon registration of MAGIX Music Studio 12 deluxe you will receive
the Atmos synthesizer as a free download.
Atmos is a comprehensive tool 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 naturalsounding atmospheric noises for your projects.

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• At the upper border window select the upper category "Scenario".
Here, you can select a desired nature sounds category (for example,
"Thunder and Lightning").
• In the middle of the window appears a collection of control elements
with which the desired "Ambience" can be designed. Each element
has its own description (for example, "Thunder") and two faders
"Volume" and "Intensity".
• 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 setting "Randomize" can also be found there.
This way you can change the settings of the control elements by
yourself.

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 synthesizer is controlled via the MIDI objects. If you load
Vita via the Media Pool, a preset MIDI object will appear first. You can
then load different Vita sounds via the Output menu at the top of the
MIDI Editor.
You can adjust the sounds of Vita via the instrument menu of
the trackbox.

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Synth Objects
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: Here the volume, panorama position, pitch
characteristics ("transpose") and the fundamental frequency ("master
tune") can be set.
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 to reach a section known as 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: Here you can switch on a filter which influences the
sound. With FILTER TYPE, you can 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, while the volume
can be balanced using the "Gain" controller. The filter envelope
(ADSR slider) influences the filter frequency depending on the time.
5. DELAY: Here you can switch on an echo effect, "Time" controls
the delay time, "Level" controls the strength of the echo sound.
6. REVERB: Here you can switch 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". With "dynamic" and "dynamic curve" the dynamics of the
sound can be influenced, that is, 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.

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 create an authentic drum feel with perfect sound quality.

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Synth Objects
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 “hard” (halfopen). 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).

SampleTank 2 MX (SE)
What is SampleTank 2 MX (SE)
SampleTank 2 MX (SE) is a polyphonic, multi-timbral sample
workstation with multi-effects units and proprietary sound banks, all
combined into a unique plug-in instrument. SampleTank 2 MX (SE)
uses samples as oscillator waveforms, but the synth engine is much
more flexible than conventional hardware samplers. This makes
SampleTank 2 MX (SE) a more complex workstation than a traditional
sampler, with 32-bit floating-point processing, providing you with
superior quality.
SampleTank 2 MX (SE) lets you browse through hundreds of the
highest-quality natural and synthesized. With one click, select a
sound in a flash and have it ready for you to play in a fraction of the
usual time. Many professional high-quality sounds are included with
the software, and as such are immediately at your disposal.

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6 sounds (deLuxe version: 10) are included and ready for use:
Superb pianos, guitars, basses, strings, orchestral sounds, drums
and other percussion instruments made with the finest samples and
accurately programmed. SampleTank 2 MX (SE) offers the widest
selection of high quality playable sounds with a variety you cannot
find anywhere else!
Furthermore, you can purchase new instruments from the MAGIX
Online Content Library straight from within your MAGIX program.
SampleTank 2 MX (SE) will be automatically integrated into your
MAGIX software. A suitable audio card (with low latency drivers) and
a master MIDI keyboard are strongly recommended in order to play it
like a hardware musical instrument.
Explanaition of the user interface

Loading sounds and controlling instruments
The available instruments are displayed at the center of the
SampleTank 2 MX (SE) interface in the browser window. The
scrollable list of instruments shows 6/10 instruments (classic/deLuxe)
and also displays the number of available instruments you can
simultaneously load into SampleTank 2 MX (SE) module (16 parts).
The browser list of folders and instruments reflects the same folder
and instrument structure of the hard disk folder where your sounds
are located. This folder is called “root” and is stored in the
SampleTank 2 MX (SE) preferences (which you can access and
change by clicking the PREF button).
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Synth Objects
Folders are indicated with a white triangle. To open a folder, click on
its name in the list or on the triangle. Opened folders display the list
of available instruments. To close a folder, re-click on its name or on
the triangle.
To load an instrument in SampleTank 2 MX (SE) simply double-click
on it. It will be loaded onto PART 1 (if it's the first to be loaded).
All the SampleTank 2 MX (SE) parameters on the interface will now
reflect those of the loaded parts. The MIX window allows you to load
up to 6/10 SampleTank 2 MX (SE) instruments per module, every
instrument will be loaded into a PART. To select the PART where you
want to load an instrument simply click on the PART number or in the
middle of the part window.
Once a PART is selected, the instrument will be loaded into that
PART. If it already contains an instrument, the newly loaded
instrument will replace the previous one (you can UNDO this
operation with the UNDO button).
Every PART responds to a MIDI channel (CH). By clicking and
dragging on the CH number of each PART you can easily select the
MIDI channel that this PART belongs to. Assigning the same MIDI
channel to more than one PART will have all the PARTs responding to
the same MIDI channel for building sounds with layers of up to 16
parts.
You can now play the instrument using a master keyboard connected
to the sequencer, a MIDI sequence in the track or by playing the
SampleTank 2 MX (SE) mini-keyboard. MIDI activity in the PART is
indicated by an LED which lights when MIDI data is received.
Once an instrument is loaded into a PART, the image of the LIBRARY
to which the instrument belongs, will appear on the right side of the
interface. Clicking on the LIBRARY image will display further
information such as instrument data, copyright and MACRO controls
(if these are included with the instrument).
The MIX window
All the controls included in the MIX window are designed to give you
immediate control over your mix of instruments. Here you have
several controls at your disposal:
• You can change the MIDI channel associated to that PART.
• You can SOLO and MUTE instruments.
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• You can see the amount of RAM that the instrument is using (MB).
By clicking on the MB button at the top you can also display the
entire amount of RAM used by all the loaded instruments.
• You can set the maximum polyphony for each specific instrument (by
clicking and dragging the mouse on the POLY number).
• You can EMPTY the PART with the EMPTY button.
You can control the VOLUME and PAN of each specific PART (by
clicking and dragging the mouse on the VOL and PAN number).
• You can control which STEREO OUT is used for playing a PART (the
max number of stereo outputs is set in PREFERENCES by clicking
the PREF button) by clicking and dragging the mouse on the OUT
value.
• You can see the output level of the instrument playing in the LEVEL
display.
Effects
One or more pre-defined effects will be loaded and displayed in the
EFFECTS section of the SampleTank 2 MX (SE) interface.
Each SampleTank 2 MX (SE) instrument can be programmed with 5
effects. The effects are displayed in the effects slots. The first effect
slot always contains an EQ compressor. The other 5 effect slots can
contain one of 32 DSP effects.
To view the list of available effects once you've loaded an instrument,
click on the arrow at the right in each of the 5 effects slot. A pop-up
menu will appear displaying all the 32 DSP effects which are available
in SampleTank 2 MX (SE) in your MAGIX software.
Now move the selection with the mouse and click on an effect to load
it. The selected effect name will now show in the effects slot. To
empty an effects slot, simply select the NO EFFECT option.
To view and change each effect's parameters, click on the desired
effect's slot. A frame will appear around the slot indicating that that
effect is selected. Only the selected effect will be shown on the
interface at any time. Effect knobs are labeled corresponding to the
effect's parameters.
Unused knobs will be shaded in gray. Above each effect knob you
can read a label corresponding to its function. Below the effect knob
is its current value.

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Synth Objects
To activate an effect, click on its ON button to the right. The button is
highlighted and the effect is active. All active effects are inserted in the
instrument chain according to a patch order from top to bottom of the
effect window. To deactivate an effect, click on the ON button again.
The button will revert to 'normal'.
You can BYPASS all effects at once (that is, hear the sound dry) by
clicking on the BYPASS button. You can also LOCK effects into
SLOTS preventing them from changing when a new instrument is
loaded. This way you can prevent instrument effect settings
overriding your own settings.
You can also save multiple or single effect settings and load these
settings with the SAVE MULTI, SAVE and LOAD buttons. The effect
settings are saved as .STFX file. A dialog window will appear when
you click one of these buttons asking whether the files should be
saved or not.

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 – therefore recreating the typical analog sounds of
the classical drum computers, such as the Roland Tr-808 and Tr909, 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-hat
to phat bass drums.
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During elementary sound production, you can choose between an
oscillator with selectable wave shape (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 ringmodulated. 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 (downsmple).
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/highpass) 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).
Parameter (1) vTo simplify matters, not all
parameters can be changed on a sound only those that are meaningful for the
selected drum sound may be changesd
(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 Oszillators is selected
here. You can chools 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 210).
With select choose the instrument for editing in the step
sequencer.
“M” mutes the instrument, “S” makes it solo

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Synth Objects
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 you will find a detailed circuit diagram of a Robota voice with a
description of all control parameters.
Pitch Envelope (pitch env)
Controls the pitch envelope level.
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Synth Objects
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 wave form 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 LoFi and
filter envelope curves.
Decay
Adjusts the decay curve. The greater the value, the slower the
instrument will decay.
FM/Ringmodulation frequency (Fm/rng frq)
The fundamental frequency of the frequency or ring modulation.
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.

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Ring modulation level (rng lvl)
Ring modulation creates typical auxiliary frequencies.
FM/Ring modulation decay (Fm/rng dcy)
Time constant of by-product of FM/ring modulation. Only the
beginning of the drum sound is affected by the modulation.
Rectify
Distorts the audio signal
Crush
Bit rate reduction. Digital artefacts 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 for making
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.
Filter frequency (flt freq)
The cut-off frequency of the filter.
Filter resonance (flt reso)

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Synth Objects
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 can not 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.
Compressor response (comp resp)
Controls the compressor time. The lower the value, the faster the
compressor follows the volume.
Tube
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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 notes set in the
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 the Auto Draw
function.

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Synth Objects
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.:

• Put 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.
• Change the sound of an instrument and save the settings to other
step button

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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, Drumkits, Presets and Patterns
A single instrument sound is
saved as a Preset.

Presets containing all four
instruments are saved as
Drumkits.
All note information plus the
snapshots are saved as a
Pattern.
Together (Drumkit + Pattern)
they are know as a Setup.

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Synth Objects
Load/Save
Presets, drumkits, patterns and setups can be selected with the
continuous rotary regulators next to the display area. For storing,
“Save” button. Then specify a new name in the input
click on the
field. To store, press “Enter”.
Note: A drumkit 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 drumkit! The same applies to the
setups, which contain only the pattern and drumkit names.
If necessary, always store in this order: preset > drumkit > 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.

SilverSynth Pro
‘SilverSynth pro’ is a virtual, analog synthesizer that was based on
the legendary Roland-TB303. This machine appeared in the early
1980s. It was initially intended as an electronic bass accompanier;
however, it was at first hardly taken seriously due to its "unrealistic"
characteristics.
The device suddenly became useful later, when Techno Music was
just becoming popular. The brute force and screeching sounds that
this unit produced suddenly belonged to the major style elements of
an entire musical style. Today’s Techno productions still use the
minimalist, synthetic but warm and unmistakable sound of this
synthesizer.
‘SilverSynth pro’ is the follow-on to the SilverSynth. The user now has
more influence on the sound. It features an "EnvMod" controller that
makes the typical 303 sound even squeakier. It also features a
distortion controller for adjusting the sound distortion, as well as an
integrated echo.
Furthermore, SilverPro has a "Shuffle" controller for adding "groove"
to your synthesizer sequences. Finally, you can use the
"MasterVolume" controller to adjust the synthesizer volume.
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On the “SilverSynth” symbol is a menu that loads, saves, generates
or deletes (Clear all / Random).
Filter Automation
The SilverSynth pro offers automation for the rotary button controllers
with which the filter and sound modulation can be set. Each
movement of the automatic controllers can be recorded.
Play/Stop: The sequence of the step sequencers is played and/or
stopped, including recorded rotary button movements.
Record: Records the rotary button movements. The sequence of the
step sequencer is played while you record the results of real-time
buttons movements.
Clear Record: Deletes the recording of the rotary button movements.
Please remember that the notes of the sequence in the step
sequencer are re-set, changed or deleted.
Turning knobs
Step Sequencer
sequence on a 16x12 grid. A note cell can be occupied by the left
mouse key; the right mouse can be used to delete note cells. You
can only set one note per column. To assist you, a scale of notes
appears at the lower edge.
If you click repeatedly on one and the same note cell, then you
change the octave for this note. The color of the cell changes
according to the octave. Blue corresponds to octave 1, red
corresponds to octave 2 and green corresponds to octave 3.
The lower rows (Accent and Slide) determine the further behavior of
individual notes. Accent increases the volume of the note a little. If a
cell is placed in the “Slide” row, then this note will not be struck
again, only the pitch will be modified.
Waveform: You can chose from basic waveforms that represent the
main proportion of the sound. It is possible to switch between a
rectangular waveform and a saw-tooth waveform.
Cutoff: The Cutoff control steers the synthesizer’s low pass filter. This
control is used to determine the brightness of the sound. At the
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upper limit the synthesizer sounds brightest, at the lower limit of the
rotary button, the synthesizer sounds very hollow.
Resonance: Technically speaking, the resonance control sets how
much the low pass filter resonates at its cutoff frequency. This is the
frequency that is controlled by the cutoff control. This control largely
determines the warmth of the sound.
Decay: This control is used to control whether the cutoff filter remains
at the same frequency or whether the filter frequency changes when
a note is played back. If Decay is set to the upper limit, then every
new note initially sounds a little bright and then changes its sound as
it progresses so that it loses more and more of its brightness.
EnvMode: This control determines the flow of the envelope
curve. The further right the control is turned, the more high sounds
will be added.
Distortion: Here you can override the sounds.
Delay: Delay can be used for reverb and echo effects. There are two
controls. ‘Feedback’ (number of sounds repetitions) sets the intensity
of the echo; ‘Length’ sets the length of the echo. The length of the
echo is set in relation to the bars; it adjusts to the current BPM value.
Master: The overall volume can be set in this section.
Shuffle: This control lends more ‘groove’ to the Synth sequences.

Copper Synth
Just like the SilverSynth, the CopperSynth is a step sequencer, it
looks very similar and functions quite similar too. The most important
difference is the sound.
Tune: This control raises or lowers all sounds.
The sound is created by use of an additive procedure that resembles
a mini moog. There are between two and three oscillators are used
for the basic wave shape. The sound of the synthesizer corresponds
to that of the typical bass synthesizers of the eighties. The
SilverSynth is mostly used for higher pitches; Silver Synth and
CopperSynth make an excellent duo.

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For the programming please refer to the chapter Silver Synth pro (see
page 217)!

Revolta
OSCILLATORS
REVOLTA consists of two oscillators that function as synthesizers.
These produce the ground waveforms: sine, sawtooth, and pulse.
The sine wave does not contain any harmonies and consists purely of
its own basic oscillation. The sound (also known from the dial tone) is
correspondingly dull, clear, and pure. At deep positions it can be
used very well to "beef up" a second waveform because of the lack
of harmonies (for example, one octave deeper). "Purity" guarantees
that the sound gets a clear feel as only the basic tone is used. Sine
oscillations (that is, without any other elements) are used a lot in
Drum&Bass music where low booming sound and sonic transparency
are important style elements.
Sawtooth, on the other hand, sounds very full as it contains quite a
comprehensive selection of harmonies. In relation to this "Harmonics"
refer to the whole-numbered variations in the basic frequency. A
sawtooth wave contains an equal amount of even-numbered and
odd-numbered harmonies. This means that the standard pitch A (440
Hz basic frequency) is superimposed with sections at 880 Hz, 1320
Hz, 1760 Hz, 2200 Hz, etc. Here the drop in volume increases
exponentially, each harmony is 6 dB quieter than the last. This is the
case in signal theory at least.
In practice, however, analog synthesizers behave somewhat
differently. The waveform sometimes looks a little bit rounder on an
oscilloscope. In addition, the used circuits contribute to a
modification of the spectrum as a result of distortions and component
tolerance.
Ideal sawtooth wave

"Analog" sawtooth
wave of REVOLTA

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Sawtooth is the classic waveform for simulating string sounds. Bass
sounds can also be created using this if you want them to have a bit
of a bite. The famous TB-303 Acid Basses are usually sawtooth
waves (when working with just one oscillator). The sound character of
sawtooth is usually associated with "warmth".
The rectangle/pulse wave is often made from two sawtooth waves in
analog – as in REVOLTA. Theoretically, a rectangle wave should only
have two states: a minimum and maximum value, that is a constant
back and forth between the corresponding frequencies. The harmony
series is similar to that of the sawtooth waves, but the rectangle
signal only contains uneven harmonies (for example, at A 440 Hz,
1320, 2200 Hz, etc., always the octa ve after the next octave). This
gives the waveform a more hollow or "nasal" sound. A classic
example of this is in wooden wind instruments like the oboe or flute.
Usually an analog rectangle wave can be implemented quite easily via
a so-called flip-flop circuit. In instruments however, people usually
use two sawtooth waves: the second sawtooth is mixed into the first,
but the waveform is inverted and delayed (phase shift). By adding the
two waves, a rectangular signal with variable "pulse width" (PW, see
graphic) can be achieved. The pulse width is set up according to the
delay of the second sawtooth wave and effects the sound of the
harmony series: the smaller it is, the more harmonies are achieved
and the lesser the basic tone appears. Smaller pulse widths make the
sound a bit "thinner".
A pulse wave is composed of two
sawtooth waves (A = normal, B =
inverted + phase-shifted)

Pulse waves (50% and 10%) in
REVOLTA

The pulse width can be modulated which can create "floating"
sounds (PWM, pulse width modulation). The Roland JP-8000 is
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famous for this type of PWM sound, which can be heard on
numerous dance tracks. For this type of "phat" floating sound you will
need a "Modulator"/LFO. We'll talk about this later...
What's unusual about the waveform selection in REVOLTA is that it's
not restricted to the mere selection of the waveforms as would be
expected. It's much more likely that you can run through the
selection with the "waveform" fader on this synthesizer and create a
mix out of sawtooth and rectangle. Running through the waveforms
can even be automated. We'll talk about this later on as well...
When working with two oscillators, interesting sounds can be created
via frequency modulation (FM). You will no doubt be familiar with this
from the well-known digital synths like the Yamaha DX7 or the OPL
chips of older sound cards. FM synthesis is also possible in analog.
In REVOLTA, oscillator 1 is modulated via oscillator 2. Frequency
modulation usually means that one oscillator controls the pitch of the
other. Since the sound created during this process no longer follows
the usual chromatic scale and sounds a bit chaotic, the phase of the
oscillator is modulated instead of the pitch in almost all FM
synthesizers. As a result, only the sound's color changes, not the
pitch, which in most cases is more likely to be more usable musically.
The correct term for this is actually phase modulation (PM). Most
manufacturers still refer to this as FM however and since this is an
established term in music electronics, we use it too.
With "mix" you can specify the mix ratio for each oscillator.
Options for oscillator 2
The pitch of the second oscillator can be influenced relatively to the
first. Here, the "semitone" parameter specifies by how many halftones
up or down oscillator 2 is out of tune with the first. What's interesting
here is when it's used to produce bass sounds for creating a more
booming sound (as mentioned above with Drum&Bass). A kind of
double unanimity can be achieved here by tuning oscillator 2 up by 3,
5, or 7 halftones, thereby creating classic chord intervals. Or you can
simulate a drawbar organ via two sine waves and modifying the
second by 5 halftones...
The "detune" fader modifies the second oscillator by one halftone
max. For this reason, at lower values, light oscillations can be
created. Perfect for "beefing up" bass & lead sounds...

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ENVELOPE
Here the signal is actually "packed" into a temporal volume
progression.
If you were to grip the signal located directly behind the oscillator
module, a long-lasting tone will sound, like with a synthesizer for
measuring purposes. Not only would it be quite static, but it would be
quite boring as well. "Real" instruments/sounds always have a
characteristic volume progression. For example, in piano music, we
hear a different transient oscillation process than with bowed string
instruments. To specify such processes, synthesizers contain a socalled Envelope Generator. This can be started ("triggered") by
pressing a key, which then runs it through multiple stages. These
stages are usually called "ADSR": "attack" (velocity duration), "decay"
(duration of the sound decrease when the key is held), "sustain" (hold
after the end of the decay phase) and "release" (the time it takes for
the sound to ring out after releasing the key).

With synthesizers the ADSR curve is often very different to the
audible result. One of the reasons for this is that the volume
progression is implemented with suspense modifications and the
suspense is interpreted differently. In this sense a short attack time in
Synth A may sound completely different to what Synth B produces. In
the ADSR module of REVOLTA, the circuit simulation functions with a
"virtual" network of condensators which are loaded and unloaded
independent of the level and time. We have placed a lot of emphasis
on achieving this "analog feeling". The tuning tends to be viewed as
"weak" or "round".
REVOLTA has two ADSR Generators: the first specifies the volume
progression (AMP, "amplifier") as described above. The second is
located in the filter module and controls the temporal filtering
progression from there when required to do so.

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A setting which all envelopes has is the "legato" parameter. If this
button is pressed, the envelopes will no longer be restarted for new
notes as long as keys are still pressed. The sounds will be bound
together, as the word "legato" implies.
FILTER
The REVOLTA filter is not a normal digital filter as you often find when
using software synths, but rather a precise simulation of a design
from the "real world".
We use a so-called Sallen key circuit, which has similarities to the low
cut and high cut of the Korg MS 20 device. This is fundamentally an
amplification block with two 6 dB filter networks and one feedback
path. Here the circuit achieves a slew rate of 12 dB/octave and is
capable of achieving high resonance or feedback (well-known
whistling sounds) with enough internal amplification. The REVOLTA
filter functions in the feedback part with an additional active step
which limits the feedback signal. This can enable the filter, unlike with
normal digital types, to be given a deep saturated sound, which
produces typically analog sounds, from light keying to screeching to
noises reminiscent of frequency modulation.
The filter parameters
Type: Here you can specify the filter type. The selection consists of
high cut, band pass, and low cut. The low cut filter is a series
connection of two filter modules used in order to reach a skew rate of
24 dB. For the other modes, the 12 dB supplied is usually perfectly
sufficient, meaning that only one module is used.
Cut-off: Filter trigger frequency
Resonance: Amplification factor of the circuit and the related internal
feedback. When there is feedback, please take note of the monitor
volume.
Drive: The filter behaves quite cleanly when turned down. At higher
resonance, typical whistling sounds will be audible. The more "drive"
there is, the more the saturation level in the feedback path appears,
changing the behavior of the filter. The entire circuit is turned up at
the same time.
Env Mod: The filter has its own envelope with attack, decay, sustain,
and release faders. This envelope can often be quite important for
lively sounds. Unlike with the amp envelope, it doesn't control the
volume progression, but rather the cut-off parameter. With the Env
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Mod fader (envelope modulation) you can specify how strong the
envelope affects the cut-off. In the middle position, Env Mod does not
have any effect. If turned to the right, the virtual "control voltage" of
the envelope will be added to the cut-off fader, and if turned to the
left it is subtracted.
LFOs (Low Frequency Oscillators)
Most synthesizers usually have a so-called low frequency oscillator. In
REVOLTA, there are two. LFOs are fundamentally normal oscillators
which do not oscillate in the normal frequency ranges relevant to
music, but rather at very low frequencies. Its output cannot be
perceived directly by the human ear (like a normal oscillator), but
rather is used to modulate other parameters, that is, to change to the
rhythm of the LFO. Usual LFO targets are the pitch (-> vibrato), the
volume (voltage-controlled amplifier) for a tremolo effect (volume
modulation) or the cut-off frequency of a filter.
The parameters of LFO 1 & LFO 2
Type: Here you can select the oscillation form of the LFO. Sine,
rectangular, and "Sample&Hold" (random function) are available.
Sync: This button enables the synchronization of the song tempo in
order to create exact rhythmic modulations. The following parameter
controls the interval:
Freq: The frequencies of the two LFOs of REVOLTA can be set over
a long range. If the Sync Button is active, the fader will "snap" only
with rhythmic intervals (for example, one quarter, one eighth, one
eighth triplet or dotted). When the tempo sync is switched off you can
control the frequency in Hertz directly from here. This goes deep into
the audible range, enabling drastic effects like "Filter FM".
Delay: This fader specifies the time span which the control voltage of
the LFO takes to grow from 0 to its maximum value (a kind of "fade
in"). The underlying "Timer" will be restarted every time a key is
pressed. This way you can, for example, make a pitch modulation
audible only when tones are held for longer, similar to the way a
singer's vibrato only develops after time.
If set to the left, delay is switched off. In this case, the LFO is
constantly active and oscillates at maximum amplitude.
Destination: When you click on this list, a selection menu appears
with (almost) all accessible synthesizer parameters. The choice you
make here is the so-called target modulation. Most of these targets
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are additively modulated by the LFO, that is, the control voltage will
be added to the corresponding fader position. Here, the LFO
suspense is positive (Case A in the graphic below), only the stereo
panorama, the semitone and detune parameters of OSC 2 will be
modulated with symmetrical suspense (positive & negative centered
around the start position) so that deflection only occurs to the left and
to the right of the fader position (Case B).

Depth: This fader specifies the maximum amplitude of the LFO. It
influences the strength of the modulation.
Master module / global parameters
On the left-hand side of REVOLTA you will find the following faders:
Volume: The master volume of the synthesizer. The fader controls the
amplification factor of the output level with a soft distortion
characteristic. The step makes sure that the output level never
exceeds 0 dB by leading the signal softly into the saturation. When a
signal is too loud (as a result of strong resonance) internal distortions
arise which sound softer and more musical than if they had
overmodulated the next levels or the master outside the instrument.
You may have to monitor the audible level and use the supplied
presets as a reference for the volume.
Pan: The stereo panorama. With a single-voice synth it is not usually
required, but we mentioned it: You can automate this parameter to
make interesting stereo effects possible.
Transpose: Here you can adjust or set the octaves of the global
tuning for the currently selected preset in halftone steps. You can use
this, for example, to test out whether an octave sounds better one
octave higher or lower without having to transpose the MIDI data.
Glide: This parameter is also known as "Portamento" in some
synthesizers. The fader specifies the time to glide from the last tone
played to the tone currently playing. The more turned up it is, the
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longer the process lasts. By automating the parameter, very lively
bass runs and solo passages can be played. Even statically, a short
glide for basslines can sound good. This can be implemented by
turning the fader up so far that the tone sounds a little bit distorted.
SETUP / CONFIG VIEW
When you click on the spanner symbol the LFO section disappears
(but is still active) and the so-called config view (or "setup") opens.

Here you can set an entire series of global parameters as well as
specify whether or not REVOLTA should react to incoming "MIDI
Control Change" messages (MIDI CC) and how strongly.
The settings are independent of the selected presets. They apply to
the entire instrument. Should you have loaded multiple instances in
one project, they will all share the same setup.
Parameters
Receive Channel: REVOLTA usually responds to the MIDI channel 1:
Should you wish your data to be sent to a different channel, you can
change it here.
Pitch bend range: Here you can set by how many halftones the sound
should be bent when you turn the pitch wheel on your keyboard.
Master Tuning: In most cases all instruments can be set to the
standard pitch A, 440 Hz. If you have an arrangement that differs
from this, you can use REVOLTA to globally tune to between 400 and
480 Hz.
Oscillator Drift: Something that differentiates older analog
synthesizers from digital ones, is the lack of tuning stability. Many
transistor-based circuits have difficulties keeping their operating
parameters for longer periods of time. The problem is often thermal,
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as an increase in temperature can influence the behavior of the
movement of electrons and the properties of certain semiconductor
materials. Modern analog synthesizers usually have temperatureresistant integrated circuit, but they too are susceptible to the
"random principle", making the oscillators constantly susceptible to
small fluctuations. Use the "Oscillator Drift" parameter to specify how
much "analog behavior" you wish to permit. At maximum,
occasionally stronger tuning discrepancies are audible. Values in the
mid field or in the first third are especially suited to making sounds
with two oscillators sound less static and somewhat warmer,
especially when OSC 2 was not detuned relative to the first one. The
drift parameter, of course, has a large influence on the entire sound
when REVOLTA is used with other instruments in a very large
arrangement.
MIDI Controller / Destination
Almost all available parameters in REVOLTA are not only controllable
via direct manipulation on the interface, via LFO, but also externally
via the MIDI Control Change function. Should you own a hardware
controller or a keyboard with the corresponding faders, you can use it
for realtime control of this synth.
Since any unified classification of source or target is not possible, it's
important to know what the connected device transmits with specific
faders. You need to find out a few things to do this:
• Which of the eight externally adjustable parameters would you like to
modify? To do so, make your selection in the "Destination" list one
after the other, i. e. Filter cut-off, Filter resonance, etc.
• Which MIDI CC number should externally control this parameter? If
you already know which fader/button sends which number to your
device, you can select it directly from the list. If not, setup provides a
Learn mode: To access this, click on the corresponding field in the
"learn" column. Now when you move a fader on your computer, etc.,
the corresponding type (its CC number) is included and appears in
the list. You can go through the list one by one and assign 8
controllers max.
IMPORTANT: If you wish to save the setup, don't forget to press the
"Setup" button before leaving the view or closing the entire interface.
This permanently saves your changes.
If you should leave the setup prematurely, the changes will be
discarded and its previous state will be active once again.

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Auto Jam Session

Auto Jam Session
The Auto Jam Session lets you create complete songs singlehandedly. Begin with a simple idea, a small riff, or a chord
progression. This is then recorded and put straight into an endless
loop after the recording. Now, you can record a melody on a different
track. The program simulates working with hardware „Looping
delays“, like, for example, the Gibson Echoplex. The difference is that
MAGIX Music Studio 12 deluxe creates an arrangement which can
later be edited and compiled into a complete song.
During an Auto Jam Session, everything you do is recorded.
The most important thing with the Auto Jam Session is the fun factor
– there should never be too much of it.

Open
1.
2.

Start MAGIX Music Studio 12 deluxe and choose „New Auto Jam
Session“ from the start selection or
Create a new arrangement.

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Auto Jam Session
The Auto Jam Session can be started via the „Playback/Record“
menu or via the button in the upper toolbar.

Handling
After start-up you’ll see, at first, the simple view of the Auto Jam
Session. In the right half you’ll be given useful hints on how to use the
program, without resorting to the Help file by pressing the „F1“ key or
Help button.
Action: The most important handling element is displayed as an
Action button (bottom left), which can also be controlled using the
space bar or via MIDI/joystick.
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1st click: Playback begins. Nothing is recorded yet.
2nd click: The first recording starts. Record your first beat(s). As a
sign that it’s recording, the action button turns red.
3rd click: Ends the recording. The recorded part is inserted into the
arrangement as a loop and then played repeatedly. It serves as a
speed measure for the next loop.
4th click: In the next track, the recording starts. You’ll begin hearing
the previously recorded loop. Now you can add an additional voice to
it.
5th click: The recording ends, playback of the first and the newly
recorded loop continues.
The next clicks start and end other recordings (Clicks 4 and 5
repeat). Every restart of the recording, starts in a new track. All loops
recorded up until now are played continuously.
Double-clicking on the action button stops the last loop recorded.
Clicking three times ends all running loops. You can use it to
separate various song parts from one another.
By clicking on stop, the playback/recording is stopped immediately

Auto Jam Session modes
There are many ways to record a song:
• Record everything by yourself. Here, the loop that was recorded first
is set as a measure for the speed of the song in BPM (beats per
minute). The buttons 1-8 function as mute or solo buttons
depending on their set modes (see below).
• You can choose from one of the accompaniments provided. Here,
the speed of the song is taken from the template. There are two
types of mode:
• Instrument mode (mute): The accompaniments consist of multiple
individual instruments that can be muted using the buttons 1-8 (or
the corresponding keys on the keyboard).
• Variations mode (solo): These accompaniments contain multiple
variations of the same instrument, between which you can switch
during playback.

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Reset: Reverts every button to their original states and selectively
stops the last loop recorded, every self-recorded loop, all loops or
deletes the entire project.

Loop effects
You can change your arrangement with these real-time effects. The
loop effects affect either every track or just the last track recorded
(see below).
Technically, these effects are object effects. Switching the effects on
and off creates separate objects from the loops.
Half speed: The speed factor is halved when this button is pressed. (If
you press the button twice, it will be played at a quarter of its speed,
etc.)
Double speed: The speed factor is doubled when this button is
pressed.
An application of this effect is, for example, playing „impossible“
guitar solos. Switch your existing arrangement to half speed, record
your guitar solo and then click on double speed. Your
accompaniment plays in original speed again and your solo now
sounds twice as fast and an octave higher.
Reverse: This effect plays the whole arrangement backwards.
Opening it again resets it.

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Auto Jam Session
Enhanced Auto Jam Session dialog
Clicking on the „>>“ button opens the enhanced Auto Jam Session
dialog.

Tempo
Here, you can select the tempo from the list or enter one of your
choice.
„—“ means that the speed adapts to that of the first recorded loop or
of the accompaniment (if chosen).
Quantization
Quantization guarantees that newly recorded loops fit into the
existing arrangement by recording loops whose lengths are exactly
four times that of the first recorded loop or the loops begin or end on
the bar or loop borders.
There are multiple options for optimizing:
Length of the next whole loop: The new loop is recorded with the
same length or a whole-numbered multiple (2x, 3x, 4x...) of the
original loop length. The loops always remain synchronous, but
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mustn’t have the same starting point. This is the preset quantization
mode.
Start + length of the next whole loop: It’s only after the next loop
border that recording starts. The length is quantized like in „Length of
the next whole loop“. The starting points of the loops are all at the
same positions.
Length to previous whole loop: The loop end is shortened to the last
exceeded loop border. This is useful when, while recording, you
always only get around to clicking on the action button (space bar)
after the next loop.
Start + length to next bar: The starting point of the recording and the
loop length are adapted to the bar. This is useful if you have recorded
the first loop over multiple bars.
Start + length to the next beat: The starting point of the recording and
the loop length adapt to quarter beats. This is useful if you want to
record very short or uneven loops (for example, only ¾ bar).
Both of these options are useful if the speed has been set (specified
in tempo or by the accompaniment)
Freestyle: Quantization is deactivated. No more loop starts or loop
lengths are adapted when recording. It’s only recommended if you
want to create chaos or are very „precise“.
Quantize mute/solo/effects: This option also quantizes the control of
solo, mute and other effects (double speed, half speed, reverse).
Only use loop effects on the last track: The loop effects are always
used on the last track.

Record Device
You can select the desired soundcard or soundcard input in the flip
menu.
Visualizer: This button switches the visualization on or off.
Monitor: This button activates or deactivates monitoring. This means
that the incoming signal is displayed in the visualizer and played by
the soundcard output.
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Tuner: This button opens an additional visualization in the „tuner“
mode with which you can tune your instrument (for example, your
guitar).
Recording information
Recording time: Shows how long you’ve been recording.
Remaining time: Here, you can see for how long your hard disk can
record. If you have multiple hard disks or hard disk partitions, the
recording capacity of these are also shown.
MIDI / Joystick ...
This button opens the Shortcut Editor of the Auto Jam Session. More
information can be found under „Shortcut Editor“ > „Auto Jam
Session“. Here, you can also „learn“ MIDI commands.

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The Managers

The Managers
The Manager brings frequently needed administrative and control
functions together inside one window, including those of markers,
grooves, and tracks. This also includes a file browser with which
media data can be found, sampled, and loaded.
The Manager can be opened inside or outside the main window and
does not block it. The Manager window has a multi-monitor capability
and notes its last position when it is closed. A number of Managers
can be opened simultaneously in various different views and
independently of one another.
The Manager integrates the following sub-windows (with the
Shortcuts keyboard)
•
•
•
•
•

File browser
Objects
Tracks
Markers
Ranges

To open the Manager, click on the “Manager” entry in the toolbar or
select the entry “Open new Manager” in the “Tool menu”. With this
menu entry you can also open further manager windows in addition
to the one already open.
Click with the mouse on the window tab at the bottom edge of the
Manager window in order to open the required sub-window.

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The Managers
File browser

Introduction
MAGIX Music Studio 12 deluxe contains a file browser integrated into
the Manager with which the files can be sampled and directly loaded
into projects. The browser allows favorite folders to be defined and
provides access to the folders that were last opened.
In order to display the file browser, click on the ”Manager” button in
the toolbar and then select the “File browser” tab on the bottom edge
of the Manager window.
Menu: Tools / Manager / File browser
Working with the file browser
Navigation / Favorites
The file browser behaves in the same way as the familiar Windows
Explorer. Folders and files are shown in list form with folder and file
symbols. The mouse or the keyboard can be used for navigation. A
drive combo-box contained in the toolbar makes it possible to
change quickly between all the data-carriers connects to the
workstation.
A display filter located in the toolbar allows the presentation to be
limited to certain media types, e.g. only *.wav, Midi, or project files.
The standard display is “All media”. As will be familiar from other
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Manager windows, a search option allows the current window to be
searched through for folders or files. Enter a search word in the input
field and press “Enter”. Directories or files that are found will be
highlighted. Entering one or several initial letters enables several
entries to be found and highlighted if they all meet this search
criterion.
The file browser opens in its standard form as a window divided into
two parts. The right-hand area contains the Favorites list, which if
required can be switched off with the “Options” toolbar. Folders can
be added to or removed from the Favorites list with “Add” and
“Remove”.
Underneath the Favorites list there is a combo-box containing a list of
the paths last opened and the possibility for changing to the current
project folder.
Sampling files
You can sample a high-lighted audio file with the “Play” symbol in the
toolbar. With the activated “Autoplay” checkbox, on the other hand,
you can play each market audio file immediately. In this way it is
possible, for instance, to listen through a complete list using only the
cursor buttons. A file that is running can be stopped with one more
click on the “Play” button.
Tip: During the play the controls on the transport console are
allocated to the media file. Reproduction and position functions are
available without any limitation.
Reproduction is not achieved through the mixer or internal effects. In
contrast to the “Reproduction” function in the “Load” dialogue, which
uses operating system routines, in this case the audio device is used
that is selected in the “Play” parameters (“P”). This can involve an
MME, WDM, or ASIO device. If no sound is reproduced, first check
the correct setting and the routing of this device.
Note: In order to sample certain media files, e.g. those in WMA
format, it is necessary to convert these files into WAV format. The
conversion is carried out automatically in the background.
Loading files from the browser into projects

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The Managers
A media file from the browser can be inserted with Drag&Drop into
the required time position in an opened project. If the file browser list
is located in the foreground, pressing the “Enter” key will produce the
same result.
If an audio file is dragged out of the clip list with Drag&Drop into a
free area or the title line of the program window, it will open directly in
the WAV editing view.
If several files have been selected in the list, all the files at the current
cursor position will be inserted as new objects, taking the load
options (see toolbar “Options”) into account. Thus you can for
instance specify whether all files are to be inserted into the project
one behind or below another, alphabetically or in accordance with the
timestamp positions they contain. Loading options that have been set
apply mutually to files that are inserted via the program’s “Load”
dialog.
Further options are hidden in the context menu of a media file (rightclick):
• Load file
• “Delete file”: removes the file physically from the data-carrier.
Caution! This process cannot be reversed.
• Select all files
• Open with standard link: the file opens in the Windows Program with
which this file type is linked for the “Open” command. This can be,
for instance, an MP3 player or another WAV editor.
• Open in the Windows Explorer: opens the current folder as a new
Windows Explorer window.

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Object Manager

Introduction
The object manager integrated into the Manager lists all the objects
contained in the current project and enables selected object
parameters to be edited.
To display the Object Manager, click on the “Manager” button in the
toolbar and then select the “Objects” tab on the bottom edge of the
Manager window.
Menu: Tools / Manager / Object Manager
You can export information from the Object Manager as a text file.
Click on the “Export text” button in the toolbar. The Windows Text
Editor opens with an extract from the Object Manager list. The
following information is saved:
•
•
•
•

– Project name and path
– Track and object name(s)
– Start position in the project
– Path of source file.

You will find this file afterwards in your project folder (Project
name.txt).

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The Managers
Working with the Object Manager
Object view and selection
The objects are displayed in a tree structure, arranged by tracks, with
only those tracks listed that actually contain objects. Optionally you
can have only those objects displayed that are in the current track
(“Options” toolbar).
With the plus/minus buttons in the toolbar you can open and close
the track-object presentation in the whole window. In order to
expand a single track, click on the “plus” symbol next to the track
number.
Select objects: A square checkbox next to the object name enables
one or several objects to be selected that then also appear selected
in the project window. If an object is selected that is part of an object
group, the other objects in the selection are also selected in the
project window and the Object Manager. You can also already
recognize grouped objects by the number of the object group in the
group column of the Object Manager.
Search for objects: As in the other Manager windows, in the Object
Manager as well there is a search function available with which a
search can be made for objects in the current window. To do this,
enter a search word in the input field and press “Enter”. Objects that
are found are highlighted but not selected in the project window.
Delete, rename, and edit objects: You can delete objects directly from
the Object Manager by selecting them individually or simultaneously
and pressing “Del”. As an alternative you can delete an object via a
context menu.
You can rename an object by double-clicking on the object name and
entering a new name. As an alternative your also have the route
available to you via the context menu.
In order to edit an object directly from the Object Manager, right-click
on the object concerned and start the Object Editor.
Edit object parameters
You can edit the following object parameters in the Object-Manager:
• start position
• length
• end
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• volume
• lock
To edit a parameter, double-click on the relevant value and enter a
different value. Numerical values can be changed by Drag&Drop with
the mouse, whilst Ctrl+Shift allows larger or smaller value changes.
“Tab” switches on to the next editable value. The up and down
cursor arrows permit vertical navigation within a column from one text
box to another.

Track Manager

Introduction
The Track Manager represents all the tracks contained in the current
project and not only provides direct access to solo, mute, and record
but also hides tracks in the project window and mixer.
To display the Track Manager, click on the “Manager” button in the
toolbar and then select the “Tracks” tab on the bottom edge of the
Manager window.
Menu: Tools / Manager / Track Manager

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The Managers
Working with the Track Manager
Track view and selection
In the Track Manager there are all the tracks in the current project. To
select a track, double-click on the track number. The track appears
selected in the project window. If the track is outside the visible
display the project window will scroll to this vertical position.
Searching for tracks: As in the other Manager windows, there is a
search function available in the Track Manager with which a search
for track names can be made in the current window. To do this, enter
a search word in the input field and press “Enter”. Tracks that have
been found are highlighted.
Rename, remove, and insert tracks
You can delete tracks directly from the Manager by selecting them
individually or simultaneously and pressing “Del”. As an alternative
you can also delete a track via its context menu.
Rename a track by double-clicking on the track name and entering a
new name. As an alternative, here again the route via the context
menu is available. “Tab” switches on further to the next editable
value. The up and down cursor arrows permit vertical navigation
within a column from one text box to another.
To edit an object directly from the Object Manager, right-click on the
object concerned and start the Object Editor. All functions are
available here in the same way as if you had opened the Object Editor
from the project window.
You can also insert tracks directly into the Track Manager. Click with
the right-hand mouse button on a track entry and select “Insert track”
form the context menu. A new track will be inserted behind the last
track in the project.

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Marker Manager

Introduction
The Marker Manager represents all the markers contained in the
current project, regardless of type, and makes it possible to jump to
or start playing them directly from the list.
To display the Marker Manager, click on the “Manager” button in the
toolbar and then select the “Marker” tab at the bottom edge of the
Manager window.
Menu: Tools / Managers / Marker Manager
You can export information from the Marker Manager as a text file.
Click on the “Export text” button in the toolbar. The Windows Text
Editor opens with an extract from the Marker Manager list. The
following information is saved:
•
•
•
•

Project name
Marker type
Marker name
Marker position in the project

You will then find the file in your project folder (Project name.txt).
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The Managers
Working with the Marker Manager
Marker view and selection
In the Marker Manager all markers can be displayed from the current
project.
Search for markers: As in the other Manager windows, in the Marker
Manager as well there is a search function available with which a
search can be made for marker names in the current window. Enter a
search word in the input field and press “Enter”. Markers that have
been found are highlighted.
Jump to and start to play markers
To position the “Play” cursor on a marker, double-click on this marker
in the “Type” column.
Start playing a marker: Select a marker and click on the “Play from
the marker” button in the toolbar. An area is created around the
selected marker and reproduction is started.
Delete markers, change marker names, positions, and types
You can delete markers directly from the Manager by selecting them
individually or simultaneously and pressing “Del”. As an alternative
you can delete one or all of the markers via the context menu.
You can rename a marker by double-clicking on the marker name
and entering a new name. As an alternative the route is also available
here via the context menu. To change a marker position directly from
the list, proceed in the same way. “Tab” switches on to the next
editable value. The up and down cursor arrows permit vertical
navigation within a column from one text box to another.
Tip: You can change a marker type in the context menu at any time in
the marker concerned in order, for instance, to convert a position
marker into a CD track marker.

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The Managers
Range Manager

Introduction
The Range Manager represents all ranges contained in the current
project and makes it possible to select them directly from the list.
In order to display the Range Manager click on the “Manager” button
in the toolbar and then select the “Ranges” tab on the bottom row of
the Manager window.
Menu: Tools / Managers / Range manager
Working with the Range Manager
Define and search for ranges
Define ranges: In order to save a range in the Manager you first have
to define a range in the project window. Then click on “Define new
range” button in the toolbar of the Range Manager Ranges that are
filed via the “Mark range” function (Alt+F2, Alt+F3 etc.) of the
program appear in the list with the addition of F2, F3, etc.
Searching for ranges: As in the other Manager windows, in the Range
Manager a search function is available with which a search for ranges
can be made in the current window. To do this, enter a search word
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Surround Sound
in the input field and press “Enter”. Ranges that are found are
highlighted.
Editing range parameters
You can edit the following parameters in the Range Manager:
•
•
•
•

name
start
length
end

To edit a parameter, double-click on the relevant value and enter a
different value. Numerical values can be altered by Drag&Drop with
the mouse, whilst CTRL+SHIFT allows larger or smaller changes.
“Tab” switches on to the next editable value. The up and down
cursor arrows permit vertical navigation within a column from one
name text box to another

Surround Sound
Surround Panorama Module
In the Surround Panorama module the panning of a track or an object
is set and edited on the Surround bus.
Open the dialogue
• Mouse right-click on the Surround Pan Display of the relevant
channel line in the mixer (this is only possible if the twin-channel
Surround mode is already active), or
• Mouse right-click on the button or regulator in the relevant track in
the VIP, or
• Open the track menu of the VIP in the track information with a
mouse right-click and select “Pan / Surround editor”, or
• Select the required track in the VIP and select “Track” -> “Surround
panorama-module”
In the title line of the Surround panorama module the track is stated
that it is currently being edited.
Example: “Surround panorama module: Track 4”

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Surround Sound
Display elements

In the panorama display the loudspeaker channels of the Surround
set-up are shown as blue dots. Activating the options underneath the
panorama display allows the following information to be displayed in
addition:
Name
The loudspeakers are designated with defined abbreviations: “L”
(left), “C” (center), “R” (right), “Ls” (left surround), and “Rs” (right
surround).
Volume
A level indicator appears next to each loudspeaker and shows the
value of the level share that the sound source is transmitting on this
Surround bus. For the stereo modes the total of the level of both
sources is always shown. If the shift key is held down and the mouse
is clicked on a source, the value for only this source will be shown
briefly.
Sound field
The input signal is presented as a field made of concentric circles.
Each red line corresponds to a level-gradient of 3 dB in the sound
field. The loudspeakers are arranged in such a way that the distance
between each loudspeaker and its neighbor is constant. This
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Surround Sound
arrangement makes a uniform distribution of the sound source
possible to all channels. Level relationships are created between the
channels that cannot be achieved in other modes.
Settings
Surround active
Activates the twin-channel Surround mode.
In the deactivated state the stereo position can only be determined
via the control elements in the track box or the mixer.
Pan L/R
This determines the way in which the left-hand or the right-hand
channel is placed in the Surround field. For the individual cases
please read the section on “Stereo and mono signal processing with
twin-channel Surround”.
Width
Affect the extension range of the loudspeakers (sinking).
Center
The parameter controls the share of the center in the distribution of
the sound source to the front channels. In certain working ranges
(e.g. film sound) it is customary to reserve the center channel for
dialog and to mix music and noises without share in the center. A
signal positioned exactly in the middle is reproduced in the 5.1 format
with Center = 100% exclusively through the center channel, or with
0% exclusively as a phantom sound source throughthe channels L
and R. This parameter is often also described as divergence.
Automating Surround
This section of the dialog is described in the section on “Automation
of twin-channel Surround”.

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Surround Sound
Stereo and mono signal processing with
twin-channel Surround
Mono
The following applies to stereo signals: A mono total is formed from
the signal that is positioned as a single mono sound source in the
panorama.
The following applies to mono signals: The signal is positioned as a
single mono sound source in the panorama.
X-Sym.
The following applies to stereo signals: The left-hand and right-hand
channels are aligned symmetrically to the x-axis. This, for instance,
enables a stereo signal to be panned very easily from Front L to
Surround L.
The following applies to mono signals: In addition to the original mono
source a second (mono) mirror sound of this signal is positioned.
The mirror axis is the x-axis.
Y-Sym
The following applies to stereo signals: The left-hand and right-hand
channels are directed symmetrically to the y-axis. This enables, for
instance, a stereo signal to be panned very easily from Front L to R.
The following applies to mono signals: In addition to the original mono
source a second (mono) mirror sound source of this signal is
positioned.
The mirror axis is the y-axis.
XY-Sym.
The following applies to stereo signals: The left-hand and right-hand
channels are aligned symmetrically to the x and the y-axes. This
enables, for instance, a stereo signal to be panned very easily from to
Front L / Surround R.
The following applies to mono signals: In addition to the original mono
source a second (mono) mirror sound source of this signal is
positioned. This is mirror-symmetrical to the original course with
regard to the x and y-axes.
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Surround Sound
Parallel
The following applies to stereo signals: The left-hand and right-hand
channels are kept at a constant distance to one another and shifted
parallel to one another during movements. If the Ctrl key is held down
the distance between the two sound sources can be altered.
The following applies to mono signals: The original and the mirror
sound sources are kept at a constant distance to one another and
shifted parallel to one another during movements. If the Ctrl key is
held down the distance between the two sound sources can be
altered.
Stereo Thru
The following applies to stereo signals: The same level shares as with
a mono source are sent to the various channels, depending on the
position of the sound source. However, for all left-hand channels only
the left-hand signal is used, for the right-hand channels only the righthand signal, and for the center and LFE channels the mono
proportion.
The following applies to mono signals: No special function, identical
with mono-mode.

Automation of twin-channel Surround
Surround-Panorama-module
Panning movements in track-related Surround panning can be
automated. For this purpose first the automation is switched on in the
Surround panorama module. This can also be done by pressing the
button of the relevant track in the VIP window. If the sound source is
moved during the playing process, this movement is recorded and
shown in the VIP as a curve. Later editing of this curve is possible
with the Panorama drawing mode of the mouse in the VIP.
Drawing
For this automation mode a range first has to be marked in the VIP
within which the change is to take place. The drawing mode is now
switched on in the Surround panorama module. Now any required
series of movements of the sound source can be drawn in the
Surround panorama. This series of movements is carried out in the
previously marked time range the next time the VIP is played. Later
editing of the curve is possible with the curve editing mode in the VIP.

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Processing the Surround Sound automation
Possibility 1: Auto-record in the Surround Panning Dialog
Duration of an auto-record process, the source signal can be placed
in any required position in a room. MAGIX Music Studio 12 deluxe
records this movement during playing or recording and generates
automation events on the corresponding VIP track. You have the
possibility here of placing the initial position of the automation before
reproduction at a given place.
If you want to alter the start position of the automation process, the
recording process then has to be started with the reproduction of the
project. During the reproduction you can simply click into the panning
module window. The source signal position is then registered and
subsequent movements are recorded by MAGIX Music Studio 12
deluxe, which indicates the recording process with a red “Record”
indicator in the window.
Possibility 2: Drawing mode in the Surround panning dialog
In order to prepare the drawing and movement for a Surround sound
placement of the source signal, a range first has to be selected in the
VIP track in which the automation is to take place. Then the “Drawing
mode” function likewise has to be switched on in the Surround
panning dialog. After that you can simply put the source signal in the
panning dialog into a new position. MAGIX Music Studio 12 deluxe
generates the automation events automatically in order to generate
this movement for the automation curves.
Possibility 3: Drawing automation curves in the VIP track
MAGIX Music Studio 12 deluxe allows you to draw new Surround
Sound automation curves in a VIP track or to change existing curves.
Make sure that the button for the corresponding VIP track is
activated. In the Surround panning dialog the “Automation on”
function can also be switched on. As the next step the Panorama
drawing mode has to be selected from the toolbar. You can draw
new curve events with it in the VIP track. Place the mouse pointer
close to an existing curve and click the left-hand mouse button. While
this button is held down you can create new events for this curve.

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Burning CDs

Burning CDs
Burning Redbook compatible audio CDs is a vital feature of MAGIX
Music Studio 12 deluxe. You therefore won't require any other
software for writing a CD. You can also write CDs "On the fly",
whereby all processing is performed in realtime during the write
process. As trackbouncing was not performed first and no image is
created, no extra space is required on the hard disk.
However, sufficient system resources must be available for
processing while writing. If your PC is too slow and writing is
interrupted, you can of course revert to the conventional method,
trackbouncing.

Redbook
To standardize the data structure of CDs and to make them
compatible with the CD drives, Sony and Philips laid down individual
standards for the various types of CDs. The names simply arose from
the color of the books in which these standards were recorded. The
term "Redbook" is common language for the Compact Disc Audio
Standard. The requirements listed here have to be observed for
industrial CP production. Audio CD players only read CDs created
according to the Redbook format. It is therefore necessary to first
convert PC files into this format before writing them onto an audio
disc compatible with any audio CD player.

Writing
Some years ago, there was but a small number of select studios in a
position to carry out CD mastering. Today, writing of audio CDs is
nothing exceptional any longer, and permanently dropping prices for
CD-R burners and media are within everyone’s reach.
On the CD the audio material is stored digitally, and these data are
read by the CD player and transformed back to the analog plane.
While in action, track indexes show the CD player which song starts
at what position.
MAGIX Music Studio 12 deluxe can write an audio CD directly out
from the program too. Before the write process starts, the track
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Burning CDs
indexes are directly set in the VIP window. Then MAGIX Music Studio
12 deluxe converts stereo sum and indexes into a data stream that is
fed to the CD burner.
The CD-R drive modifies an assigned layer of the medium by means
of a laser such that an audio CD player can read this information as
digital audio data later on.

Burning CDs in MAGIX Music Studio 12
deluxe
1. In order to write an audio CD the VIP window must at first contain
audio material. You may either record it new or import existing wave
files into the virtual project.
2. Mix your recordings by means of the real-time functions of the VIP
window and the mixer window. The CD will later sound exactly like
you will hear the playback via a stereo sound card. All settings for the
playback will be audible on the CD too.
3.Set the track indexes to mark the starting position of each song. If
the VIP window contains but one stereo track in which each song is
created as separate object, you may cause MAGIX Music Studio 12
deluxe to create indexes by means of the button ”automatic indexes”.
This will cause an index to be positioned at the beginning of each
object. Tracks and indexes may be arranged in MAGIX Music Studio
12 deluxe at discretion. Thus rest intervals may be continuously
adjusted, and indexes may be set without any rest either. MAGIX
Music Studio 12 deluxe is one of the few audio programs permitting
this.
4. When you have made all settings you can write the CD in realtime,
or you can use the offline function if your PC is not powerful enough.
Now click onto the button ”create CD” in the toolbar or select ”CD >
create CD” in the menu. This dialog offers two options:
Write ”on the fly”. In this mode, all effects are calculated in real-time.
Create complete new files. MAGIX Music Studio 12 deluxe creates a
new stereo file that contains all information on the multiple-track
project.
The first option would be a much more simple and convenient
method to burn a CD.
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Burning CDs
5. One click onto the button ”OK” starts the writing process, and
MAGIX Music Studio 12 deluxe starts searching for available CD-R
drives. If several drives are connected to the system you will be
asked to select the drive desired. Before burning, the writing process
can be simulated. You may check by that whether the capacity of the
computer is sufficient for the writing process.
Once started it cannot be stopped no more.

DSP Display
During the writing process on CDs in real-time the system capacity is
of the essence. Once the writing process started it cannot be
stopped no more. The whole CD becomes unserviceable upon an
abnormal termination due to a system not fast enough. When ”on the
fly” is selected the computer must calculate the playback with all realtime functions and simultaneously write the data onto the CD.
The DSP display is a fine expedient to assess possible problems
when writing onto the CD. The below table gives you a clue for the
maximum possible writing speed. Individual deviations may result due
to the configuration of your system and the speed of its components.
DSP Display and Writing Speed
Nearly 100 percent
single speed
Up to 50 percent

double speed

Up to 25 percent

fourfold speed

Particularly when first using a new and unknown computer system it
is recommended to simulate the writing process at first to check the
limit performance of the system. Should the system become
overloaded, a reduction of the number of tracks or real-time effects
will help by combining parts of the VIP window by track bouncing.
The offline variation of the writing process offers another possibility.
At first, it creates a new stereo file that will be the basis for the writing
process.

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Menu File

Menu File
The project menu contains wide-range functions for generating,
managing, loading and saving projects.

New Virtual Project (VIP)

A new virtual project is opened, you can choose the track and select
a name for the new VIP.
Track Number: Sets the number of tracks for the virtual project.
Sample Rate: Sets the sample rate of the virtual project.
Name: Each new VIP can be named here.
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Menu File
Grid: Activates the grid display.
Units of Measurement: Select from six different display types for the
grid.
Snap to Objects: Activates the Object grid. Objects will be snapped
together sample exact when this option is active.
Lock Recorded Objects: Recorded objects are immediately locked
once they are placed into a VIP track. This prevents accidental
moving and is especially helpful for multi-track projects.
Project-patterns: Projects (arrangements) can also be saved as
patterns in the File-Menu. The patterns are empty arrangements that
contain all of the settings (f. ex. of the VIP-display) of another project.
Auto-Crossfade-Mode: see Edit-Menu (see page 273)
Keys:

Open
You can open various file types here and load them into MAGIX
Music Studio 12 deluxe.
Key:

L for RAM Wave Projects

Key:

Shift + L for HD Wave Projects

Key:

o for Virtual Projects

Key:

W for WAV files

Key:

ALT+S for sessions

Virtual Project
Virtual Projects are multi-track projects in MAGIX Music Studio 12
deluxe, which make use of Wave projects. When loading a virtual
project, all associated Wave projects (RAM and HD Wave projects)
are opened if they were not open prior to loading the VIP. The
windows of the individual Wave projects remain minimized to prevent
cluttering of the screen. They are initially only visible as icons.

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Menu File
Once the Wave projects are loaded, the VIP project window is
displayed.
WAV (Audio file)
When opening a WAV or other audio file, MAGIX Music Studio 12
deluxe automatically creates an associated HD Wave project. The HD
Wave project file contains additional information about the audio file,
such as marker positions. Once the WAV file has been opened once
in MAGIX Music Studio 12 deluxe, it can be loaded as a HDP from
that point on.
Note: If a VIP is the active window, all loaded WAV projects are
immediately turned into objects in the VIP. Any selected range (range
beginning) determines the position and track where the object is
created.
RAM Wave Project
RAM Wave projects contain audio data in MAGIX Music Studio 12
deluxe’s proprietary format. These files are loaded into the RAM
memory of your computer, including their associated graphic files,
marker position information, etc.
HD Wave Project
HD Wave projects contain audio data, which is directly loaded from
the hard disk, together with the graphical information, marker position
information, etc. The audio format used for these files is the WAV
format.
Object
Contains playback instructions (link to a Wave project, track, time
position, parameters, etc.) for audio data. Objects are used in virtual
projects.
Session
A previously saved MAGIX Music Studio 12 deluxe session can be
loaded with this command. All projects and their related windows are
arranged on the screen the way they were saved to the session.

Import Audio
MAGIX Music Studio 12 deluxe gives you the option of importing
Wave, AIFF, MPEG, MP3 , MS audio (.wma), audio from .avi files or
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Menu File
Sample Dump files into a MAGIX Music Studio 12 deluxe project. You
will need to specify which type the project is going to be, a RAM
Wave Project, or a HD Wave project.
Difference between Open->WAV and Import Sample->WAV:
The command Open->WAV opens an already existing WAV file and
edits the file as a HD Wave project. MAGIX Music Studio 12 deluxe
automatically creates a HDP file and the corresponding graphic file in
the source folder.
When importing a WAV file, the complete file is copied. Additional
hard disk space is needed and the process takes much more time,
since the audio file has to be copied with Open Project->WAV. Import
Sample->WAV has to be used when intending to use the WAV file as
a RAM Wave project.

Load Audio CD Track(s)
This option is located in the menu “CD” too.
This function allows you to import audio data from most CD ROM
drives and CD-Writers in the digital domain,without any loss in
quality. Please contact our technical support for the latest list of
supported drives.
The HD Wave projects are recorded as WAV files and can therefore
be edited with other audio editing programs without having to convert
them first.
To do this, please follow these steps:
1.
2.
3.
4.
5.
6.
7.

Open the drive list dialog and select your desired CD-ROM drive, if
you have more than 1 drive
Click on the “Track List” Button
In the CD track list dialog select one or more tracks in the list box
Click on “Copy Selected Track(s)...”
Select a filename for the new WAV file or HD Wave project and
click O.K.
Now the audio data is copied from the CD-ROM to your hard disk
as a new WAV file.
Close the track-list dialog and the drive list dialog, in your VIP
appear one or more new objects, containing the audio data from
your CD.

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Features of the Drive List Dialog
Track List: This button opens the track list dialog for selecting several
audio tracks of your CD.
Configuration: This button opens the drive configuration dialog, where
you can select special copy modes and SCSI IDs...
Reset: Restores the standard drive settings.
Add Drive: Creates a new drive entry in the list for editing the
configuration data.
Delete: Deletes the selected drive entry from the drive list.
Save Setup: Saves the drive list and all configuration data in a *.cfg
file.
Load Setup: Loads the drive list and all configuration data from a
*.cfg file.
Features of the Track List Dialog
Copy selected Track(s): This button starts the audio data copy
process; all selected tracks from the list are copied into one WAV file.
Play: Starts audio playback of the first selected track in the list.
Stop: Stops audio playback.
Pause: Stops audio playback for later resuming.
Resume: Resumes playback if previously paused.
Select all tracks: Selects all tracks of the CD for copying the complete
volume. You can select multiple tracks with Ctrl + mouse click or with
Shift/Alt + Cursor keys!
Unselect tracks: Closes the drive door of the CD ROM drive
Features of the CD ROM Drive 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.

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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 a manufacturers type of your CD ROM drive.
Copy Mode Normal: Copies the audio data without any software
correction.
Copy Mode Sector Synchronization: Copies the audio data using a
software correction algorithm. This is useful, because some CD ROM
drives cannot seek exactly to the same position between two read
accesses but MAGIX Music Studio 12 deluxe can correct these
differences using this algorithm.
Copy Mode Burst: Optimizes the speed of the copy process, no
software correction is done.
Sectors per Read: Defines the number of audio sectors per read
cycle, the higher the number the faster the copy process will be. Not
all SCSI adapters support more than 27 sectors!
Sync Sectors: Defines the number of audio sectors used for the
Sector Synchronization. A higher number results in a better
synchronization but also in a slower copy process.

Save Project
The current project is saved with the name displayed in the project
window. If you previously have not specified a name for your project,
MAGIX Music Studio 12 deluxe will ask you to do so.
Keys:

Save Project as
You can define the path and name of the new project you want to
save your work under. RAM projects and virtual projects will be saved
with the new names (the source file remains untouched). HD Wave
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projects are renamed on the hard disk. MAGIX Music Studio 12
deluxe will not generate a copy of it for reasons of conserving space
on your hard drive.
Keys:

Shift + S

Save complete VIP in
This function in menu “Project” allows saving a VIP with all needed
Wave projects (*.RAP., *.HDP) into a specified directory. This makes it
easy to copy all files of a VIP to a backup disk etc.

Save Project as Template
This option allows you to create project-patterns, where all project
settings such as the number of tracks or the type of grate are
maintained and saved without the objects and HDPs. These patterns
can be loaded when you are creating a new Multi-track project (Menu
File > New Multitrack Project).

Burn Project Backup on CD
This option lets you easily create data CD backups of the whole
project. For this purpose, the external MAGIX Music Studio 12
deluxe-CD burning software is started.

Save Object
An object can be saved. This file only contains realtime data (wave
files, fades, names, etc.), not the actuval audio data. The wave
project referenced by the object also has to be available if you want
to reload the object.

Save Session
This will let you save a complete session in MAGIX Music Studio 12
deluxe. This includes information about all just opened projects and
their respective window positions etc.. This is useful to be able to

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continue later at the same place without having to load the individual
projects first.
If a session is stored with the name “startup.sam”, this session is
automatically loaded at the next start of MAGIX Music Studio 12
deluxe.

Rename Project
The “Rename Project” command will let you rename a project file
rather than save it to a different file. For RAM Wave projects, only the
internal names are changed (without being saved). But all
corresponding files are renamed immediately in the case of HD Wave
projects.
RAM Wave projects need to be saved after renaming the project.

Delete HD-Wave Project
HD Wave projects are deleted from the hard disk. Use this command
with caution, as all corresponding files are lost.
(If you wanted to delete a HD Wave project (HDP) from a file manager
such as Windows Explorer, it would also be necessary to delete the
graphic files related to the project files.)

Delete Virtual Projects
With the command Delete Virtual Projects you can comfortably delete
VIPs and all wave projects used in the VIP. All files belonging to a
multi-track project (the WAV file containing the audio files, files with
the graphics data, and the HDP file with the project information) will
be lost.
Warning: There will be no further security query. The data will be
deleted immediately after pressing OK.

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Convert audio
Save in Format
Use this function to convert wave projects between the various
MAGIX Music Studio 12 deluxe formats for wave projects.
This can be useful, for instance, if you want to convert RAM-wave
projects in HD wave projects or L&R wave projects (2 connected
mono samples) into stereo wave projects.
Stereo Wave> Mono
A Stereo Wave Project is copied and converted into a Left Mono
Wave Project and a Right Mono Wave Project .
2Mono > Stereo/LR-Wave
Two mono projects are linked to one L&R Wave project. This is a
convenient way of editing joined mono samples with the same
operations.
Here you can connect two mono wave projects to one L&R wave
project. You can then perform common operations and apply them to
all samples.
After applying the command you will be prompted to activate the
second mono wave project that you want to connect to the active
mono wave project. To do this, click on the title bar of the
corresponding window. Please note that only mono projects can be
linked to mono wave projects of the same bit and sample rate. The
lengths of both projects are adapted to each other.
L&R-Wave - 2 Mono
L& R Wave projects can be split into two independent mono projects
using this function. This way you can break the fixed connection of
the samples to one another and edit them individually. If you wish to
edit them again together, select the function 2 Mono > L&R Wave.
L&R-Wave - 1 Mono
The current L&R Wave project is converted into a mono mode. If it
was a stereo project before, both channels will be mixed. The
previous samples are first added with 100% of their image and then
divided by two to prevent over modulation (distortion). This is an
equivalent of reducing the volume by 6 dB.

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1 Mono - L&R-Wave
The original mono Wave project is duplicated and converted into a
single L&R Wave project with the same sample in both channels.

Export audio
Here you can export VIPs, HD wave, or RAM wave projects in the
formats WAV MPEG (1:10), Dump, MS-Audio, AIFF with Quicktime,
16-bit AIFF and Real Audio or MP3.
Note on exporting audio: The audio data from HD Wave Projects can
be further processed or imported directly as WAV files from HD Wave
Projects. The use of the "Export sample" function is only necessary
when the data is to be copied. The storage space required on the
hard drive is not increased; of course, copying requires considerably
more time.

Export podcast
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" webradio 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.
Select the "Upload arrangement as podcast show (audio)" in the
iPACE > 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.

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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
of your MAGIX Online Album the cast can
now be found in its new format in the newly created folder "My
podcasts".

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
album website to automatically receive podcasts now and in future.

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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 Studio 12
deluxe 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.
With Make podcast you can publish your project as a track on your
podcast.
The export podcast dialog now opens. Here the required information
for your podcast track has to be entered.

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Export podcast: The project is encoded as an MP3 and then
uploaded to the MAGIX Online Album. You can only upload one
contribution at a time (one file).
Description: It is important to enter a unique name and description so
that other listeners will find your podcast.
Responsible: Here you enter your email address so that you can be
contacted.

Batch-processing
Batch-processing lets you automate work processes. You can
stretch out a specific editing function of a wave project in the same
way onto a file list of any size (the "batch"). The files are then
executed automatically, for example, over night.
Possible editing processes include:
•
•
•
•

Normalization
Linear fade in and out
All realtime effects available in the Mixer master
Format conversions: Word width (16/24/32 float), sample rate,
stereo/mono/left/right
• Save in all available export formats.
For example, you can normalize an entire folder of 24-bit wave files to
96%, add 5ms fade to the beginning and end of each, compress with
the multi-band compressor, convert to 16-bit, resample at 22kHz,
and save as MP3.

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Source files

Here you can create the list of the files you wish to edit with the "Add
file" button. Multiple selection is possible. With "Load folder" all audio
files in a folder as well as all subfolders are added to the list. All audio
formats that MAGIX Music Studio 12 deluxe can import can be
loaded. With "Save list" you can create a playlist (in the widespread
*.m3u format) so that you can use your file selection once again. Use
"Delete" to remove all selected list entries. "Delete all" removes the
entire list.

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Effects

Amplitude: You can normalize to a specific maximum value in %/dB
or sink/raise the level by a certain value. Read more on this in the
"Effects" menu chapter > Amplitude/Normalize.
Effect presets – Mixer master channel: So that you don't have to list
out innumerable effect settings in the batch processing dialog again,
the effects can be integrated using mixer preset files.
In the Mixer it's possible to export all settings of the Mixer in a Mixer
preset (*.mix). This happens via the "Save Mixer Preset" button in the
Mixer.
When you load the *.mix file into the batch-processing function
("Load preset") all effect settings of the master channel will be
calculated into the file batch. (All other data from the Mixer preset, for
example, channel strips, groups, etc. will be ignored). With "Edit
preset", you can open a special FX routing dialog from which you
have access to all effect parameters.
(More information on FX routing can be found in the Effects chapter).
Mixer presets which were saved in the "/fxpresets/batch" folder can
be selected directly from the list box.
Effects: Beside the master effects of the Mixer preset the nonrealtime effects "Resampling/Timestretching", "Remove DC offset",
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and "Remove modulation" (DeClipping) can be used. "Settings"
opens the corresponding effect dialog.
Fades at the beginning and end of projects: Linear fades of any length
can be added to the beginning and/or end of files.
Destination format

All settings on this page can be saved as presets. You can freely
choose the bit resolution (16/24/32-bit), the sample rate,
stereo/mono/left/right as well as the save format with the
corresponding format options. You can find out more about the
sample rate in the "Offline Effects" menu > "Change Sample Rate..."
Read more about export formats in the "File" menu > "Export".

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Destination files

There are various options for saving the files you edited:
• Replace files: The original file is replaced by the edited one. If the file
is used in a VIP, the VIP is closed first.
• "Save files in source directory with changed name/Save files in
directory": The edited file is saved in the source directory or in any
chosen directory. The specified suffix/prefix is added to the file
name. Optionally, the source files can be deleted after editing.
• Keep source directory structure: This option saves all files including
the source path. This allows you to keep folder structures of CDs.

Connect to the Internet
This menu item allows you to terminate an existing Internet
connection directly from within MAGIX Music Studio 12 deluxe. You
will have to enter the necessary connection details and a modem
should be installed correctly. To restore the Internet connection, click
the "Dial" button.
Warning: the Internet connection only works if you have registered
with an Internet provider or have the necessary access data.

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FTP Download
This option allows you to build up a direct connection to any FTPserver on the Internet in order to download sound material directly
into your MAGIX Music Studio 12 deluxe so that you can edit it there.
The pre-set server is the MAGIX Server, where you will always find
new sound-material. Once again, the only thing you need is a working
Internet connection.

Send project via email
This option compresses your VIP to an audio file in WMA format.
Then your mail program is opened and the project is added to a new,
empty message as an attachment. All you have to do is enter the
address and click on "Send".

Close Project
Closes the arrangement.

Exit
Closes MAGIX Music Studio 12 deluxe.

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Menu Edit

Menu Edit
This menu contains all functions, which are similar to cutting on a
tape machine.
In virtual projects, you can select track sensitive ranges, so only the
selected tracks are manipulated.
Activate cutting and copy also makes a project named Clip activated.
The window for this project will appear if double-click on the icon.
Some of the functions are only available for Wave projects. Others
only for virtual projects (VIP), while some of the functions will work in
all types of projects.
When working with a virtual project (VIP) a selected range is always
required for the cut functions. The beginning and end of the selected
range determine the start and ends of a cut. The vertical position
indicates which tracks are affected by the edit.
It is recommended to use the Auto-Crossfade function to achieve
smooth transitions between the edit points. This will automatically
create fades at the object edges.
Please note that these functions are processed for both channels
when working with stereo and L&R Wave projects. (If only one
channel is to be edited, you will need to convert the Wave project into
two mono Wave projects.)

Undo
MAGIX Music Studio 12 deluxe offers you a comfortable way of
tracking your changes in virtual projects. Up to 100 changes can be
kept in memory and traced backwards. That means virtual processes
can be reversed (undone). Range and marker manipulations can also
be undone using the “Undo” feature.Thanks to this extremely efficient
feature, critical operations can simply be tried and then reversed to
return to the original status if the results are not satisfactory. MAGIX
Music Studio 12 deluxe offers a convenient undo option for VIP
objects. A maximum of 100 undo steps can be retraced. This number
can be configured in File/Preferences/Undo Definition.
Keys:

Ctrl+Z
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Menu Edit
Redo
Redo revokes the latest undo command.
Keys:

Ctrl + A

Undo-History

Displays the Undo History dialog.

Cut
Wave Projects
The audio data in the selected range are copied from the current
Wave project into the Clip. The material behind the removed range is
merged with the material in front of the removed range to close the
gap. The complete Wave project becomes shorter.

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Please keep in mind that the Clip always contains the same attributes
as the Wave project the material was copied or removed from.
If you cut material from a mono Wave project, the Clip becomes a
mono Wave project. If material from a stereo Wave project is cut or
copied to the Clip, the Clip becomes a stereo Wave project. Another
attribute adopted is the bit resolution and the sample rate of the
originating Wave project.
The previous contents of the Clip are deleted.
After a successful removal of the selected material, MAGIX Music
Studio 12 deluxe drops a marker at the position the removed range
previously started. This allows you to insert the contents of the Clip
into the Wave project at the exact same spot if you accidentally
removed the material. Use the function Edit->Paste/Insert Clip to
insert the Clip contents.
Virtual Projects (VIP)
In virtual projects the selected range is copied to the VirtClip and is
removed from the current VIP project. The VirtClip does not contain
actual audio information, only the links to the audio files. The VirtClip
also contains as many tracks as the removed range.
The material behind the removed range is appended to the material in
front of the removed range. The VIP project becomes shorter if the
selected range did cover all tracks. This way you can shorten VIPs,
which contain empty space behind the last object.
As with the Wave projects, a successful removal of the selected
range drops a marker at the position the removed range previously
started. This allows you to insert the removed material with
Edit->Paste/Insert Clip.
Keys:

Ctrl + X or X

Delete
The data of the current range is deleted. The sample data after the
deleted range is added at the position the deleted range started. The
sample length becomes shorter.
Please note that this command will not save the deleted data to the
Clip. If you want to preserve the deleted sample data, use the “Cut”
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command. Using this the “Delete” command will delete the data from
the current sample and preserve the contents of the Clip.
Key:

Del

Copy
The current range is copied into the Clip but not deleted in the
project. The sample length is not varied. Please note that the former
Clip contents are deleted. The Clip again has the same attributes as
the project.
Keys:

Ctrl + C or C

Paste from clip
The contents of the Clip are inserted into the current project behind
the position of the play cursor or the beginning of the currently
selected range. The data or objects that are located behind the insert
position are moved out of the way to make room for the Clip
contents. The samples or audio tracks become longer. The Clip
remains unchanged during the procedure. If the Clip was empty, an
error message is displayed.
After inserting the contents, the program selects a range over the
inserted area. If you select Edit>Delete, the inserted contents are
removed and the project is returned to the original state.
In virtual projects using selected ranges, the program utilizes the
beginning position and relative track position as the insert point for
the VirtClip or Clip contents.
Clip

Project

Clip Channel

Project Channel

Mono
Stereo

Mono

Stereo

Mono

Channel
Channel
Channel
Channel
Channel
Channel

Keys:

Ctrl + V or V

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1
1
2
1
1
1

1
1
2
1
2
1

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Extract
This function is the counter part of the ‘Cut’ function.
Wave projects: The current range is retained, the data before and
after the range is irrevocably deleted. The length of the sample is thus
reduced and the content of the clip remains.
Virtual projects (VIP): All tracks of the VIP keep the length of the
selected range, irrespective of the position of the range.
This function does not work track-specifically. Here, the objects
before and after the range are deleted. This function does not
influence the VirtClip.

Insert Silence
The ‘Insert Silence’ option will insert ‘blank’ data at the current play
cursor position or the starting position of the currently selected range.

Append Projects
With this function a project can be appended with another project,
i.e. the material of one project is copied directly behind the material of
the first.
You need to first select the object you want to append. Then you
activate the menu and click on the project you want to add to the
first.
A particular use of this option is the ‘cleaning up’ of VIP’s that contain
numerous physical samples.

More
Set Silence
Copies the selected VIP Range into the Clip and clears it in the VIP
Project. The Project length is not changed. Please note that the
previous Clip contents are deleted.

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Menu Edit
This is a good way to remove a section of a VIP for use elsewhere
without affecting the length of the Track(s) from which the material
was removed.
Keys:

Alt + Delete

Copy and Silence
Replaces the selected Range with silence (VIP). This command is
useful when you want to remove material without changing the length
of the VIP Track(s).
This command will not save the deleted data to the Clip. If you want
to preserve the deleted data in the clipboard, use the Edit >
Copy+Clear command.
Shortcut:

Alt + C

Copy as
The current range of a Wave project (HDP or RAP) is copied into a
new file. A file requester appears to select the name of the new
project.
Keys:

Shift + C

Overwrite with Clip
The current range is replaced with the Clip contents. The overall
sample length remains unchanged. The data that occupied this
position before cannot be recalled. The Clip contents are not
changed. The assignment of the Clip channels follows the table
mentioned above.
In virtual projects, the selected range determines the position and
track in which the Clip is inserted.
Keys:

Alt +v or Insert Key

Mix with Clip
The range contents and the Clip contents are mixed. Much like with
the "Insert" function, the rules for channel assignment between
project and clip also apply here. The clip itself remains unaffected.
Please note that with this function both components (i.e. the sum of
both) are entered into the mix at 100%. On the one hand, it
guarantees that the volume of the project sample doesn't drop
suddenly, while on the other hand, there is the danger of
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overmodulation.
You may have to adjust the amplitude of the
project prior to this (see Edit menu).
Crossfade with Clip
The content of the range is crossfaded with the content of the clip.

Delete Curve Handles
Delete Volume Handle
This function deletes volume curve events, which have been
previously selected. Individual volume events can be deleted by
selecting the Object and Curve Mode mouse mode and double
clicking the left mouse button on a volume curve event. However,
when deleting several curve events, the “Delete Volume Handle”
function is the best tool.
Delete Panorama Handle
This function deletes panorama curve events, which have been
previously selected. Individual events can be deleted by selecting the
Object and Curve Mode mouse mode and double clicking the left
mouse button on a volume curve event. However, when deleting
several curve events, the “Delete Panorama Handle” function is the
best tool.
Volume/Pan curve active
This option has the same functionality as the corresponding buttons
in the track info box: the corresponding curve is activated so that it
can be edited.

Delete Undo Levels
This feature will delete the Undo levels of a virtual project. This is
useful, if for example certain Wave projects are left in the Undo chain,
but do not exist in the VIP anymore. You won’t be able to process or
delete the Wave project if the Undo chain still contains a reference.
After deleting the Undo levels, these projects are available again.

Crossfade Editor
Crossfading with the Crossfade Editor

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In the VIP select the objects into which you wish to fade and open
the Crossfade Editor.

The following editing options are available for selection:
Crossfade Length: The length of the crossfade can be set in varyingly
large steps. A click on the "+" / "-" buttons increases/decreases the
length in small steps, the "++" / "--" buttons in larger steps. Use the
button "-/+" to customize these step effects to your needs. The
crossfade length can also be defined by a selected range in the VIP
by clicking on the "Get Range Length" button in the "Range" menu.
This range has to be selected before opening the Crossfade Editor.
Fade In / Fade Out: There are lots of different curve types available
for selection for the crossfade:
Linear (0)
Exponential
Logarithmic
Cosine
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Sine/Cosine
The faders can still be used to change the curves in the
corresponding available range. Linear curves require less computer
power than non-linear.
Note: The settings for fade in/out in the Crossfade Editor are applied
to the selected object if it does not overlap any other object.
Global settings: Place
The current settings are defined as preset. This is useful, for example,
when an object is split with the "T" key and you wish to create a
crossfade between the two objects. When opening the Crossfade
Editor, the specified settings are set as default.
Global settings: Get
Use this button to get the presets of the Crossfade Editor.
Get Range Length: The range length of the range selected in the VIP
is set as the crossfade length.
Fade Offset: Here you can specify how much of the fade should be
outside of the object border. Usually, the entire fade can be found
within the borders of the object, that is, the fade starting point is at
the start of the object (0%) as is normal with fade ins/outs of
individual objects. If the fade becomes part of a crossfade, it may be
necessary to modify it. If, for example, the second object starts with a
drum beat, it would be better to execute the crossfade beforehand in
order to keep the "attack" of the drum beat.
The value can be changed from 0% (fade within the object borders)
to 50% (fades symmetrical to the object borders) to 100% (fade
outside the object borders) – the object is then stretched by the
percentage of the fade length. The "actual" beginning of the object is
displayed as a dashed line.
With a fade offset of over 0% make sure that the corresponding audio
material is available in the wave project, otherwise it may be the case
that an object with a modified fade offset cannot be faded in or out.
If, for example, the object starts at the exact beginning of the wave
project, you will no longer be able to crossfade if the fade offset rises
above 0%.

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Menu Edit
Crossfade off: The "Crossfade off" button deactivates the crossfade
of the selected object. The fade out time of the first object is set to 0.
Play / Stop: This button starts playback in the selected range or at
the cursor position.
Move crossfade position: The end of the first object and the end of
the second object are moved equally. The ++/--/+/- buttons are used
to set the crossfade length.
Permit asymmetrical crossfades: The fade offset settings of both
objects are no longer connected to one another and can therefore be
set independently of one another.

Auto Crossfade active
If this option is turned on, all newly recorded or cut material in a VIP
or material that is copied from a Wave project into a VIP track has an
automatic crossfade applied to it.
Global settings for fade-in and fade-out parameters are assigned to
the object. These settings can be changed with the crossfade editor
in the Edit->Crossfade Editor.
If two objects are overlapped that had an automatic crossfade
applied to them a real-time crossfade is the result.
The auto crossfade mode is an excellent tool to easily perform a
linear cut of a spoken voice track, jingle track etc., which requires a
soft passage without the unwanted “pops”. If needed, each
crossfade can be edited in the editor or by manually manipulating the
handles.

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Menu View

Menu View
This menu contains tools for manipulating the display of MAGIX Music
Studio 12 deluxe.

Rebuild Graphic Data
Display inaccuracies after complicated sample processing can be
fixed by using this menu option. The screen (window) will be cleared
and redrawn to display the project properly.

Sections
MAGIX Music Studio 12 deluxe allows the optional display of one,
two or three sections of the samples belonging to one Wave project
or the VIP itself. Other audio editing applications usually show only
one window of a sample.
If you select “2”, MAGIX Music Studio 12 deluxe will display the same
sample in two window sections. Each section can be handled
separately. It is possible, for example, to represent the complete
sample in one section and a zoomed in version of a certain range in
the other.
The mode “3 sections” is especially useful for searching for loop
points in Wave projects.
The whole sample can be shown in the upper section, while the
section on the lower left displays the beginning of the loop range and
the section on the lower right the end of the range. Use the split
range function for this purpose (key b).
Go back to 1 view with Shift b!
This is only an example of the mode “3” view. All sections can be
handled independently.
You can also drag ranges over the section bounds. Establish the
starting point of a range by clicking, then keep the mouse button
pressed, and change over to another section. MAGIX Music Studio
12 deluxe will show you the size of the range and at the desired

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Menu View
location release the left mouse button to determine the end of this
range.

Fix vertically
Ranges can be dragged (pulled) in MAGIX Music Studio 12 deluxe
horizontally and vertically as well. If this option seems too strange to
you, you can fix the upper edge of a range(s) to the maximum value
and the lower end to the minimum value. Thus, you get the usual
representation in range dragging. However, a trade-off is, that you
will not be able to define the vertical extension of a section by
choosing the vertical range button.

Hide SubMix/Aux Busses
With this function you can hide or minimize the tracks of the mixer
busses. Please read the corresponding notes in the Mixer chapter.

Show Grid
With this option, you can define the type of grid that is used for the
Show Grid option. Select between several line styles.
Key:

Grid Lines
With this option, you can define the type of grid that is used for the
Show Grid option. Select between several line styles.

Units of Measurement
In this submenu you can adjust the varius measurement settings.
They will affect the start and length details of the current range in the
project window, the grid measurement and the position details of the
play cursor (position line). Measurement units such as samples,
milliseconds, SMPTE (with different frame rates), bars and CD-MSF
are commonly used.
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Menu View
Snap to Grid
This function switches the Grid on and off.
When working with virtual objects the Virtual Grid becomes available.
Objects can only be shifted to the beginning, the end, or the hot spot
of another object. The reference point is usually the beginning of the
object to be shifted to. A hot spot when defined will be used as a
reference point as well.
If several objects have been selected, the move is performed in lining
up the beginning of the last selected object in the sequence with the
reference object or Grid point. All selected objects remain their
position to each other.
This option can be used to easily rearrange objects with their audio
patterns and gain sample-exact connections.
Keys:

Snap and Grid Setup

Object: Activates the object grid.
Range: Activates the range grid and enables the use of the current
selected range as grid base (by clicking on the button “Get Range”).
This option is very useful if you have found the perfect location
defining a particular music bar in the sample. To transfer the range
into the grid, use the command “Get Range”.
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Menu View
Bar Snap: Activates a grid, this is based on bars and beats. You can
specify the speed of the measure by entering the BPM (Beats Per
Measure) value in the dialog box. By clicking on the “Bar Definitions”
button you have more options to specify the parameters for this
option such as the time signature.
If a complete 4/4 measure is selected the number of beats in the
measure would be 4. The length of the range would determine the
speed in BPM that is needed to play the sample in the selected time
frame.
Bar Definitions: This dialog lets you specify the bar settings, e.g.
Numerator / Denominator, the speed in beats per minute and the
timer resolution in peaks per quarter note.
Keys:

SHIFT + R

Key for switching the two modes:

Tab

VIP Display Mode
Definition
This dialog can be used to change and select both alternative display
formats for objects in virtual projects.

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Menu View
Here the properties of the display for both formats can be selected.

Draw mode 1/2
Switching between the two modes is possible by pressing the Tabkey. You can also toggle between Mode 1 and Mode 2 by selecting
the appropriate mode from the Menu item.
Waveform Display
Draw Samples: The audio sample representation is switched on.
Usually you will leave this on, but it can be advantageous to
deactivate sample representation if you want to see the volume and
pan curves more clearly.
Scale with Fades/Curves: In this default representation mode the
Waveform drawing is scaled according to the settings of the Fade
In/Out or Volume curves. This way the decay of the sound during a
Fade Out, or volume changes caused by a volume curve, are more
obviously visible.

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Menu View

Halve: The graphical representation of the audio material can be
displayed as a whole Waveform or half the form for higher definition.
Checking this box will display the Waveform with half its information.
This mode is recommended, because the Grid function (key #) and
the vertical Zoom functions (Ctrl + cursor up/down) are perfectly
adapted to this draw mode. Volume Curves results also display better
in this mode.

Separate Stereo: If this option is active, stereo tracks in VIP Projects
are displayed with a two-channel Waveform. This allows you to
expand the display to both channels rather than displaying just one
composite channel display. Please keep in mind that this will also
affect the Wave Project display for stereo Wave Projects.

Envelope only: When this radio button is selected only the Waveform
outline (envelope) is drawn. This can be useful when constructing
crossfades, allowing for easier view of the overlapped Waveforms.

Transparent: When this radio button is selected the colors of both
crossfade Waveforms are overlapped. This works best in front of a
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dark background (default). We recommend that you combine this
mode and the Draw Mode option Waveform Colors > Red/Blue
alternation to display the crossfade areas optimally.

Interleaved: When this radio button is selected a sample of the left
Object and a sample of the right Object is drawn alternately within a
crossfade. You can then visually assess the fade area, especially if
the adjacent Objects have different colors.

VIP
Various VIP components (Buttons/Slider, Peak Meters, Show Border,
Arrangement Text, and Vertical Auto Zoom) can be activated and
deactivated here.
Objekte
Background: Each Object in the VIP Track can be assigned it’s own
color. The color is displayed if this option is checked.
Object Name: Objects in VIP windows can have their own name. If
this option is checked, the Object name is displayed.
Large Object Handles: When selected, larger handles for Objects and
volume / panorama curves will be displayed.
Project Name: MAGIX Music Studio 12 deluxe also allows you to
display the audio file name in each Object. This is especially useful if
you quickly want to identify the Wave Project used in an Object.
Object Properties: This shows you which Object related effects are
applied to the Object, e.g. EQ for equalizers, DYN for dynamics etc...
Group Number: Objects in VIP windows can be grouped together.
When grouping Objects it is helpful if the group number is displayed

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Menu View
in the Object. This option allows you to display that information in the
Object.
Object Lock Button: When locked an Object cannot be moved.
Setting this option will let you comfortably change the lock/unlock
status of an Object by clicking on the key in the lower region of the
Object.
Waveform Colors
Red/Blue alternation: This representation mode colours the
Waveforms of adjacent Objects alternately red and blue, to improve
the visibility of crossfades in the Transparent and Interleaved drawing
modes.
Mode 1
Mode 1 has been selected for displaying virtual projects
Modus 2
Mode 2 has been selected for displaying virtual projects
This mode also includes an enlarged display of volume and panorama
points. This means you can quickly switch between normal and
enlarged display modes with the Tab key.
Change mode
Switches the display of virtual projects between both modes.
Key:

Tab

Store position and zoom level
This function does the same as the snapshot-buttons at the bottom
left of the VIP. The four buttons in the lower left-hand section of the
Virtual project window allow you to save four setups.

Get position and zoom level
Opens the saved screen section including the zoom level.

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Menu Track
Horizontally
This menu contains all the functions of the horizontal (red) position
bar.

Vertical
This menu contains all the functions of the vertical (blue) position bar.

Menu Track
Insert new Tracks
Add one Track
The virtual project is expanded by one empty track.
Add several Tracks
The virtual project is expanded by one empty track, which is inserted
below the selected track.
Insert empty Track
The virtual project is expanded by one empty track, which is inserted
below the selected track.
New SubMix/Aux Bus
The Virtual Project is expanded by one SubMix Bus/AUX Bus track,
which is inserted below the selected track. Please refer to the Mixer
chapter for details!
New track folder
Inserts a new folder track in front of the marked track. If a range
across several tracks was highlighted before creating the folder track,
each of these tracks will be added to the folder.
Tracks can be moved into the folder with drag & drop, by clicking on
a free area in the Track box. The mouse pointer turns into a hand.
Similarly, tracks can be removed from the folder via drag & drop and
out of the Track box.

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Menu Track
Certain actions can also be grouped. This means an action
performed on a folder track affects all contained tracks. Tracks in a
folder can be:
• faded out with the Reduce track button. All tracks included in the
folder track are displayed in reduced size.
• switched to mute, lock, monitoring, and solo.
• volume controlled. The individual volume faders of the tracks are
scaled relative to another, independent of the current function of the
track volume fader (MIDI, CC, or audio level)
• can be activated (the displayed condition corresponds to the first
track of the folder, joint switching is only possible with
different/multi-track recording devices)
If the folder track display is enlarged (opened up), all included tracks
are displayed as well with a frame in the color of the folder track. The
track color can be selected in the track settings. If the folder track is
minimized, the tracks included in the VIP are hidden. They continue
to be available in the Mixer. They are also available in the Mixer.
Normally all the tracks can be seen with the objects they contain in
the folder in a smaller display. Section marking in the folder track is
carried out across all tracks. Use this view mode for section-based
cut operations across all tracks of the folder track.
By right-clicking on the Track box of the folder track, the contained
track can be used as a reference track. The objects of this track are
displayed in the folder and can be used for simultaneous objectbased cutting operations for all objects of the other tracks in the
folder track that are grouped with these objects. Object groups like
these typically originate from multi-track recordings.
The usual method of working with folder tracks would be as follows:
1.
2.
3.
4.

Initiate a multi-track recording. This creates several grouped
objects, one below the other.
Select an area over all the objects that you wish to edit together.
You can now create a folder track!
Minimize the folder track and choose one of the contained tracks
as a reference track.
The object of the reference track now appears in the folder track
instead of the emblematic display of all contained tracks. All object
editing, cuts, fades, and Object Editor effects of this object are
now applied to all objects of the folder tracks! (Changes in the
Object Editor take effect only after Apply/OK)

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Menu Track
Folder tracks are not visible in the Mixer.

Cut Track(s)
Cuts out the complete tracks that have been selected by the range.

Copy Track(s)
All selected tracks in the VIP are copied into the VirtClip.

Insert Track(s)
All tracks in the VirtClip are inserted into the current VIP above the
actual selected track or Range.

Delete Track(s)
All selected tracks are deleted from the actual VIP.

Track Properties
Here you can edit the properties of the active track. These are:
Mute: The mute button mutes the active track.
Solo: Switches the active track to Solo mode.
Solo exclusively: This setting switches the active tack to Solo
exclusive mode, i. e. you will only hear the activated track. All other
tracks are muted, unlike solo mode.
Record: Activates Record mode.
Lock: Locks the activated track.
Volume/Pan-curve active: Displays the volume or pan curve of the
activated track.

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Menu Track
Submix/AUX bus: If the activate track is a bus, it can be defined as a
submix and/or AUX bus.

Track Effects
Please read the chapter “Menu Effects”!
Copy/Paste Track Effects Settings
With this command you can copy the complete effects settings of the
active track into the clipboard.
Copy/Paste Track Effects Settings
With this command you can copy the complete effects settings of the
active track into the clipboard (to paste it on another track).
Reset Track Effects settings
Reset all Track effects settings to its defaults, i.e. no effects are
applied at all.

Surround Editor
Please read the chapter "Surround".

DirectX Plug-Ins
Please read the corresponding explanations in the "Effects" chapter.

Maximize Track
This Option minimizes all tracks except the selected track.

Minimize none
This Option un-minimizes all tracks.

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Menu Track
Track Freeze
The selected track is rendered into a wave file which replaces all
objects on the active track. Here, object and track effects are added
to reduce the PC's processor strain of having to process effects and
plug-ins.
The advantage of Track Freeze is that the frozen track is saved in a
separate VIP and can be edited/recalled at any time. This way it's
also possible to work flexibly and to keep resource usage at a
minimum even when working with less powerful computers.
Track freeze for AUX busses/submix busses
Bus/Aux bus tracks can be frozen just like regular tracks. This
enables a complete group of tracks to release the required CPU load
including all effects, fades, crossfades, and automation settings in
one step.
Submix bus
• Tracks routed onto the submix bus are not changed but remain
instead.
• The submix bus is muted ("Track" menu > "Track options" > "Mute
bus input").
• The file created while freezing is inserted into the AUX track as an
audio object.
• Changes made to the tracks after freezing which are routed to the
submix bus have no effect on the signal output while playing.
AUX bus
• Only AUX send settings in tracks are taken into account (not in
objects).
• Tracks routed onto the frozen AUX bus are not changed but remain
unchanged instead.
• The AUX bus input is muted ("Track" menu > "Track properties" >
"Mute bus input").
• The color of the AUX send fader (mixer) in the affected tracks is blue.
• An asterisk is added before the name above the AUX send faders
(mixer).
• The file created while freezing is inserted into the submix track as an
audio object.

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Menu Track
• Changes made after freezing to the tracks transmitting to the AUX
bus are not updated in the file created while freezing. Therefore, if
objects are moved into tracks transmitting to an AUX bus, the
audio signal on the corresponding AUX will remain the same.

Track UnFreeze
To re-establish the original audio or MIDI objects after unfreezing,
they were transferred, including all effects and automation data, to a
newly created project, which is also created in the freeze directory.
This freeze VIP is a normal MAGIX Music Studio 12 deluxe project
(VIP) and can be opened and edited (see below: Working with freeze
VIP’s).
Use the unfreeze command—found in the track menu—to reestablish the original state of all individual objects and effect settings.
Freeze and unfreeze commands are also available in the track menu
and can be called up for the selected bus/aux bus via the following
shortcuts:
Track freeze:

Ctrl+Shift+F

Track unfreeze:

Ctrl+Shift+U

Activate next /previous Track
The next (lower) or previous (upper) track in the VIP from the view of
the currently activated track is activated. With the Cursor keys you
can conveniently scroll up or down.
Key:
Activate next track

Cursor down

Activate previous track

Cursor up

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Menu Object

Menu Object
Contrary to the menu Edit all functions in this menu exclusively
manipulate selected objects in virtual projects. Selected ranges have
no effect with these functions.
Ranges are used to determine insertion points or cut positions of
objects. When inserting material into a virtual project, the range
beginning has the same function as the play cursor.

New Object
Use this function to create a virtual object. The current range in the
Wave project will be inserted into the virtual project at the play cursor
position.
It will also be the currently selected object. This is the same
procedure as the drag & drop method explained earlier in this
chapter.

New Synth Object
Please read the Synth Onject chapter!

Cutting Objects
Cut Objects
The currently selected object is replaced with empty space and
copied to the VirtClip. The length of the current project remains and
all other non-selected objects remain in their positions. The previous
contents of the VirtClip are replaced with the cut object.
Copy Objects
To place a copy of the currently selected object into the VirtClip
select this option. The contents of the VirtClip can then be inserted
into the project using the “Insert Objects” option (see below). The
previous contents of the VirtClip are replaced.

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Menu Object
Insert Objects
Objects in the VirtClip can be inserted in the project at the current
play cursor position. The other objects in the project maintain their
positions. Please note that the newly inserted object might cover
portions of the already existing objects.
Delete Objects
The selected objects are deleted from the current project. The length
of the current project however remains the same. Previously
unselected objects keep their positions. The contents of the VirtClip
remain unchanged.
Keys:

Ctrl + Del

Extract Objects
All objects not currently selected are deleted.
Please note that the function Edit->Extract works similar. However,
the Edit menu function requires a previously selected range!
Duplicate Objects
All selected objects are duplicated and pasted to the same position
as the original objects. The original object is overlaid with the copied
object. The duplicate object can easily be shifted to a desired
position by using the mouse. If several objects have been selected
before the duplication, press the shift key before shifting to ensure
that all objects remain in selected status and are shifted together.
This option does not make use of the VirtClip, so all contents of the
VirtClip remain unchanged.
This function is also available using your mouse. Press and hold the
Ctrl-key, click on the object you want to duplicate and drag the copy
to a new position in the project.
Another option is to use the drag & drop functionality for the Object
or Universal Mouse Mode:
If multiple objects are selected, press the Ctrl key and drag the
selected objects to the new position. This allows you to duplicate the
selected objects easily and without using the VirtClip.

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Menu Object
Duplicate Objects multiple
This function duplicates multiple objects and places them in
sequence. Another dialog is displayed, which allows you to determine
how many copies of the selected objects are to be duplicated, the
separating distance and the overall length of the duplication.
This is also another way of building Loop-Objects!
The following parameters are available:
Number of Objects: Determines the number of objects that are
created.
Group created Objects: When checked, all created objects are
grouped together.
Delta Time: This determines the relative position of each created
object to the next (from the beginning of one object to the beginning
of the next). The default setting is the length of the selected object. At
the default setting the duplicated objects line up without a gap
between them, this creates a seamless loop.
Duration: As an alternative, the duration can be specified, which are
the combination of time difference and the number of duplicated
objects.
Split Objects on Marker position
This function splits or separates selected objects so that individual
object sections can be further manipulated. All selected objects are
separated at the current marker position, which results in two
independent objects.
Split Objects on Marker position
This function splits or separates selected objects so that individual
object sections can be further manipulated. All selected objects are
separated at the current marker position, which results in two
independent objects.

Split Objects
This function splits or separates selected objects so that individual
object sections can be further manipulated. All selected objects are

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Menu Object
separated at the current play cursor position, which results in two
independent objects.
If a range is selected, the cut occurs on both range borders. It is not
necessary to select objects prior to choosing the range and calling
the Split Objects function. If an underlying object is separated, the
newly created object covers the original underlying object.
Keys:

Trim Objects
This function trims the object borders to the currently selected range
borders. The selected range needs to be located within the
confinements of the object you want to trim.
Keys:

Ctrl + T

Group objects
Builds a new object from the ones selected. Here, trackbouncing is
used.

Lock Objects
Lock Objects > Lock Objects
To protect objects from unintended shifting use this option. First,
select the objects you want to “lock” in place and activate the lock
function. A diagonal line is placed across the locked object.
In the Options menu you can specify the functions you want to lock.
Lock Objects > Unlock Objects
Hier wird ein Objekt wieder zum Verschieben freigegeben. Bei allen
selektierten Objekten wird die Fixierung aufgehoben.
Lock Objects > Lock Definitions
Here you can select, which options should be disabled:
Disable Moving: Disables moving of objects (default). This is useful in
multi-track projects to avoid delays between several tracks.
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Menu Object
Disable Volume changes: The volume handles are disabled.
Disable Fade In/Out: The fade handles are disabled.
Disable Length changes: The length handles are disabled.

Move Object
This menu contains functions for moving the objects themselves and
also for moving the wave project within the object and there are also
other functions for moving a cross-wire between two objects and for
changing the object loudness..
This menu mainly exists for issuing keyboard commands that can be
seen next to the entries themselves in the menu and can be changed
with the “Keyboard shortcuts and menu editing” function.
In the picture shown here the menu contains the standard settings for
the keyboard commands.
Commands for moving objects can also be found in the lower toolbar
(range bar).
Object to Playcursor Position
This moves the selected object to the actual playcursor position.
Object to Original Time Position
This moves the selected object to the original position where the
material was originally recorded. This is often helpful if an object was
accidentally moved.
Set New Original Time Position
The current object position is used to reset the Original Position
attribute for the object. This is also used in the Take Manager.

Mute objects
The selected objects will be muted.

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Menu Object
Build Loop Object
With this function, a loop can be defined within an object. An area,
which indicates the loop length, must be selected in the object first.
The object then becomes the loop object. That means that the
number of loops can simply be “raised” with the “length handlers” at
the bottom of the object.
Such generated loop objects are ideal for generating long drum
sequences from only one drum loop! Loop objects also help to save
memory, since in the VIP only one object is handled rather than
multiple objects or copies of the same material or very long samples!

Hotspot
The current play cursor position is turned into a reference point for
the snap function. Instead of the object’s beginning, the hot spot is
now used when the object is snapped to the grid. Stroked vertical
lines illustrate hot spots. Hot spots may stand outside an object (in
front of or behind the object). This function is very useful for a case
where the portion of an object to be synchronized does not line up
with it’s beginning.

Select Objects
To select all objects located partially or entirely in the selected range,
or at the current play cursor position.
Select Objects > Switch Selection
To select all objects located partially or entirely in the selected range,
or at the current play cursor position.

Group Objects
All selected objects are grouped together. All operations are applied
to the whole group.

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Menu Object
Ungroup Objects
Selected objects are ungrouped. Individual objects are available for
processing after that.

Object color/name
Object Foreground Color
After selecting the desired color, all selected objects in the project will
have the same foreground color.
Object Background Color
The background color selected in the color grid is applied to all
objects.
Object Name
The selected new name is applied to all selected objects.

Object Editor

Introduction
One of the outstanding characteristics of MAGIX Music Studio 12
deluxe is the object editor.
On the one hand, the object editor allows characteristics of each
audio object to be edited in detail (more accurately than with the
mouse in the VIP), therefore allowing you to enter the object length
numerically or specify the fade characteristics.

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Menu Object
Note : Synth objects can also be edited with the object editor like all
other objects. The object editor can be opened via the menu:
"ObjectàObject editor "or via double-click on the synth object while
holding down the shift key.
On the other hand the object editor allows real-time effects, EQ and
dynamic editing to be applied to the object without having to fall back
to track effects in the mixer. The selected editing process is
independent of subsequent changes to the object position (e.g.
moving/copying onto another track). It also means time-consuming
effects can be applied in an extremely targeted manner by only being
used when needed.
Tip: One can "automate" the MAGIX Music Studio 12 deluxe effects
in this manner! If a certain passage within an object needs particular
"treatment", simply isolate the object and change the appropriate
values in the object editor of the re- created object.
Operating the Object Editor
The object editor is non-modal, i.e. it can remain open constantly
(remember: with < / > you can move between the objects!). If you
select another object, the indicated values are adapted accordingly.
Object parameters can be seen in three different display windows the Object Effect window, the Position/Fades window and the
Timestretching/Pitchshifting window. To switch between the three
opinions, click on one of the three icons on the left side. The following
control elements are available in all 3 display modes:
Play/Stop: refers to normal play via transport control
Play Solo: temporarily mutes all other objects and plays the object
solo – the tracks / busses remain open for consideration (with all
existing effects).
The LED lights up whenever the selected object is played. This
supports control in as much that the indicated values correspond to
that which you hear.
next/previous object

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OK: you can also edit several selected objects (e.g. a group of
objects) together. The values indicated in the object editor always
correspond to the object last selected (and/or with grouped objects,
the object clicked). When closing the object editor with OK, changes
to the values are applied to all selected objects. (when closing with
Alt + OK, only on the current object). With "apply changes to all" you
can also update all selected objects with the object editor open.
Object name: by default the name of the referenced wave project
appears. Another name may be given however.
Color: Here the front and background color of the object is set. You
can also set the color of grouped objects automatically ("Color " in
the "System Options")
Lock: Corresponds to the "Lock" button in the object see
FX Bypass: Deactivates all real-time object effects.
Copy/Paste: a clipboard for fast transferring of object effects settings.
The Object Effect Window
FX Inserts
The AudioStudio FX Inserts supports the following high-end audio
effects:
• Clean FX (Denoiser, Dehisser)
• Sound FX
• Vocoder (also contains a real-time freehand correction filter to filter
out dissonant frequencies
• FFT-EQ with SoundCloner
These effects are assigned to each audio object in real-time.
In the Volumen/Pan section you edit panorama and volume-specific
settings.
With the on keys you can switch plug-ins on or off.
Plug-ins
The plug-in section offers you a very effective dialog for plug-in
processing. With one click on an effect slot a menu opens in which

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Menu Object
you can select DirectX and VST plug-ins. This menu also contains an
entry for the effects from the "Vintage Effects Suite".
The practical "On" button makes it possible to switch the plug-ins on
and off in a flash for comparison purposes. The "Edit" key makes it
possible to configure the selected plug-ins and their settings. More
detailed information can be found in the section on "Plug-ins".
The Position/Fades Window
Length and End of an object numerically in a number of formats.
For all entry fields regarding duration, you can select a duration
length from a list on the right.
Position/Length
Object Start/End: Numerical entry field in the VIP
Object Length: Numerical object length.
How to move an object in increments: Here the increments for shifting
the object is numerically edited. The object is then shifted according
to the selected increment when you press the arrow key behind the
input field.
Wave Start: Shifts the wave content within the object.
Wave Project: Allows you to exchange wave projects and objects.
The Pitchshifting/Timestretching Window
Pitch and duration of an object can be changed independently at the
same time. In this window you can adjust pitchshifting and
timestretching parameters for the selected object. For more details (in
particular regarding the modes used) please read Resampling /
Timestretching / Pitchshifting in the "effects" section.
Timestretching and pitchshifting can be employed independently of
each other (except when resampling).
Pitchshifting: pitch re-alignment can be entered either as a factor
relative to the initial value or absolutely in semi-tones and
percentages.
Timestretching (change of speed): speed re-alignment can be entered
either as a factor relative to the initial value or absolutely as a new
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object length. You can also enter a completely new tempo so long as
the original speed of the object is entered. This is read either directly
from the wave project, from the Loop length, or determine
automatically by stretching a range over the object.
Note: One of most frequent applications of the object editor is the
organization of your own CDs. Each song can be a separate object.
This creates an extremely flexible working environment that is fast
and efficient.

Object Manager
In the object manager all objects used in a VIP are indicated in
sequence of their temporal appearance. With this option the object
manager features a function which is often offered in other programs
with 'Play Lists'.

In the object manager objects can be selected, which are also
activated in the VIP. If you press play, a range over the selected
object is applied. Small objects can be identified and manipulated
easily.
Ctrl + a mouse click will select several objects; Shift + a mouse click
will select all objects between two selects (like in the Windows
Explorer).

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Menu Object
Particularly productive in the object manager is the search function :
You can look for certain objects with it in full text mode rather than
just the graphical representation of the objects. For example you
could look for all HD Wave projects with the name 'XYZ.HDP' or all
objects that contain the name 'Intro'. You simply enter the search
criteria in the text field and click on 'Search'. All found objects will be
selected and are available for further processing.

Take Manager
The description can be found in the "Tools" menu.

Wave Editing
Opens the wave project (contains audio files) belonging to an object
and displays it in the wave window.
The range corresponds precisely to the part of the audio data which
the object accesses.
You can carry out destructive (offline) editing In the wave window.
Cut and copy functions are available for destructive editing (Edit
menu) as well as complex effects (Effects menu).
Destructive editing is not necessarily a recommended method.
If you have duplicated objects, i.e. several objects are using the same
audio data, all these objects will have changed once you have
changed the wave project.
Please note that the cut and copy processes, fades, crossfades, etc.
can be performed much more elegantly and more quickly as nondestructive virtual projects.
Almost every effect can be used on objects directly in the virtual
project.
Please also note that it is better to work in single-track virtual projects
even if you only want to edit WAV files in MAGIX Music Studio 12
deluxe. You can quickly and conveniently perform all editing
operations here. If you have to use longer WAV files, for instance, you
have to wait after each editing sequence until the audio data has
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been copied to the hard drive. However, you can work considerably
faster if you use virtual projects.
With the Trackbouncing function (Tools menu) you can create a new
WAV file from the virtual project.

Range menu
This menu contains many functions for managing selected ranges.
You can easily save, burn and reopen ranges and marker positions
via the function and number keys.

Range all
The range will cover the complete sample. This command comes in
handy if you want to apply changes to the entire sample with
functions that normally only address certain ranges.
Keys:

Move play cursor
This submenu command sets the start position of the play cursor
(position line) to the following position of the project:
To start
To end
to Start of Section
to End of Section
Move left in side mode
Left move in scroll mode
Right move in page mode
Right move in scroll mode
Object edge left
Object edge right
Track marker left
Track marker right

Home
End
Ctrl + Home
Ctrl + End
Cursor left
Alt+Cursor left
Cursor right
Alt+Cursor right
Ctrl+Q
Ctrl+W
F2
F3

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Range menu
Edit range
In this submenu you will find options and keyboard shortcuts for
adjusting the play and edit range in the VIP.
Range to beginning
The beginning of the range will be extended toward to the beginning
of the project.
Keys:

Shift + Home

Range to end
The end of the range will be extended toward the end of the project.
Keys:

Shift + End

Flip Range left
The current range is shifted left by the length of the range. Its end will
be its former beginning. If there is not enough room to place the
range, the command will not be executed.
Keys:

Ctrl + Shift +left

Flip Range right
The current range is shifted right by the length of the range. Its
beginning will be its former end. Keep in mind that if there is not
enough room to place the range, the command will not be executed.
Keys:

Ctrl + Shift +right

Beginning of Range -> 0
This function shifts the beginning of range to the right of the next zero
position.
Keys:

Page Up

Beginning of Range <- 0
This function shifts the beginning of the range to the left of the next
zero position.
Keys:

Shift + Page Up

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End of Range -> 0
This function shifts the end of the range to the right of the next zero
position (change in polarity). “Zero position” is the next sample value
with zero value or the boundary between a positive and a negative
sample value (or vice versa). This is particular useful for searching for
loop points.
Keys:

Ctrl + Page Down

End of Range <- 0
This function shifts the end of the range to the left of the next zero
position.
Taste:

Shift + PageDown

0 -> Range <- 0
This function shifts the beginning of the range to the left and the end
of the range to the right of the next zero position.
Taste:

Shift + PageDown

Range length
This command lets you set the range length to 1, 2, 4, 8, and 16
bars. You can set the tempo in BPM with menu View->Snap Setup.
This command lets you set the range length to 1, 2, 4, 8, and 16
bars. You can set the tempo in BPM with menu View->Snap Setup.

Split Range
This function is in particular useful for working with loops. If not
already displaying in Split Range Mode the project is first switched to
this mode displaying three sections on the screen.
The upper section displays the whole sample. The section located at
the bottom left displays the data near the beginning of the range. The
section at the bottom right displays the data near the end of the
range.

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Range menu
The boundaries of the range can be exactly positioned in the lower
sections, while the upper section will display the location of the entire
range. You can also define ranges across several sections.
Keys:

Deactivate:

Shift + b

Split Range for Video
This function is in particular useful for working with AVI Videos.
The upper section displays the whole sample. The section located at
the bottom left displays the data near the beginning of the range. The
section at the bottom right displays the data near the end of the
range.
Both lower sections are zoomed down to single frame accuracy.
The boundaries of the range can be exactly positioned in the lower
sections, while the upper section will display the location of the entire
range. You can also define ranges across several sections.
To undo the split, the display has to be returned to a 1 section
display with Shift + b or View->Sections->1.

Store Range
Another powerful feature of MAGIX Music Studio 12 deluxe is the
option of defining and saving different ranges for future retrieval. An
unlimited number of ranges can be defined. You can for example
specify different loops and compare them while you recall their
ranges.
All ranges of a project can be seen in menu Tools->Range Manager.
There all ranges can be renamed or played.
When selecting this menu option, the selected range needs to be
stored by entering a numerical value the range is associated with.
Keys:

Shift + F2 ... F10

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Get Range
By selecting this option, you can choose one of the defined ranges as
the current range.
MAGIX Music Studio 12 deluxe even lets you choose a range while
playing. The specified range becomes the current one and is audible.
Using this method, you can change between two ranges comparing
them with each other. Ranges can also be named and recalled with
the Range Manager (Tools menu).
Keys:

F2 ... F10

Get Range Length
By selecting this option you can choose the length of one of the
defined ranges as the current range.
Keys:

Ctrl + Shift + F2 ... F10

Save markers
You can store an unlimited number of markers wherever the play
cursor is placed at. This lets you set markers.
Keys:

SHIFT + 1 ... 0

Get Marker
The new start position of the play cursor (position line) is set to the
saved position of the corresponding marker number. Playback starts
at the jumped-to new start position. You should keep in mind that,
whenever a marker has been defined, the range between the marker
and the end of the sample is played.
Keys:

1 ...9, 0 (via the Alpha keyboard)

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Range menu
Markers on Range Borders
This function sets two markers to the beginning (S) and the end (E) of
a selected range.

Set Markers on Silence
This function sets markers on silent regions in the sample (only in
Wave projects - HDP or RAP). You can choose the minimal length of
the pause, a threshold level, the start number and a prefix for the
marker name.
This is very useful to select the regions of sample CDs etc.
Min. Time (ms): This is the minimum length in ms of a ”silent” area.
Threshold (dB): This is the maximum volume of a ”silent” area. The
level of the area in the project will be set on the level of the threshold
in the graphic display!
Starting number: The markers will start to count from the number you
type in this dialogue box.
Prefix: This allows you to insert additional symbols (letters would be
appropriate), which will be placed in front of the marker-numbers. By
doing this, you will able to distinguish between new and older
markers.

Delete marker
The selected marker will be deleted.

Delete all markers
All markers of the project will be deleted.

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Recall last range
Get the last selected range. This makes sense, for instance, if the
adjacent marker was accidentally deleted with a mouse-click.

Range Editor
Here you can change the start and end position of the selected range
numerically in different measurements.

Change values in the Range Start section:
The end will be maintained.
Change values in the Range End section:
The start will be maintained.
Change values in the Range Length section:
The start will be maintained.
Please note the format of the “Bar” dialog box. The format is
displayed as a 4/4 beat with 96 clicks per quarter. Displayed are the
bar, beat, and clicks.
The number of beats per minute (BPM) can be set in the BPM dialog
box in View->Snap Setup.

Range Manager
In the Range Manager all saved ranges of the current project are
displayed.
A colored bar highlights the current range.
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Range menu
By selecting a range name, the corresponding range in the project is
selected/activated.
In the lower line you can enter/modify the range name. Furthermore
you can delete ranges and save new ranges in the Range Manager.
With the "Play once" button you can play the selected range once,
"Play loop" activates looped playback. This makes the Range
Manager particularly useful as a jingle player.

Edit time display
Here you can numerically enter various parameters of the range, for
instance range start, range length, etc. - in the currently set
measurement unit.

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"Real-time Effects" Menu

"Real-time Effects" Menu
This menu entry permits fast access to the relevant real-time effects
at Object level. Correspondingly, menu entries are provided here
which can be controlled via the Object Editor. For more details on
these effects please read the relevant articles in the chapter entitled
Offline Effects Menu (see page 318).

Offline effects menu
In this menu you'll find many high quality audio effects, to get the
professional sound of a modern music production on your
recordings.
Important tips regarding the effects functions
• The following effects can be directly applied to VIP Objects:
• Please note that in Wave projects most functions are only available
for selected ranges. If the complete audio file is to be processed with
the DSP function, the whole file needs to be selected as a range in
the Wave project (also see Menu Range->Range All).
• Selected objects in VIP projects are processed with their complete
content, no matter which range is selected in the Wave project. (An
exception is the function Get Noise Sample.)
• If you don’t want to alter the whole object, you would first need to
cut the object apart (select a range over the desired length and
press the key “T”). We suggest turning on the Auto-Crossfade-Mode
(menu Edit->Auto crossfade active) to prevent pops during the
object transitions.
• It is even possible to apply an effect to multiple selected objects. If
several objects are selected in the VIP, the effect is applied to each
individual object and its corresponding audio material in the physical
audio file(s).
• A suggestion regarding the differences between RAM and HD Wave
projects: With RAM Wave projects you can decide after an applied
edit whether you want to keep the current version. Since the audio
material is only processed in the computer memory, it is possible to
simply close the Wave project and not saving the changes to the
hard disk.
• To keep the changes, the project would need to be saved to the
hard disk (shortcut: “S”).
• In HD Wave projects, the changed audio material is immediately
saved to the file on the hard disk.
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Offline effects menu
• You can also work with a copy of the audio material for test
purposes. To accomplish this, copy the selected range in the Wave
project to the clipboard (shortcut: “C”). Next, open the Clip window
(this window is icon-ized at first) and select the complete contents of
the Clip window (shortcut: “A”). The effect can now be experimented
with on the temporary copy of the audio material.
• Clicking the right mouse button on the respective effects knob of a
channel can also access the real time effects dialogs in the Mixer
window. The corresponding effects dialog will appear, which can
be used to make detailed adjustments to the settings.

Amplitude / Normalize
Amplitude/Normalize > Normalize
This function modifies the sample’s overall amplitude. The data is
altered so that the maximum amplitude occurring in a specified range
is set to 100% (or any other value between 1-400%). MAGIX Music
Studio 12 deluxe will first attempt to detect the maximum and relate it
to the percentage chosen. Then all other values are weighted with the
new factor.

The Normalize function is designed to fully modulate or overmodulate samples. A particular application is processing that is done
before a conversion from a higher sample resolution to a lower
resolution takes place. Since the dynamic range of the low resolution
is smaller, it still can be fully utilized by applying the Normalize
function.
If working with sounds from one single instrument, you should set the
factor to 100%.
If, however, your audio material has background percussion for
example, you will be able to over-modulate the sample to 120% to
200%. This will only cut off the new percussion peaks. The same
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method allows you to alter the sound of natural instruments by overmodulating them.
As preparation for further physical processing, such as filters, reverb,
dynamic compression etc., a level reduction of 50-70% is suggested.
This should avoid clipping during post processing.
An important reselect: If the volume level during the recording is
relatively low and the material is later normalized, the result will not be
of the same quality if the recording level is maximized to its fullest
range. If for example the volume level was only set to 50% of the
possible range, the audio material will be in 15-bit quality. Even
normalizing the material to 100% will not change this aspect.
Editing mode: In virtual projects, a virtual normalization function is
available. Sample data remain unchanged — the object volume is
adapted in such a way that the loudest passage in the object equals
0 dB (corresponding to 100%). This virtual normalization is nondestructive and extremely fast!
Selecting several objects: If you have selected several objects, you
can decide here whether you want to normalize objects individually or
as a whole.
Quick access: This section allows you to set the parameters for quick
access. Instead of having to open the dialog each time you want to
normalize, simply press the “n” key.
Keys:

Shift + N

Amplitude / Normalisieren > Loudness adaption
This function raises the sound volume of all objects to the maximum
level without the material over-steering. Unlike the master
normalization function, each object is normalized separately. It serves
the purpose of reconciling finished songs (each as one object) in
volume. This makes the volume of the songs uniform.
All according to the producer, however, titles each with full volume
control can still sound different because a crucial factor in the
perception of sound volume is also the relationship between the soft
and the loud parts of a piece of music. The average loudness (RMS)
of the song therefore has to be identified in addition to the absolute
level (which is the loudest part of the song) and the object level has to
be adjusted accordingly.
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Offline effects menu
It can thus perfectly well happen that songs with high peak values but
a lower level of loudness are normalized onto a value above 0dB (full
volume). In order to avoid over-steering nevertheless, the Limiter (see
MultiMax) is therefore activated automatically.(see MultiMax).
Tip: Volume fluctuations within a song can be removed with the
“Leveler” presets in MultiMAX.
Amplitude/Normalize > Fade in/out
This function allows sample ranges to be faded in or out. The
amplitude is varied in its time characteristic from the start value of the
beginning to the final value at the end of the range. When the function
has been called, a window appears in which you can specific
parameters for this operation.
A simple fade-in operation would be performed with the parameters
from 0% to 100%, whereas normal fade-out requires the specification
from 100% to 0%. Of course you can also try other values and thus
achieve interesting results. The transitions can be created with
different curve types - from logarithmic to exponential.
However, please note that high-performance realtime fade and
crossfade options exist in virtual projects, which normally eliminate
the requirement of using destructive fade routines.
Key:

Amplitude/Normalize > Set Zero
Sample data values in a selected range are set to zero. Noise and
imperfections in a sample can thus be eliminated. This function is
reversable

Switch Channels
With this function you can switch left and right stereo channel. This is
useful to correct recordings with switched channels.

Stereo FX
The Stereo-FX-Enhancer allows you to reposition your audio material
in the stereo panorama. Whenever a stereo recording sounds
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undifferentiated, the extension of the basic stereo-width can provide
a more transparent sound.

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Offline effects menu
Invert Phase
The sample data within the selected range is inverted along the
amplitude axis. This phase inversion means that negative values
become positive and vice versa. This function, too, is reversible. The
“Invert” function permits samples with different phases to be
matched. Along with the available mixing functions (which are, from a
mathematical viewpoint, adding functions) you can actually subtract
samples by applying this function to the selected sample.

Equalizer
The 10-band-Equalizer splits the frequency spectrum into 10 areas
(”bands”) and provides them with separate volume faders. This offers
a whole spectrum of impressive effects, from a simple bass boost to
complete alienation of your sound. However, raising the levels too
much, especially in the case of the lower frequencies, will also
increase the general sound level, and distortions may appear. In this
case you should lower the main sound level using the "Master
Volume”-controllers in the main menu.

Slider: Each of the 10 frequency areas can be raised or lowered
separately using the corresponding 10 volume sliders.
Link Bands: This switch links the different frequency areas in a flexible
way, avoiding override of isolated frequency areas that would result in
artificial sound.
A/B: If you chose a preset value for an effect and want to change that
value manually, you can compare the original preset sound with the
new settings by pressing the A/B button.
Reset: Resets the equalizer to it's original (neutral) settings where no
system resources will be used and no effect will be added to the
sound.

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Touchscreen (right EQ section): This is the ”sensor field” of the EQ:
draw a frequency curve using your mouse, and it will be immediately
translated into the corresponding slider positions on the left side of
the EQ.

FFT Equalizer
This audio effect allows you to draw the wildest filter effects with the
mouse.

A red line is drawn in the graphic area with the mouse. The left side
of the graphic represents the low tones, the right the high tones.
Real-time replay can be switched on with the "Test" button.As of
now, 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.

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Offline effects menu
Dynamics
The Compressor is basically an automatic, dynamic volume
controller. The dynamics of a track will be limited, loud passages will
stay loud whereas the volume of silent passages will be raised. The
compression is normally useful, if you want to make your material
sound more powerful and smashing. The grade of compression can
be adjusted using the Ratio-controller. The threshold is controlled by
the Threshold button and attack and release can also be controlled
by the corresponding buttons.

The processing of the track is as "prospective" as with high-end
professional studio equipment. This means that there are no peak
overrides (blasting, clipping) or other disturbances, as the algorithm
can not be "surprised" by sudden peaks.
Sensor field: The sensor field of the compressors can be manipulated
intuitively, just by a movement of the mouse, which will change the
colour of the graphic and the effect settings.
Ratio: This parameter controls the compression ratio.
Threshold: Adjusts the threshold above or below the active
compression.
Attack: Adjusts the delay, in which the algorithm responds to
increasing levels. Short attack times can result in a ”pumping” sound,
as the volume will be raised or lowered very quickly.
Release: This value controls the delay in which the algorithm reacts
to falling levels.
A/B: If you chose a preset value for the effect and then changed it
manually, you can compare the original sound settings with the new
ones pressing the A/B buttons.

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Reset: Resets the Compressor to the original values. In this state no
system resources are used and no effects are added to the original
sound.
Load/Save: This option allows you to save the actual settings as an
effects file, so that you can use them for other projects.

Multimax
The MultiMax is a compressor with three independent frequency
bands. The dynamic processing takes place separately for each
band.
The main advantage of a multi-band compressor over a ”normal”
compressor is that warping and other bothersome side-effects are
reduced drastically by the dynamic processing. This means, for
example, that a single peak level in the bass section will not drag the
level of the whole signal down.
Otherwise, the multi-band technology enables precise treatment of
individual frequency bands.

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Offline effects menu
Dynamic expander: Too high compression will result in audible 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 Studio 12 deluxe 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 suppressed noise entirely below a
certain noise level. This lets you create, for example, song transitions
that are entirely noise-free.
Leveler: This function brings the entire material up to a uniform
volume automatically. The volume control handle is made void. Larger
volume differences can therefore be adapted within a song. To
balance volume differences between different songs, also use the
function “Volume adjustment” function in the effects menu.
De-Esser: These special presets remove overemphasized “s” sounds
in speech recordings.
Tip: The limiter can also be used independently of the MultiMax.

Declipping
MAGIX Music Studio 12 deluxe contains a one of a kind function to
remove digital or analog clipping. Anybody who records audio has
encountered this one before. The perfect live recording contains
clipping at the most important moment. This alone may render the
recording unusable!

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MAGIX Music Studio 12 deluxe uses high-grade algorithms to
interpolate the passages containing the clipping. The algorithm uses
the material before and behind the clipping as a reference point.
Once processed, the total volume level for the material can be
reduced to prevent further clipping.
The declipping algorithm is especially useful for material that contains
obvious clipping, such as a piano or voice recording. Distorted
drumbeats are normally not salvageable
Minimal Level of Clipped Samples
This setting determines the volume level the algorithm considers
offending material. There are sound cards that exhibit different
clipping behavior and this setting becomes an important issue. Some
DAT recorders have an analog protection mechanism so that the level
never reaches the digital maximum signal. In these cases a setting of
–0.5 dB or lower make most sense.
By entering a value of –6 dB all samples above half of the digital
maximum are considered ‘distorted’ and are recalibrated. Even
analog distorted material can be improved with the algorithm.

Remove DC offset

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Offline effects menu
This function in menu “Effects” removes a DC offset in the selected
range of a Wave project (RAP or HDP). Some sound cards produce
such a DC offset while recording, so it is useful, if you can remove it!

Get Noise Sample
Denoiser
The Denoiser is especially useful for the elimination of continuous
background noise, such as electric buzzing, band noise, noise
produced by the sound card, your HiFi equipment (for example, the
turntable) and LPs.
All the Denoiser needs is a sample of the disturbing noise. Some of
the most common disturbing noises are provided. It is however
preferable to make your own noise sample. All you need is a short
section of audio material with the isolated disturbing noise.

Noise Level: This is the threshold at which the Denoiser starts to
work. This value needs to be as exact as possible. Low values will
result in deficient damping of the disturbing noise and in formation of
artefacts such as disturbing sounds or ”tweeting”(see artefacts).
Excessive values will produce a dull sound, as all higher frequencies
of the music signal will be filtered away. So it is recommendable to
spend some time on the correct adjustment of this value!
Noise reduction: To adjust the balance between the original signal
and the processed signal. In many occasions it is better not to
eliminate the whole disturbing signal but to dampen it only 3-6 dB.
This will help maintain the natural sound of your sound material. In
case of buzzing sounds however, we recommend that you eliminate
them completely.

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Removed Noise: To listen to the part of the sound material that the
Denoiser is going to eliminate.
Bypass: The DeNoiser also has a bypass button that bypasses the
DeNoiser effect. This allows you to compare the neutral, unedited
sound of the object with your effects settings.
Noise Sample Section
Pick! Generates a NoisePrint. A small noise sample will be taken from
the actual position onwards. It is important, that the noise sample
includes no music or voices, but only the pure disturbing noise signal.
The actual position can be changed using the transport bar even if
the module is already opened in order to search for an ideal sample.
The noise print cannot be generated if the replay position is located
between two objects. An error message will appear to remind you.
Play: To listen to the noise sample.
Auto: If this switch is activated, the length of the noise sample will be
chosen automatically.
Length: Choose the length of the noise sample in ms, if the ”Auto”
switch is turned off.
Save: The generated Noise Sample can be saved in the "Noise Print
Sample" directory. It can then be selected from the "Noise Sample
Presets" selection whenever you need it.
Noise Sample Presets: Choose one of the noise samples. The noise
samples are located in the ”Noise Print Samples” directory. If you
generated the noise sample using the ”Pick!” function, then it will
appear in the list titled ”NoisePrint”.
Play: To listen to the noise sample. However, this is not possible if
the noise sample has been generated using the Pick! function.
Artefakte bei Cleaning-Effekten
If you adjust the Denoiser too high, it can result in a metallic chipping
sound, or an ”artefact” sound. Due to its synthetic character, this will
have quite an impact on your ears. Usually, this happens only in
especially difficult cases.
To obtain the best results, follow these suggestions and instructions:
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Offline effects menu
• First choose a Preset from the Selection Menu. There you will find
several types of disturbance noises.
• Be careful with the ”dosage” of the effect—less is more. Adjust it
until you cannot hear any of the disturbing noises, otherwise
artefacts can appear.
• Clean the material before applying cleaning effects. Select the
disturbing objects and choose ”Remove DC-offset” from the Edit
Menu.

Dehisser
The Dehisser was especially designed to eliminate the band noise,
which is all so typical for analogue tape recordings, micro-preamps or
AD-transducers.

Noise Level: Here you will have to determine as exactly as possible
the noise level at which the Dehisser starts to work. If you choose a
level that is not high enough, the band noise will not be completely
eliminated. In such a case you will notice tweeting sounds (the so
called "melodic band noise”). An excessive value will result in a dull
sound as part of the band noise and part of the original audio signal
recording will be eliminated by the Dehisser as well (for example: air
intake sounds of brass instruments) (see Artifacts)
If the noise level on your recording is low, you should experience no
problems while adjusting it.
Noise Reduction: this option allows you to adjust the damping of the
band noise in decibel units. In many occasions it is the best solution,
not to eliminate the noise completely, but to damp it only -3 - -6 dB,
hence maintaining the natural sound of the original material.
Removed Hiss: This option allows you to listen to the music that
would be filtered away by the Dehisser.

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Amp Simulation
The Amp simulator is a newly-developed real-time effect that
simulates tube amp sound properties. It is especially suitable for
guitar sounds, but also for the organ or recordings of vocals.

Amp Model: Here you can select from a range of amplifiers whose
sound can be simulated.
Speaker Model: Here you can select from a range of speakers whose
sound can be simulated.
EQ-Section: A 3 band equalizer for setting the bass, mid-tones and
treble.
Bright: The Bright button is for a particularly sharp sound display, that
can be jarring when used with the following automatic controllers:
Distortion: Creates distortion in typical analog amplifier fashion.
Volume: Controls the entire volume of the amplifier module.

Vocoder
The principle of the Vocoder is as follows: 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.
You can use the "Carrier Sample" checkbox 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 with 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 hand 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.

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Filter graphic
Exactly as with the freely drawable filter, here any frequency
characteristic can be drawn in to optimize the results of the Vocoder.
For example, simple disturbing bass frequencies can be eliminated as
the curve is corrected downwards to the left. Likewise, weak heights
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 vodeder, this
track will first be muted. In the vocoder mixer you can then make it
audible again.
Presets
In the "Preset" list window you can select predefined vocoder settins.
The disk system is used to all custom presets. The presets all contain
vocoder settings, except the selected carrier signal. Reset restores
the vocoder default settings.

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Room Simulation
This function lets you add a high-quality room simulator to the audio
material.

Reverb type: Here you can choose between a short, medium and
long sustain.
Reverb share: Here you can set the balance between
the original signal (without reverb) and the actual reverb.
Volume: Here you can adjust the master volume.
Test: This button activates the preview function. A short reverb
section is calculated and then played so that you get an impresion of
the settings.

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Echo / Delay

Reverb
Reverb supplies a high-quality reverberation which can be defined
more closely with ‘room size’, ‘time’ and ‘colour’ and mixed into the
original sound with ‘mix’.
Room size: This control button controls a room simulator which
calculates the reverb effect in dependency on the room size. If the
control is turned completely to the left, it sounds as if the audio
object has been recorded in a tiny room, turned completely to the
right, one can listen to the object as if it had been recorded in a
cathedral.
Time: Here the length of the ‘reverb trail’ is determined, i.e. the fading
phase of the sound.
Colour: Here it is possible to control the type of reverb – rather dull
than high-pitched or vice versa.
Mix: This control determines the mixing ratio between the unedited
original sound (‘dry’ signal) and the reverb portion (‘wet’ signal).
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 echos can be
determined; the more you turn the control to the left, the faster will
the echos follow each other.
Feedback: Here the number of echos can be adjusted. Turned
completely to the left, there is no echo at all, turned completely to the
right there are virtually endless repetitions

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Resample / Time stretching
Opens the Timestrechting/Resampling/Pitchshifting-Editor.
Note: If you only want to change the sample rate of an audio file, use
the Adjust sample rate option from the Effects Menu.

All algorithms in this dialog use the time factor parameter and pitch
as input parameter.
The time factor calculation (from the original length/original speed and
the length required / speed required) can be comfortably activated on
the right side of the dialog.
Resampling
Samplers and PCM Synthesizers transpose samples during this
procedure. Time factor and pitch are dependent upon each other: the
shorter the audio material, the more higher the pitch. The effect is
comparable with changing the playing speed of record players or
tape recorders.
The effect is relatively loss-free, the sound loss is smaller than with all
Timestretching/Pitchshifting procedures. If pitch change is justified by
changing the speed (and vice versa), use this algorithm.
When lengthening the audio material by resampling, very small
aliasing effects may occur. the anti- aliasing filter helps in this regard.
Alternatively, since this filter requires additional CPU load, it can be
activated for the computation and the real-time preview. The filter is

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also available for the other algorithms that use resampling internally
when pitchshifting.
Default
An algorithm is used that usually delivers very good results with
factors from 0.9 to 1.1, that works in phase-locked mode, thereby,
keeping the room effect of stereo signals. For drum loops or other
"beat heavy" material, this algorithm is only partially suitable as it can
change the groove and, in rare cases, can fade out or double beats.
Time compression (sample length is reduced) is more successful with
this algorithm than timestretching, i.e. it is better to reduce the longer
sample than vice versa when adjusting two samples to another.
Smoothed
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 may
arise with more complex spectra (sound mixes from various
instruments or finished mixes). This algorithm is not very well-suited
for drum loops and other material with strong transients. The groove
remains intact, but because of phase shifting the attacks are slurred.
With small corrections (factor ca. 0.9 – 1.1) the setting of the smallest
possible smoothing value should be used.
Recommended for:
•
•
•
•

Orchestra instruments: String instruments, wind instruments...
Speech, single voice and multi-voice song
Speech with background noise like, for example, video sound
Synthesizer areas, guitars...

Not suited for:
• Stereo mix
• Drum loops, percussion
CPU strain: very high

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Beat marker slicing
This mode is centered especially around customizing drum loops, but
can also be used on other material like monophonic bass runs or
sequencer lines. The algorithm splits the material into individual
components, individual notes, or beats, which are then selected via
the beat marker.
These "snippets" are then compiled into the new temporal measure:
If the tempo is increased, individual beats begin overlapping, if it is
slowed down, short pauses between the beat become audible.
If this algorithm can be used, it should be used because, in this case,
the time change occurs without any loss of quality at low CPU strain.
Recommended for:
• Samples which can be split into individual notes or beats
• Drum loops, if the beats do not overlap and there is not much reverb
Definitely not suited for:
• Everything else where beat markers do not exist, the algorithm fails
completely and silence is the result.
CPU strain: minimal
Beat marker stretching
This algorithm works similar to the standard algorithm. Unlike the
previous algorithm, this one synchronizes the stretched material with
the beat markers. This way the groove remains perfectly intact and
doubled or faded out beats do not occur. Unlike the "Beat marker
based slicing" algorithm, this algorithm doesn't fail fully when there
are no markers or wrongly placed markers, but rather, the
synchronization quality is reduced or has errors. In practice,
automatic marker generation is usually enough for good results. You
should avoid having beat markers which follow one another very
closely (<1000 samples).
Monophone voice
This is a special time-stretching and pitch-shifting function 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.

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With the "Use formant correction" option the formants remain the
same when pitchshifting, that is, the "Mickey Mouse effect" does not
occur. This way, realistic background choirs can be "composed" from
just one solo voice. The formants, however, can be shifted by +- 12
half tones. Here, vocal distortions can be achieved.
Typical usage of this algorithm:
• Intonation correction (the note with the imprecise pitch should be cut
out as an object, so that it can be manipulated independently of the
other notes).
• Harmonizer effects: An object with vocals can be copied and moved
down. If the pitch is now changed, the second voice has been
changed, etc.
• Generating background vocals from existing vocal samples
• Timestretch/Distortion of a speech sample, for example, to make a
grandfather voice.
Recommended for: Speech, single voice vocals, single voice
instruments without overlapping, with low reverb and low background
noise.

Change Sample Rate
Use this function to change the sample rate of a whole audio file. This
may be needed to convert a DAT recording at 48 kHz to 44.1 kHz for
use on an audio CD.

After choosing the new sample rate you can select a filename for the
new project.

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If the resolution is increased the sample rate change will take place
without any quality loss – the sample material will not experience
fidelity reductions. (The needed hard disk space will increase though.)
If the resolution is reduced, the overtones or high frequencies may be
lost during the sample rate change. For example, if the resolution of a
44.1 kHz sample is reduced to 22.05 kHz, the frequency response of
the resulting sample is reduced to 11.025 kHz. The frequency
response is always half of the resolution specified. For a conversion
from a 48 kHz sample to 44.1 kHz, this loss in quality is not
significant, since the human ear only recognizes frequencies up to 20
kHz. (A resolution of 48 kHz is often only used because the digital to
analog conversion can take place with much higher precision without
expensing a lot of effort.)
Please note that resampling to 44.1 kHz can also be done while
recording in real-time.
The Playback Parameter window (Shortcut: p) contains a Vari-speed
option for real-time resampling during playback. The Record window
(Shortcut: r) lets you resample to 44.1 kHz in real-time from any of
the selected sampling rates.

Reverse
The sample data in the selected range is reversed along the time axis
ie the file will now play backwards with the end now placed at the
beginning. This allows for very interesting effects, not to mention the
‘backwards masking’ hidden messages frequently rumoured to be in
various songs....
This function is reversible: if you do not select a new range, calling
this function once more leads to the original material.
The option is only available when working in Destructive Editing mode
ie directly on an HD Wave file.

Build Physical Loop
This function utilizes a complex algorithm for optimizing loops in
Wave projects. It is useful when samples are to be used for
instrumental sounds as well as wave table synthesizer.

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Before you can process a sample you need to select a range in your
sample that already defines the rough edges of the sample loop.
Remember that you can shift and vary a range during playback to
find the best loop position. A comfortable way to look at the loop
positions is by activating the split range mode by pressing “b”. The
sample will be displayed in 3 sections.
To gain an interruption-free loop the outer limits of the range will be
set to zero. By applying a crossfade to the material at the loop end
containing the sample data in front of the loop beginning, MAGIX
Music Studio 12 deluxe will create a ‘smooth’ transition between
loop-end and loop beginning.
When a marker is set in front of the selected range, the range
between the marker and the beginning of the loop will be used for the
crossfade. This offers you a feature found in professional hardware
samplers. To achieve a short crossfade set the marker close to the
loop beginning. To receive a long crossfade position the marker
further away from the loop beginning.
Notice that the distance between marker and beginning of the loop
range needs to be smaller than the loop range itself to make a
crossfade possible.

DirectX Plug-Ins
With the aid of this dialog it is possible for Microsoft DirectX and VST
compatible plug-ins to be used for effect calculation in MAGIX Music
Studio 12 deluxe. This opens up the possibility to you of using almost
any effect algorithms from third-party suppliers in addition to the
integrated effects in MAGIX Music Studio 12 deluxe.

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In the mixer in MAGIX Music Studio 12 deluxe plug-ins can be
included as real-time effects. Here, however, the plug-ins have to be
capable of processing audio data blocks immediately and completely,
and without any change in length. This is the case with most plug-ins,
e.g. hall, echo, dynamic compressors). Other algorithms such as
Timestretching plug-ins fail at this point because of the associated
length change.

Working method and use
When you open the plug-in dialog you will see on the right-hand side
a list of the DirectX and VST compatible plug-ins that are installed on
your computer. Activate one of them and press the arrow in the
middle; the activated plug-in is transferred to the left, into the list of
active plug-ins. At the same time the surface of the plug-in is opened
in which specific effect settings can now be made. You can set up a
chain of effects in this way, but it is important to ensure that the plugins are all compatible with one another. For instance, stereo and
mono plug-ins must not be coupled together. The plug-in selected in
each case in the list on the left can be deleted again with the
“Remove” button.

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Pre and Post in the plug-in dialog
The plug-in dialog in the VIP tracks and in the mixer enable you to
loop in the effects “pre” or “post”. Mark them on the left in the plugin list as “pre” or “post” before you load them. The plug-in will then be
looped in “pre” or “post” accordingly.
Drag&Drop of VST plug-ins
If you have installed various different VST plug-ins in other folders
than in MAGIX Music Studio 12 deluxe you can simply pull the
relevant dll-files out of the Explorer and directly onto a track in MAGIX
Music Studio 12 deluxe. This VST plug-in will be additionally
registered and from now on will turn up in the plug-in dialog as a VST
effect.
Removing available VST plug-ins from the list
VST plug-ins that you no longer want to see displayed with the
available ones can be easily removed if you click on them and take
them out of the list with the “Del” key..
Buttons in the dialog
Save/Load: With these two buttons in the top right-hand corner of the
dialog field you can save and insert and complete plug-in set-up (the
sequence of the plug-ins with all the set parameters). Plug-in set-ups
can thus be transferred conveniently if the various possibilities for
plug-in use in MAGIX Music Studio 12 deluxe are utilized.
Copy/Insert: This enables complete plug-in configurations to be
transferred quickly between tracks or objects.
Play/Stop: This button activates the real-time preview with the active
plug-ins in the left-hand list. This function is ideal for testing the
settings of a plug-in if this runs quickly enough for the real-time
calculation.
Remove: The selected plug-in is removed from the effects plug-in list.
Settings: opens this dialog...
Direct X / VST plug-in set-up
• The “Write DirectX-logfile” option only serves support purposes and
should normally be switched off.
• Here the “Start all object-related plug-ins” option can be activated at
Play-Start. Some plug-ins cause delays when switched on, and in
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this case they should be switched on at Play-Start because
otherwise there can be a failure when the relevant object starts to
play.
• Deactivate all DirectX effects during the scrubbing/jogging: Under
certain circumstance DirectX plug-ins can cause errors during the
scrubbing/jogging or simply break down. With this option the link to
the DirectX plug-ins can be deactivated and thus circumvented.

Process only left (right) stereo channel
Only the right / left channel of a stereo Wav project will be affected by
effects when activating ”Left/Right processing only”. This options is
only available when in Wavediting /destructive Editing mode.
The same effect have the L/R buttons in the lower left corner of the
WAV project window.

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Menu Tools
Track Bouncing
The current virtual multi-track project (VIP) can be converted into a
WAV file or MAGIX Music Studio 12 deluxe HD Wave project and
saved with a new name. All tracks in the VIP are mixed and all realtime processing, cuts, crossfades; all Mixer settings, Mixer effects,
DirectX Plug-Ins, Volume automation and Panorama automation are
included in the bounced version.
The function “Track Bouncing” may require a large amount of
storage, depending on the length of the VIP.
Four track projects are internally mixed to combine two tracks for
playback on each channel. To prevent clipping, an amplitude
reduction of 6 dB is applied (which corresponds with a 50%
representation of the source material).
For eight track projects, the reduction is normally 12 dB. However,
you can change the value in Options-> Project Info (shortcut: i).
There are two variations for the track bouncing implementation:
Only selected Range: MAGIX Music Studio 12 deluxe uses any
selected range in a VIP for the track bouncing. This command does
not work track selected, meaning that the number of tracks that are
spanned by the selected range does not matter. The track bouncing
will always use all tracks for the period of the selected range.
Complete Project: The complete contents of the VIP project are used.
Calculate Maximum Amplitude: When check, this option displays the
peak level of the mixed WAV file in dB. Further processing of the
bounced audio file can use the specs to make precise adjustments.
After the track bouncing process, MAGIX Music Studio 12 deluxe
displays a dialog with the maximum amplitude value.

Range trackbouncing
Use this function to convert the objects within a selected range to a
new WAV file. The selected objects in the VIP are replaced with the
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track-bounced version. This is very useful to combine multiple objects
into a single object so that the function to create track markers
automatically can be used.

Remove unused Samples
This function removes all material from Wave projects belonging to
the current VIP that is not used by any of the VIP objects. The objects
in the VIP will point to the proper audio ranges in the linked audio
files. This leaves the VIP itself unchanged.
Using this function can conserve a lot of storage space. However, the
downside of using this option is that object length changes are
possible only in a limited form. Object can be made short, but they
cannot be extended.
Tip: If you need the complete contents of the audio files for other
production projects, it is recommended to archive the finished project
in the following way. Save the complete project to a new folder
(File->Save Complete Project to). The VIP is now located with the
complete contents, in other words all the audio files, in an unaltered
form (WAV, RAP, etc.) in the same folder that the VIP was saved to.
Next, use the command Remove Unused Samples. The same folder
will now only contain the audio data or samples that are actually used
by the archived VIP. The contents can be easily back up to any
backup medium such as CD-ROM, Data DAT, and others.

Delete Freeze Data
Freeze Data Administration
When saving freeze files, a considerable amount of data may accrue.
Automatic freeze data administration therefore becomes necessary.
The principle is simple: As mentioned previously, freeze data and
freeze VIP’s are stored in a special directory within the current project
directory. After completion of the current project, all freeze data no
longer required is deleted in the background.
Data requiring an unfreeze is preserved, as long as the respective
frozen tracks or objects are found within the current project.
There is, however, one limitation: If freeze data exists at the moment
that the current project is temporarily stored, all freeze data existing
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at this point in time is also kept, even if it is no longer required for
unfreeze after project completion.
Example:
Track 1 and Track 2 are frozen. Track 2 is unfrozen before
completion of the current project. The project is then saved and
brought to completion. During completion, the freeze data and freeze
VIP of track 2 is deleted. Freeze data and freeze VIP of track 1
remains unchanged.
If, however, the current project is stored temporarily before track 2 is
unfrozen, the freeze data of track 2 is also kept.
Deleting freeze data manually
There is a special command to get rid of data that is no longer
required: Delete freeze data (tools menu).
If no freeze data (yet) exists in the current project, this command is
disabled and cannot be selected.
Hereby all freeze audio data no longer required in the current project
is deleted.
Existing freeze projects, however, remain unaffected. As the original
state prior to the use of the freeze command is found in a freeze VIP,
it can be re-established, as long as the necessary audio data is still
found in its original position.

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Menu Tools
Waveform Generator
This dialog contains a powerful generator of several test tones.
Please be sure to have activated a Wave project (HDP or RAP) before
opening this dialog!

The generated waveform is stored in the Clipboard with the same
properties as the opened wave project. Please rename the Clip after
generating the waveform, so it can be easily included into other
projects without naming conflicts.
You can adjust type, frequency, and length in samples of the created
waveform.
The generated samples are always fully amplified. The volume level
can be easily reduced with the normalizing function (Normalizing).
The following types can be selected: Square, pulse, triangle, sine,
saw up, saw down and white noise

Open new Manager
This menu point opens a new Manager window. Several Managers
can be opened simultaneously.

Manager
Please also read the corresponding chapter The Managers (see page
235).

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Take Manager
The Take Manager is another powerful feature of MAGIX Music
Studio 12 deluxe. It is especially for those who work with many
different recording takes and need to manage them.
MAGIX Music Studio 12 deluxe registers the VIP position of the
recorded audio material. This time stamp is stored to the HD or RAM
Wave project and offers the option to always return the recorded
object to its original position.
Application Examples:
• Selection of the best take after five loop-punch recording passes.
• Locating the best material between bars 32 and 34 of 12 takes from
a classical production.
• A clear overview of all available takes during a SMPTE time of 30:00
to 35:00.
Basis for working with the Take Manager is a selected object. This
could be the last created object after using punch-in recording. This
object is referenced in the take list with a colored “O”.
Attention: The Take Manager does not work if objects are used in a
VIP, which are not created by recording material into MAGIX Music
Studio 12 deluxe. This would be the case for any material imported
through the WAV Import or CD Track features!
When objects are present that where not created through recording,
a manual time stamp can be assigned to the objects by using the
function Object->Set New Original Position. Once completed, the
Take Manager will list the objects in the take list.
Display Filter
Same File Only: Only those takes are displayed that belong to the
same audio file as the selected object.
Same Track Only: Only those takes are displayed that a positioned in
the same track as the selected object.
Match Time: Only those takes are listed that match the original time
position of the selected object.

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Play: Starts the playback. Before opening the Take Manager set the
play cursor to the desired playback position.
Replace: This replaces the selected object with the currently chosen
takes from the Take List.
Statistic (Verbose): Creates a new VIP with the currently shown takes
from the Take List. Every take is listed in a new track. The VIP can be
used to audition the individual takes with the Solo and Mute functions
of each track.
Statistic (Brief): Creates a new VIP with the currently chosen takes
from the Take List. All takes are lined up on the same track.

Timestretch Patcher
This tool enables wave files used in MAGIX Music Studio 12 deluxe
and other MAGIX programs (e.g. MAGIX music maker) to be patched.
Additional information and settings are written into the wave project
to make them easier to find, thus ensuring better Timestretching or
Pitchshifting results.
The following can be patched:
• Algorithms for Timestretching/ Pitchshifting
• BPMs
• Beat markers
Algorithms for Timestretching/ Pitchshifting
Different algorithms (besides the standard algorithm) can be used for
real-time Timestretching and/or Pitchshifting for better results. Check
Resampling/ Timestretching/ Pitchshifting for more details. With the
Patcher you can store the optimal Timestretching algorithm in the
wave project. This ensures that the "correct" algorithm is used
automatically when Timestretching/Pitchshifting is used on these
projects as object effects (e.g. with the Timestretch mouse mode).
Beat marker
Beat markers are also saved in the wave project when using beat
marker-based algorithms.

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In contrast to the Timestretching dialog, the patcher is non-modal,
meaning that if the patcher is open, you can move beat markers in a
wave project while checking out the Timestretching result.
BPM value
Patches the BPM value (beats per minute). This is useful for when the
Timestretching factor must be determined later in order to adapt the
wave project to the tempo of an existing arrangement.
Patches in brief
Patches only work if you have opened the wave project in destructive
wave editing mode and if it is not open in a VIP simultaneously.
On the right of the dialog (Patch) you can select the algorithm to be
used and specify the wave file tempo. On the left side (Test) is the
control element from the Timestretching/Pitchshifting Dialog.
It allows you to test the selected algorithm in connection with the
Play/Stop and Play original buttons. Patch saves the information in
the wave file.

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Remix Agent
MAGIX Music Studio 12 deluxe offers Remix agents for automatically
determining the tempo in BPM (Beats per minute) as well as for
creating remix objects. Use the context menu and/or the effects
menu.
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 songs’ quarter notes. This is important. For example,
when an audio CD title is imported into MAGIX Music Studio 12
deluxe and you then wish to mix in sounds such as drum loops,
effects or synthesizer voices.
When to use the Auto Remix Assistants

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• When the tempo of the arrangement must be adapted to the tempo
of the song.
• 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 re-arranged as desired.
Requirements
• The song must be longer than 15 seconds.
• The songs have to contain "rhythmic" music.
• The song must be in stereo.
Preparation: Setting the Start Marker and Object End
Before opening the Auto Remix Assistant one should set the start
marker at the position in the song object in the Arranger where
detection is 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" with "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.
Step 1: Automatic Tempo Recognition
When the Auto Remix assistant is called up, the selected song object
is analyzed and subsequently played. A metronome begins to click
according to the result and lines visualize the positions of the quarter
notes 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
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Menu Tools
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.
Correction: 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 number op BPM can therefore deviate from song to song.
Tap Tempo: With difficult audio material we recommend the use of
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 one
hears if the result is correct through the metronome.
Subsequently, Offbeat correction takes place - if required. If the
detected quarter notes 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
correction list.
Step 2: 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.
The correction can take place via tapping: If the start of the measure
can be be heard, tap one with the mouse or press the T key.
Alternatively you can also select by how many quarter notes the
“one” is to be pushed to the rear.
If the starting marker was set briefly before the first beat of a
measure, this correction is not necessary.

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Note: With all corrections the metronome and visualization react to
the lines in the wave shaped-display only after some time. t.
Step 3: Use of the BPM and beat recognition
With this last step you determine what is to be done with the material
that is currently being analyzed. You have three possibilities:
1. You want to generate remix objects from the song (the analyzed
material)
2. You want to bring your project tempo into line with the tempo of
the song or vice versa
3. You initially only want to save the tempo and beat information in
the audio file and to edit them later.
Generating remix objects
The song is cut up beat by beat into individual objects that can then
be used and re-edited in any required way in the VIP.
Some examples of this use:
• Generate loops out of complete songs that you can then use with
your own material from complete songs that they can then use with
their own material.
• Remix songs, i.e. change the sequence of the remix object, cut and
double the individual parts or beats of the songs, or enhance the
song with any other loops, samples, etc.
Caution! The “Generate remix objects” option can only be selected if
the remix agent was opened from a VIP.
Audio quantizing: The new objects are fitted exactly into the beat grid
of the arrangement
In the case of hand-made music there are slight tempo fluctuations
that can result in different bar lengths. In order to ensure that the
objects still fit into the rigid beat grid of the arrangement the objecttimestretching option is activated and used in such a way that the
differences in lengths are corrected.

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For small corrections use resampling. If the necessary corrections are
very small the higher-quality resampling technique can be used
instead of timestretching.
Note: if you later decide to alter the tempo of your multi-track object
and to adjust the audio object in the VIP to the new tempo value,
clearly audible pitch changes will appear in the remix.
Remix objects in Loop mode: The new objects are put into loop
mode. When the objects are lengthened with the right-hand object
mouse gripper the object keeps being played at its original length.
Setting arrangement tempo at object tempo: The arrangement (VIP)
takes over the BPM value it has found. If you want to use the
dissected song as the basis for a new composition, as with remixing,
this option should be active.
Note: the time correction is allocated to the objects by setting the
object real-time timestretching and can therefore be corrected in the
Object Editor. Conversely, timestretching settings that have already
been set can be over-written.
Grouping: The remix objects are grouped.
Use cross-fades: The remix objects are superimposed. The
parameters of the superimposition can be set in the Cross-fade
Editor.
Exit: The dialog is closed without the changes being saved.
Adjust tempo: This option offers you the possibility of adjusting the
song tempo to your project speed or the project speed to your song
tempo.
Caution! The “Adjust tempo” option can only be selected if the remix
agent has been opened from a VIP.
Set object tempo to arrangement tempo: This adjusts the object
length to the existing arrangement. Three different procedures are
possible:
Timestretching: the pitch of the song remains constant but under
certain circumstances the sound quality may suffer.
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Resampling: Resampling changes the pitch, in the same way as
changing the speed on a gramophone, but very largely retains the
sound quality of the song.
Note: if you later decide to alter the tempo of your multi-track object
and to adjust the audio object in the VIP to the new tempo value,
clearly audible pitch changes will appear in the remix with objects
edited with resampling.
Audio quantizing: In audio quantizing the tempo adjustments are
calculated into the audio file. This is done in such a way as if initially
remix objects (see below) were being produced and immediately
compiled into a new audio file. If the recognition is uncertain the
result can include extreme tempo fluctuations. It is particularly
important here to set the start marker before calling up the Remix
Agent in such a way that the tempo is recognized with certainty.
The advantage of audio quantizing is that small tempo fluctuations
are evened out in the music. The bar starts of the music always
match the bar starts of the arrangement and therefore do not tend to
wander away from one another.
Set arrangement tempo at object tempo: The arrangement (VIP) takes
over the BPM value it has found. If you want to use the dissected
song as the basis for a new composition, as with remixing, this option
should be active.
Change global setting: The BPM value of the arrangements (VIP) is
set at the calculated value.
Adjust tempo map: From the position of the Play cursor to the final
position of the remix object, a tempo marker is set for each bar in the
arrangement (VIP).
Generate bar marker in the current range: This option enables
markers to be set at start of each bar in the song (the positions of the
lines marked in red in the wave form display).
Generate quaver markers in the current range: Select this option in
order to set markers at the positions of the starts of the quaver-bars
(the positions of all lines presented in the wave form display).
One example of the use in both cases:

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Menu Tools
Mixing two songs:
1.

2.
3.

First adjust the project tempo to the song over which you intend
to dub in the second song (“Set arrangement tempo to object
tempo”, “Alter global setting”).
Then adjust the tempo of the second song to the project tempo
(“Set object tempo to arrangement tempo”).
As the project tempo and the tempo of both songs now match
exactly it will be possible to fade from one song to the other
without any problem.

Save only tempo and beat information: If this option is selected the
tempo and beat information is transferred to the audio file. The
objects in the VIP and the VIP itself remain unchanged.
Generate beat markers in the current range: With this option markers
are set at the start of each bar in the song (the positions of the lines
marked in red in the wave form display).
Generate quaver markers in the current range: Select this option in
order to set markers at the positions at the start of each quaver-bar
(the positions of all the lines marked in red in the wave form display)

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Menu Playback/Record

Menu Playback/Record
Play once
The project or the range is played once.
Key:

Space

Play loop
The project or the range is played in a loop.
Key:

Space

Play in Range
If you have specified a range selecting this menu option (or button)
will start the playback of the sample from the beginning, enter the
range and continue to loop through the range until you press the stop
key (button). This mode is very useful when testing loops for
instrument samples.
Key:

Space

Play with Preload
All buffers are loaded and the playback is ready to be started.
Another window will appear with which playback can be started at
your convenience. No delays will occur. This function is useful on
slower systems and if synchronization must be started in manual
mode and an exact start has to be performed.
Keys:

Shift + Space

Play only selected objects
Play only selected objects

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Menu Playback/Record
Only selected objects will be played. All unselected objects will be
muted temporarily. If the playcursor is not on the first selected
object’s time position, it will be replaced to it
Key:

Alt + Strg + P / Alt Gr + P

Stop
The playback is stopped for all projects types.

Stop and go to current position
The playback is stopped; the play cursor goes to the current position.

Change Play Direction
The playback direction can be changed even during the actual
playback.

Restart Play
Playback will start at the beginning even during the actual playback.
Keys:

Backspace

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Menu Playback/Record
Playback Options
The Play Parameter window that appears after selecting this menu
option is designed to quickly enter playback parameters.

Sample Rate: The sample rate can be changed here as long as the
soundcard supports the new rate (some soundcards even support
changing the rate while playing the sample!). This is especially useful
to hear notes in a sample range played in a different octave. When
selecting half the sample rate the pitch should be the same. It would
be played one octave lower.
Device: To specify the driver of the sound card use this dialog box.
This is necessary if playback takes place through a single sound card
device. This is especially important if multiple output devices are
located in the computer.
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Menu Playback/Record
The “Autoscroll” section will let you activate the Autoscroll feature. It
is especially useful when working with long disk files. The HD Wave
project window will follow the play cursor during playback. When
working in “2” or “3” section display mode, the autoscroll feature will
cause the individual sections to follow the play cursor as well. If you
have zoomed into one of the sections, the play cursor will move
through the section faster resulting in more screen re-draws.
You can choose between page and soft scrolling. But be careful:
Scrolling requires CPU power (depending on the processor, graphics
adaptor and resolution), so that the CPU may be overloaded in critical
situations which may result in playback dropouts. You should then
deactivate autoscroll mode.
Scrubbing: If you press the Insert key (Insert or 0 on the number pad),
MAGIX Music Studio 12 deluxe will switch to "Scrubbing Mode". This
means that the playback speed can be controlled directly by the
mouse. The further to the right the mouse goes, the faster MAGIX
Music Studio 12 deluxe plays.
In comparison to many HD recording systems, this even works in a
virtual multitrack project.
Use the Scrubbing Mode to find passages, crackling, etc. in material
– the older generation of sound engineers are, no doubt, very familiar
with this method from analog tape editing.
There are two scrubbing modes (in playback parameter window - key
p):
Relative: The relative distance between the play cursor (positions bar)
and the mouse position can be used to control the speed. The play
cursor follows the movement of the mouse.
Absolute: You can also use the absolute position of the mouse in the
window to control the speed:
Left border = double speed backwards
Center = no movement
Right border = double speed forwards

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Menu Playback/Record
A Tip Using Scrubbing: The scrolling becomes “softer“ when using
small buffer sizes (2000, 4000 samples). You may need to test your
system for error free playback with
Tip for scrubbing: For buffer sizes (4000, 2000 samples) scrolling is
"softer". Test if your computer functions at this buffer size without
any playback errors.
Combined with the Soft Scroll mode, editing becomes very
convenient on faster computers.
Varipitch / Practice mode
MAGIX Music Studio 12 deluxe supports smooth changes of the
pitch while playback, even in multi track projects (vertical slider in
playback parameter window - key p). Activate the Varispeed mode
with the “active” button, and then you can change the playback
speed in various kinds:
Practice mode: When the Practice mode is activated the pitch
remains regardless of the playing speed. This mode is suitable
particularly for pieces that have to be played more slowly, for
practice, e.g. a guitar accompaniment, because otherwise excessive
demands might be made on the player.
Vertical slider: Changes the playback speed from -200% to +200%
Pitch Factor: Lets you specify a certain pitch factor manually
Halftones: Lets you specify a value of halftones. The playback will be
transposed the number of halftones.
Internal Rate: Here you can set a sample rate for the Varipitch
calculation. If you want to play a WAV file with a sample rate of 48
KHz but your sound card can only play rates up to 44.1 KHz simply
set the internal rate to 48 and activate Varispeed. You hear the same
result as playing back with real 48 KHz! This function is also very
useful for digital playback to DAT with 44.1 KHz samples and vice
versa.
BPM: Here you can type in the original bpm value of your material
and a destination bpm value, which is reached using the Varipitch.

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Menu Playback/Record
Important: Varipitch works also while recording! So you can set the
pitch to -2 halftones, sing a song into the computer, then switch off
the Varipitch – your track is transposed two halftones higher!
Then deactivate Varispeed and your voice will reach unknown highs.
But be careful: You'll sound like Micky Mouse if you apply to much!
Key:

Record
Starts recording.

Record Options
This menu option opens the Record window. All necessary settings
for the recording can be performed here. If once set, you don’t need
to open the dialog again, just start record by the record button at the
transport control or clicking the toolbar icon

Record mode: Select between Stereo and Mono, whether you want
to record the audio into a RAM Wave project or to the hard disk as a
HD Wave project.
Preload: The Preload option allows you to load all the buffers before
the recording actually begins. This enables you to an immediate
recording once you click the recording button. Otherwise MAGIX
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Menu Playback/Record
Music Studio 12 deluxe will load the buffers and depending on the
size of the buffers and the overall computer speed this may take a
little bit of time.
Sample Rate: Select the sample rate of the audio file. Make sure that
your sound card supports the chosen sample rate.
Resampling to 44.1 kHz: Some MAGIX Music Studio 12 deluxe
versions can perform a real-time sample rate conversion to 44.1 kHz
if you are recording with a different sample rate. For example, many
times a DAT tape is recorded at 48 kHz but the tape needs to
mastered and prepared for Red Book audio CD processing, which
needs to be in 44.1 kHz. MAGIX Music Studio 12 deluxe allows you
to automatically convert the audio during the recording, eliminating
the additional sample rate conversion step after the recording.
Device: This selects the desired device driver you want to use for the
recording. If you have more than one sound card installed in your
system, this window will let you specify which card to use. Make sure
the sound card is properly installed in Windows and is operational. If
you do not see an entry in this window, check whether a device
driver has been installed for your sound card. This usually is done
during the software installation for your sound card.
? (Device): By clicking on the “?” button you can check on the record
capabilities of the selected sound card. It shows you information on
the sound card driver and it’s capabilities.
Info: Dialog for detailing soundcard properties. If your soundcard
supports 24 bit recording, you can activate this recording mode via
the Info dialog.
Playback while Recording: Simultaneous record and playback is
especially important when wanting to monitor existing tracks while
recording a new track. This option allows you to turn the feature on.
To conserve system resources and keep the recording error free on
slower systems, you may need to turn this feature off.
File Name / Browse: The name of the audio file to be produced and
the pre-set index path are displayed at the bottom of the Recording
Window—both can be changed by clicking on the File Button.
Set CD Track Marker: While the recording is running, you can set
Track Markers, by clicking on the Set CD Track Marker tab in the
Recording Dialogue.
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Menu Playback/Record
Automatic Recording Stop: When this field is activated, the recording
stops automatically after approximately 16 seconds of silence. This
allows you to make, for instance, a record recording without having
to worry about stopping it at the end.
Automatic CD Track Recognition: When this field is activated, Track
Markers will be set automatically at the end of pauses between
songs.
Create VIP object with name: MAGIX Music Studio 12 deluxe allows
you to choose whether you want to automatically create objects in a
VIP once you are done with the recording.
Monitor: Here the LED control displays can be activated. Please note
that the correct recording device must be selected prior to beginning
this. While recording, the LED control displays move slower, do,
however, show each maximum level.
Recording level: This display indicates that the signal level to be
digitized is correctly set. Play the loudest part of the material to be
recorded and watch the display.
Low-level recording leads to a loss in sound quality, while high-level
recording can produce unpleasant ”clipping” sounds.
Osc/ Correl: Here you can switch on or off visualization.
Tuner: For “tuning” guitars and other string instruments. A calibrating
line appears when the A0 note is played. If deviating tones are
played, the deviation can be read on the basis of the calibration line
and the numerically indicated pitch is corrected accordingly.
Record Offset: This option allows you to specify an offset, which is
calculated in samples. Sometimes it is necessary to compensate for
any delays due to processing speed and other factors, such as your
sound card’s ability to switch between playback and recording mode.
Delays can occur between the recording and the playback of audio
when the Playback while Recording feature is turned on. This option
allows an adjustments if this occurs. Good values to start with are in
the 20-2000 sample range.
Set Marker 1: You can drop markers into the project. The current
position of the play cursor is used to drop a marker at positions you
want to select for later clean-up or similar tasks.

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Menu Playback/Record
Record: Starts recording by activating this button.
Stop: Stops the recording process. MAGIX Music Studio 12 deluxe
will ask you whether you wish to keep the recording or delete it.
Should the computer become overloaded due to swapping data or
hard disk access for example, simply interrupt the recording with a
click of the right mouse button or the space key.
OK: Closes the Record Parameter dialog.
Key:

r (second r starts recording)

Record mode / Punch In
Record without Playback
Use this option to record without playing the VIP.
Play while recording
This option corresponds to the option in the recording options with
the same name.
Punch In Mode active
This option activates the Punch mode. Punch-In and Punch-Out are
a process automating the recording start and end of an audio
segment. Once the Punch mode is active, the Punch-In Record can
be used to record audio segments without stopping the playback.
Requirement for this mode is an armed Record track. Use the “REC”
button on each track to select it for punch recording!
Punch Recording can be done in two ways:
1. Punch-In/Out “On-The-Fly”: This allows you to start the recording
(punch in) at any time during the playback. Once the recording
commences, it can be stopped at any time (punch out), while the
playback continues.
This is very similar to tape based multi-track recorders, which allow
you to correct mistakes during previous recording takes by
overwriting segments of the tape.

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Menu Playback/Record
Simply start the playback with the Spacebar. The Punch-In recording
can be started by clicking on the Punch Record button in the toolbar.
2. Punch-In/Out with Markers: The second method is the punching in
and out of recording using special markers. This is a more automated
way of dealing with punch-in/out recording. This is useful when
specific punch-in and punch-out points are determined and you don’t
want to take any risks in possible punching in or out of the recording.
Don’t panic though! The punching in and out with markers lets you
specify the exact points the recording is to start and stop. To operate
in this mode, a range has to be selected, which defines the beginning
and end of the recording. The functions Set Punch-In Marker and Set
Punch-Out Marker are used to tell MAGIX Music Studio 12 deluxe
where to punch in and where to punch out. Next, set the play cursor
to an appropriate position prior to the punch-in point and start the
playback/recording with the Punch Record button in the Punch
Toolbar.
Important: When working with the punch in/out functionality, make
sure that the Auto Crossfade mode is activated, by clicking on the
corresponding button in the MAGIX Music Studio 12 deluxe toolbar.
The auto crossfade will create smooth transitions between the takes.
This helps to prevent little pops and clicks!
There is also a way to perform looped punch-in recording! Simply
select a range over the desired punch region. The range is played
back until you stop the playback with the Spacebar. Each time the
program loops through the range, new takes are recorded at the
punch markers. To find the best take after the recording is
completed, use the Take Manager!
Punch In Record
This function/button starts and stops the punch-in recording.
Set Start Marker
This function/button sets the punch-in marker
Set End Marker
This function/button sets the punch-out marker.
Remove Punch Markers
This function/button deletes the punch-in and punch-out markers.

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Menu Playback/Record
Live Input Mode
This is another very powerful feature of MAGIX Music Studio 12
deluxe – the Live Input Mode! When working with this mode, MAGIX
Music Studio 12 deluxe lets you use the real-time Mixer to mix live
inputs from the sound card with recorded audio material.
This turns MAGIX Music Studio 12 deluxe into a full-scale digital realtime effects device, including DirectX Plug-Ins!
The Basics: The Live Input Mode basically functions similar to
recording audio material – without writing it to disk! A channel that is
to be used for live mixing has to be armed for recording.
Once the playback of the VIP is started with the Spacebar, the live
signals on the input of the audio device(s) are routed through the
Mixer. Use the controls in the Mixer window to create a mix. In
addition, any VIP object is also played back while the live inputs are
processed.
Latency: The audio processing in MAGIX Music Studio 12 deluxe
obviously takes time. This may lead to small delays at the outputs
versus the incoming signal. This delay is very much dependent on the
VIP Buffer size. The latency can be reduced by using smaller VIP
buffer settings. Use settings that enable the program to process the
real-time audio without introducing any errors. A setting of 4 buffers
at a buffer size of 8000 stereo samples creates a delay of 0.7
seconds. A buffer size reduction to 2000 samples results in a delay of
only 0.2 seconds. Experiment with the buffer settings to find the
optimal settings for your system!
The latency may not make it possible to use the Live Input Mode to
replace an analog effects device. However, it leaves room for some
very interesting application aspects.
MAGIX Music Studio 12 deluxe as Live Effect Processor: If you are
looking for fancy effects that are not offered by effect units in your
rack, try to use some of the integrated effects in MAGIX Music Studio
12 deluxe. A live signal can be processed with the FFT Filter, the
EQ’s and the Stereo Enhancer. You may also use the many DirectX
Plug-Ins available. There is no limit to your creativity!
Note: If you have an ASIO driver for your soundcard, you can pretty
much switch the latency off. Please read the “MAGIX Music Studio 12
deluxe as external effects device” section of the “Effects” chapter.
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Menu Playback/Record
Monitoring
New, more flexible input signal monitoring is now available through
ASIO driver support.
Monitoring > Input monitoring on/off
This function activates/deactivates the input monitoring (corresponds
to the “REC M” button on the transport console). When actively
monitoring, the input signal of the tracks for active monitoring
(loudspeaker button in the VIP or mixer is activated) are played
according to the selected monitoring type at the output. Furthermore,
the LED peak meters in the VIP and mixers react according to the
input signal.
Note: If the REC button is activated on a track, then the loudspeaker
button is activated simultaneously in order to switch on monitoring.
Monitoring > Tape player monitoring
The preset method of monitoring as on a tape player and well-known
from earlier MAGIX Music Studio 12 deluxe versions:
When STOP is shown, the input signal is rendered, PLAY renders the
track contents, RECORD renders the input signal. If the option is
deactivated, it is left to the user to choose whether the input signal is
shown. Use the "Force monitoring" button (small loudspeaker symbol
beside/above the peak meter in the VIP/Mixer).
Monitoring > Peakmeter Monitoring
This corresponds with the normal characteristic of the VIP: The peak
meter of the tracks displays the level at the sound card input.
Monitoring > Software Monitoring / Software FX Monitoring
For cards with ASIO drivers, it is also possible to use software
monitoring if the card does not support hardware monitoring (ASIO
Direct Monitoring).
Software FX monitoring also calculates the track effects into the
monitoring signal with the exception of all high latency-afflicted FX
Inserts such as FFT filters, Dehisser or Vocoder. The Amp simulator
however is applicable. MAGIX Music Studio 12 deluxe is therefore
also usable as an effects device with which one can play live directly.

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Menu Playback/Record
If you need all of the mixer effects, use the conventional Live Input
Mode, which functions without ASIO, but is afflicted with higher
latencies.

Auto Jam Session
Opens the Auto Jam Session (see page 229).

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MIDI menu

MIDI menu
New MIDI object
A new MIDI Object is created on the selected track. After choosing
the command, you can select a prefabricated MIDI template (from the
subdirectory “Templates” in the MAGIX Music Studio 12 deluxe
directory) from a small pop-up menu. It deals with normal standard
MIDI files which can be copied into this directory or directly exported
from MAGIX Music Studio 12 deluxe as a template. If only one file is
in the template listing, no menu appears the Object is created
immediately.

New MIDI track
Use this function to create a new track in MIDI mode to which you
can add MIDI objects and edit them.

MIDI Editor
This menu point opens the MIDI Editor. Here, the content of the MIDI
object selected in the VIP can be displayed and edited. Here, you can
choose from: Matrix Editor, Drum Editor, Score Editor, Event List,
and Velocity/Controller Editor.
If a MIDI object is not selected, you will be asked if you wish to create
one. If you confirm this with "YES", a MIDI object in the current track
is created at the cursor position/start of the range.
Read more about the MIDI Editor in the "MIDI Editor" chapter.

Object Editor
Use the Object Editor for object-oriented editing. This way you can
quickly and easily edit each selected object independent of your
general settings.
Shortcut:
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Ctrl+O

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MIDI menu
Glue MIDI Objects
This command lets you glue together two or more subsequent MIDI
Objects of a track.
Shortcut:

Ctrl + Alt + G

Trim MIDI objects
This function moves the object borders of a selected object to the
edges of the current range. For this to occur, the range must be fully
within the object's borders.

MIDI bouncing
All selected MIDI objects are mixed into one object.

Track information
To be able to adjust the settings for MIDI data, open the track info
dialog. Here you can set, for example, the playback device for MIDI
data.
Please also read the corresponding section in the chapter "Track
menu".
Shortcut:

Alt + I

Track MIDI record
Activates MIDI record for the selected track.

VST Instrument Editor
Software instruments as well as MAGIX synths (e.g. Robota Pro) can
be integrated into a virtual project and controlled via internal MIDI

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MIDI menu
functions and editors. All instruments are seamlessly integrated into
all effects and routing options.
Please also read the chapter "MIDI in MAGIX Music Studio 12 deluxe"
in the first section of the manual.

Tempo/Time Signature
Tempo and bar changes are an important expression criteria of all
music. MAGIX Music Studio 12 deluxe offers comprehensive creation
possibilities.
In this case the definition of tempo and time changes is done entirely
by means of markers within the Project Window. Special tempo and
bar markers can be defined using linear or immediate tempo or bar
changes. The resulting tempo curves are calculated automatically.
The display in the transport window serves as a visual control of the
current tempo or time, which displays the current values when
playing back or repositioning the current respective value.
The musical grid can also be adjusted by placing support points at
certain time positions or already available audio and MIDI events, e.g.
a reference drum track (so-called Advanced Tempo Mapping).
There are three types of markers:
• Tempo
• Time signature (musical signature)
• Bar position
Of course, tempo information can also be adopted when importing
MIDI files into the current project. MAGIX Music Studio 12 deluxe
creates the required tempo markers automatically.
If required, MIDI/audio events can be coupled with the musical grid
and positioned precisely for tempo changes.

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MIDI menu
Set new tempo marker
A new project first has a single “Master” tempo which can be defined
in the Transport Control or in the project settings (Keyboard shortcut:
“I”).
You can define unlimited tempo changes directly in the Project
Window at anytime. The tempo marker is the most important tool as
it can be used to define a tempo change at a precise position, which
can also be interpolated linearly to a previous tempo definition.

Set new beat marker
The time signature marker changes the type of beat after the marker
position, e.g. from a 4/4 beat to a 3/4 beat. A new project first has a
uniform 4/4 beat that can be defined in the Transport Control or in
the project settings (Keyboard shortcut: “I”).
Bar markers can only be inserted at the beginning of a bar. If an
imported MIDI file contains bar changes, bar position markers are
automatically generated.

Set new beat position marker
Beat position markers assign a specific musical position to a specific
time position. This way, the bar frame/grid and MIDI events can be
easily synchronized with existing audio material.
Bar position markers (Advanced Tempo Mapping)
The tempo of a piece of music is usually defined when it's composed.
If you want to increase the tempo at a certain bar position, simply
define a tempo marker, with tempo interpolation referring to the
previous marker.
However, recorded audio material often does not correspond with the
project tempo, e.g. a drummer's reference track to indicate the
tempo of further recordings or additionally composed material with
many timing nuances. Instead of placing tempo makers or even
having to adapt the reference material using time-stretching, you can
create the musical grid at certain time positions in the linear course of
playback of the project using support points; so-called bar position
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MIDI menu
markers. This way you can synchronize the bar grid, musical grid and
the corresponding MIDI data with available audio material.
Example: The drummer has recorded a track using a metronome,
but has deliberately not hit important beginnings of a bar precisely.
The musical grid is adapted to keep the groove within this
performance. By placing a bar position marker, the Project Beat of
“20”, including the beginning of the chorus, is moved exactly to the
first beat of the 20th bar played by the drummer.
This practical example shows that the bar position markers are used
to combine the audio-based sample/time position (or SMPTE) with
the musical bar position by means of defined support points. This
allows for easy editing of projects with changing musical tempi when
the musical grid is edited in the actual time course (“Bar 20 should
begin a this point in time!”).
A tempo marker is different in that it defines a clear command: Faster
(or slower) from here. A bar position marker, however, defines the
tempo indirectly by adjusting the tempo before the marker in such a
manner that the desired musical position (“Beat 20”) is met precisely
at the marker position.
The grid, the grid display, the metronome and the events in the MIDI
Editor are automatically adjusted according to the changed musical
tempo.
Note: Bar position markers immediately following a tempo marker
always create a tempo run. Instead of a tempo jump, a bar position
marker is used to set a tempo run if there is a bar position marker
immediately before the tempo marker. As the tempo before the bar
position marker has already been defined, the adjustment of the
musical position has to be carried out by decreasing or increasing the
tempo to such an extent that the required bar position meets the
required time position at the bar position marker.
Working with tempo and bar markers
Creating tempo markers
Tempo and bar changes in MAGIX Music Studio 12 deluxe are set
directly in the Project Window using project markers.

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MIDI menu
So, you have to create a marker to insert a tempo change at a certain
playback position. There are several ways to do this:
1. Tempo/beat marker window
Set the playback cursor to the position where you would like the
tempo or bar change to be. The option “Snap to grid” is very useful
for placing the cursor directly on a bar or 1/4 bar. Click on the Snap
button
in
the
Transport
Control
(Tempo
section).
Open the tempo/bar marker window from the Marker Menu (rightclick on time bar) or from the MIDI menu.
Click on the “New Marker” button in the window. A marker is inserted
at the current position. You can now use the marker option to set the
properties of this marker. For a new tempo marker, enter the required
tempo in BPM or the new bar for the bar marker.
Please observe that the settings are only valid for the markers
currently selected in the marker list. For example, you cannot set the
marker properties such as type or tempo after it has been created.
Please also observe that a beat marker only makes sense at the start
of a new beat. If the play cursor is at a different position, the marker
position is automatically moved to the beginning of the next bar.
2. Marker Menu
Tempo and bar markers can also be created using the marker menu
context menu and the MIDI Menu of the program. You can of course
assign shortcuts.
3. Timestretch Mouse Mode: Click on the time border
In Timestretch Mouse Mode you can create markers directly with one
click on the required playback position.
Tempo-Marker: Shift + Click
Bar position marker: Alt + Click
Edit marker/ tempo/bar marker window
If a tempo marker is changed or a bar position marker is moved, this
influences the following markers and audio/ MIDI projects in the VIP.
There are principally two possibilities: The time position either
remains constant, or the musical position remains and the time
position is adjusted (tempo/bar marker window).

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MIDI menu
Illustration: The time position in the VIP is the absolute position within
the VIP. The musical position is flexible, which is made clear by the
grid. Maintaining the musical position therefore means that the
Objects or markers are adapted to the newly created grid and that
their time position in the VIP therefore changes. If the time position is
maintained, the musical position changes accordingly.
When tempo markers are manipulated, the behavior of the markers,
audio and MIDI Objects can be controlled separately. With each
presetting the musical (grid) positions are maintained for MIDI Objects
and tempo markers, as is the time position for markers and audio
Objects. The time position is always maintained if the “Alt” key is
pressed while manipulating with the mouse.
The time position, however, is always maintained for fixed tracks
(preset). This can be changed in the Tempo Marker Window.

In this example the first tempo marker in the second image has been
changed. The MIDI Object and the second tempo marker were
moved correspondingly so that the musical positions (3:01:000 and
4:01:000) are retained. The time position of the audio Object was not
changed, so that its musical position has moved forwards (from
2:2:000 to 2:01:181).
Further options:
Each tempo and bar position marker can be ignored using the
“Bypass” option. This occurs automatically for bar position markers if
absurd bar positions are created while moving, e.g. if bar position
markers are exchanged (bar 20 before bar 19) or are moved to a
position within the project so that these bar positions that originate
from a previous tempo marker cannot be met by tempo interpolation.

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MIDI menu
Ignore all Tempo Markers: In the Beat Marker window there is an
option for ignoring all tempo markers. In this case only the set project
tempo is used (“I”).
Manipulating the tempo marker in timestretch Mouse Mode.
The timestretch Mouse Mode simplifies working with tempo markers.
You can easily create tempo markers using Shift+mouse-click.
Markers are then initialized according to the tempo. You can,
however, adapt this tempo immediately by moving the mouse
vertically holding Shift and clicking.
Bar position markers are created with Alt+mouse-click and can be
moved by Alt+horizontal mouse movement (without adjusting the time
position), e.g. to manipulate the bar grid and to adapt it to available
audio events.
Tips, examples of use
Loading MIDI files that include tempo changes: The tempo changes
are adopted by the current project and are accounted for during
subsequent editing and in the MIDI Editor.
Tempo markers can be placed when composing in the MIDI Editor
(these then apply to all tracks). Subsequent MIDI Objects and tempo
markers retain their musical position (advanced setting).
The grid can be adjusted to available audio events, e.g. assigning
beat numbers to certain time positions. You can either use the “Set
new Bar Position Marker” menu command to create a marker at a
position within the project and can assign the corresponding bar
position or, for smaller changes, Alt+mouse-click on the respective
bar grid position and immediately move it to the required time
position, e.g. to the beginning of an Object.
If the project includes MIDI data, this is automatically adjusted
(preset). The newly created tempo grid is used in the MIDI Editor for
subsequent editing or for a new composition (e.g. quantization).
When working with MIDI files and complex tempo changes the tempo
map can be deactivated and, if necessary, the tempo can be reduced
before recording new MIDI files. After recording, the tempo map can

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MIDI menu
be used again. The newly recorded MIDI data is now adapted
automatically.

Ignore all tempo markers, use only
project tempo
Ignore all tempo markers. Only the project tempo is used.

Metronome active
Activates/deactivated the metronome. This function can also be
activated via the "Click" button of the transport console.

Metronome Options
Please also read the section "Menu Options > Program settings >
Metronome options".

MIDI Options
Detailed information on this can be found in the menu reference
under "Options" -> "Program Preferences" -> "MIDI Options".

MIDI Record Modes
The MIDI Record modes define how the newly recorded MIDI data is
inserted into the VIP if there are already MIDI Objects at the recording
position.
Normal
The MIDI data is recorded in the existing Object; the new data is
mixed with the existing data. If a recording extends over several MIDI
Objects, then these are combined into one.

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MIDI menu
Overdub
The MIDI data is recorded in the existing Object; the new data is
mixed with the existing data. If a recording extends over several MIDI
Objects, then these are combined into one.
Multi-Overdub
In Multi-Overdub the new data is also mixed into the existing Objects;
however, individual Objects remain.
Replace
Replaces the MIDI data of the existing object. If you record over
several objects, these are combined into a single new object.
Unlike when recording audio, existing MIDI objects on the recording
track are also played in "Playback while recording" mode. This way,
you can choose one of the recording modes even after the recording
was successfully ended.

MIDI Panic – All Notes off
This command sends a Note Off command to all MIDI devices which
are not deactivated in the MIDI Options for all 128 notes on all 16
channels. Furthermore Sustain (Controller 64) is switched off and the
pitch wheel and modulation are set to 0. In addition, an All Notes Off
command is sent to all VSTi's used in the project.
If MIDI tracks or objects exist in the project, the same function is also
accessible by clicking the stop button in the transport console or
toolbar when the project is in STOP state.

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CD menu

CD menu
The CD menu contains all special functions for audio CDs and CD
mastering processes, e.g. setting CD tracks and subindexes as well
as the "Create CD" function. The options at a glance:

Load audio CD track(s)
See File menu (see page 255)!.

Set Track
Use this function to set a track marker (Index Marker) on the current
play cursor position. All markers behind the insertion point will be
renumbered.
Each track on your CD needs a track marker, typically set after a
short pause at the beginning of the next title.
Use the function “Track markers on object edges” to create the
markers automatically on the borders of the sample objects!
To manage the markers or to rename them use the Marker / CD
Track Manager in the menu ”Tools”.
Key:

Set Sub-index
Use this function to set a sub-index marker on the current play cursor
position. All sub-index markers behind the insertion point will be
renumbered.
Sub indices are not necessary for your CD but useful for selecting
several regions in one track..

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CD menu
Set Pause
Use this function to set a pause marker on the current play cursor
position. This lets the CD player switch the output to absolute silence
while continuing playback until to the next track index/marker is
encountered.

Set CD end
Use this function for setting an end marker for the CD you want to
burn. Without the end marker, the CD you want to burn comprises
the entire project to the project end.

Set Track Markers automatically
If you are inserting a longer audio-file containing various titles (for
example a live-take or recordings on DAT), you can automatically
insert track-markers between the titles using this function.

Options for the Track Marker recognition
In the recording dialogue there is the possibility of employing
automatic CD track marker recognition. With vinyl recordings, for
example, a track marker is automatically set where pauses occur.
Minimum pause length: The higher the value, the more difficult the
identification of pauses. On the other hand, if the value is too low,
short breaks within the title can be identified as pauses.
Minimum track length: A new marker is only set when the minimum
amount of time has passed between the last Track Marker and the
following pause. If you want to record a tape with current pop-songs
on a CD, you can determine the length of pauses. On the other hand,
if you have a tape with samples or sounds, you should determine this
time.
Maximum (Minimum) Pause level: During the first step, MAGIX Music
Studio 12 deluxe searches for useful volume values for the
identification of pauses. If too many pauses are found (and therefore

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CD menu
false), you should move both controls a bit to the right, if too few
pauses are marked, move them to the left.
Record side or CD Identification: Sometimes you may want to record
both sides of a record immediately without interrupting the recording
on the computer. Normally the result is a very long audio file that
contains part of very low volume in the middle, as there was no
knocking or hissing to be heard during the record or tape turn over.
In this case, MAGIX Music Studio 12 deluxe only identifies this as a
pause, recognizes the situation, splits the object on this position into
two new objects and tries it again on each of these new objects. The
sounds produced by turning over the record or tape will usually be
eliminated. You will get a better hit-rate if you determine the minimum
length of your record or tape side. Here are some suggestions:
Single:

10 Minutes

Record:

15 Minutes

60” Tape:

25 Minutes

90” Tape:

40 Minutes

Set Track Indices on Object Edges
This function sets track markers (Index Markers) automatically to the
beginning of each VIP object in the first VIP track.
Prior to using the function, execute Remove All Indices to delete any
possible track markers.
If there are multiple objects that make up a single track or title, you
may want to use the Bouncing function to combine the objects to
ensure proper track assignments.

Remove Index
Use this function to remove a previously set track or sub-index
marker. First, click on the marker (the small rectangle below the
number), and then activate this function to delete it!

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CD menu
Remove all Indices
Use this function to remove all previously set track or sub-index
markers. This can be helpful before calling the function “Set track
markers on object edges”!

Make CD
This dialog starts the CD writing process. MAGIX Music Studio 12
deluxe contains high-grade CD creation routines that are constantly
updated. The software code is licensed from Point Software &
Systems.
MAGIX Music Studio 12 deluxe creates a TOC (Table of Contents) file
prior to starting the CD creation. The name of the current VIP is used
and the extension *.tcx is added to the file. The TOC file is located in
the same folder as the current VIP. It is therefore important to save
the VIP to the hard disk prior to starting the burning process.

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CD menu
The "Make CD" menu in detail:

Burn “On the Fly”
Use this extremely powerful mode if you want to create the CD
directly from within the VIP. All necessary calculations are performed
in real-time during the burning process. The following real-time tasks
are calculated during the process:
•
•
•
•
•

Volume and panorama settings
Fades and crossfades
Mixing of tracks
Mixer track effects
Mixer Master section effects

To get a good idea whether your system is able to sustain the realtime processing needed for this functionality, try this:
Play back the VIP sections that contain the largest number of tracks
and/or where the most real-time effects are used. Watch the DSP
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CD menu
meter (bottom left-hand). Below are the expected performances at
the different DSP values:
•
•
•
•

Below 25%: CD creation with up to 4x mode
Below 50%: CD creation with up to 2x mode
Below 90%: CD creation with up to 1x mode
Above 90%: Real-time creation is not possible, use the second
mode (Bouncing)

Generate a complete new file
Use this option if your system is not fast enough to sustain the realtime creation of the CD (see above). This mode calculates all WAV
files, including fades, crossfades, and volume automation into a new
audio file. Any other real-time processing is also part of the newly
created audio file. Make sure that you have sufficient hard disk space
prior to starting the process (approx. 700 MB for a complete CD).
The original WAV files used in the VIP remain unchanged. This makes
this procedure non-destructive!
Print TOC
This starts the external TOC Printer application. This convenient tool
allows you to print the contents information of the current CD. You
may choose between a text style format to print the production
documentation and a formatted printout for the CD jewel case.
Please refer to the on-line help for the TOC Printer for more specific
information!
Show TOC
This button opens a text window, which shows the contents of the
current TOC. The “Copy” function can be used to copy the contents
to the Windows Clipboard for use with other text editing applications.

Show CD-R Drive Information
This dialog shows you information about the active CD-R drive(s).
Among the information displayed is the manufacturer, drive name,
hardware revision, cache size, and the features supported by the
drive mechanism.
The feature “Disc At Once” is extremely important, since it is needed
to produce Red Book compatible Audio CDs that are accepted as
masters by pressing plants
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CD menu
Show CD-R Disc Information
This dialog shows information about the currently inserted CD-R
media. The most important information is the maximum length that
cannot be exceeded during the production (i.e. 74 minutes and 5
seconds).

CD Track Options
The CD Track dialog shows all CD tracks and sub-indexes used in
the current VIP. Every track can be assigned with a name, which is
also displayed in the VIP. Other settings such as Pre-emphasis, Copy
Protection, and Second Generation Protection Flags can be set for
each of the tracks. The button Set All allows you to use the current
flags to set all tracks to the chosen settings. Other settings are the
ISRC Codes for every CD track.

CD Disc Options
This dialog configures settings for the current CD.
CD Title
The title is written to the CD and is used in the TOC Printer
application to print the CD information.
UPC/Ean Code
This code is also written to the CD and can be requested by special
CD players that work with this format.
Number of first CD Track
Under certain circumstances, such as writing with Track-At-Once, the
number of the first track can be determined with this setting. When
using the Disk-At-Once mode this setting does not have any
significance. The CD will always start with track 1 in this mode.

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CD menu
CD Text / MPEG ID3 Editor
This function allows you to supply data regarding a song or CD
content – such as album, artist etc.

MP3 files do not only transport audio data, but also information about
the coded music piece through so-called “ID3 tags”. These are file
appendages into which an encoder can write standardized
information. The ID3 tags are recognized by the decoders and
displayed as music data by the MP3 player.

Set Pause Time
Use this function to set the length of the default pause between two
tracks. These pause length is needed for the grid function, which lets
the sample objects snap to the edges of other objects + this pause
time. Normally a pause time of 2 seconds is used.

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CD menu
Set Start Pause Time
Use this function to set the length of the default pause before the first
track. Normally a start pause time of 2 seconds is used.

CD Arrange-Mode
If you activate this menu feature, MAGIX Music Studio 12 deluxe will
arrange the next objects introducing a Red Book-Standard-Pause
between them.
The following procedure highly recommended:
• Open a new VIP, with 4 tracks for example, so that you may reedit it
later on
• Activate the Special CD Arrange Mode in the CD Menu
• Load wave files, audio tracks or make a recording using the
microphone
You will notice gaps in the VIP between the individual objects, which
represent the inserted breaks. You can adjust the length of the
included pauses in the dialogue ”Adjust Pause Length” if you want.

FreeDB Options
Get CD info (FreeDB Internet)
Calls up FreeDB data for audio CDs. You have to register first before
using FreeDB.
Submit CD to FreeDB
Allows you to add a CD to the online CD database. The FreeDB™
project relies on user contributions to keep an updated database
available.
If you own a CD that’s not in the database, you may add it to the
database.
•
•
•
•

Lay CD in the drive..
Select “Add CD to FreeDB”
Enter data in the dialog. Please double-check your data.
Press “OK”

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CD menu
• Your contribution should be online after an hour or two
Clear FreeDB cache
The FreeDB™ online database assigns a cache to your hard disc
containing all files that can be read online . This allows you to read
files without having to go online. This option allows you to delete the
cache.

Audio ID
With this function you can identify audio files. As opposed to the
FreeDB (see page 391) search, the audio file doesn't have to make
up part of an album or CD, it doesn't even have to be a complete
recording.
MAGIX Music Studio 12 deluxe analyzes parts of a song's typical
sound characteristics and sends this information to an Internet
server. The server then compares this "acoustic fingerprint" with song
information in its database and responds with the track information.

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Options menu

Options menu
Project properties
Mixer Setup
Opens the mixer setup dialog where you adjust the general settings
for the mixer routing design.

Project and Mixer configuration: Here you can set the number of VIP
and Mixer tracks as well as the submix and AUX busses.
Device Setup: Here you can set the various routings.
Playback Options
See menu “Playback“!

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Options menu
Media link

Nearly all other media files can be linked to MAGIX Music Studio 12
deluxe projects. These can be complete MIDI songs (.MID files), video
clips (AVI or MPEG files), or other files for which an MCI is installed,
practically all formats that the Windows Media Player can play back.
“Linked” means that the linked media files are played back
simultaneously with the MAGIX Music Studio 12 deluxe project and
that no synchronization occurs. The time position is not verified
directly. MAGIX Music Studio 12 deluxe uses the Windows Media
Player for playback, which merely starts and stops the selected file
Linking MAGIX Music Studio 12 deluxe projects to videos
Media Link lets you add soundtracks to videos with MAGIX Music
Studio 12 deluxe in real time without requiring additional
synchronization hardware.
In theory it is possible to work with digital videos directly in the
original resolution. However, to ensure optimum synchronization and
a smooth workflow the following procedure is recommended:
1.

Digitalize your source material with “MAGIX Move Edit Pro” video
editing software (included in MAGIX Music Studio 12 deluxe) and
export a pilot video of small size using a suitable codec which
requires low decompression expenditure and only contains key
frames if possible. (DiVX or MPEG are not suitable). MAGIX's own
MXV format is recommended, as this format is optimized for realtime processing.
Link the video to MAGIX Music Studio 12 deluxe and apply the
soundtrack.
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Options menu
3.
4.

Remove the link again after track bouncing.
Replace or store the finished Wave Project in the video using the
function “Replace audio in video”. You can then save the sound in
the original high-resolution movie without requiring recompression
(merely the soundtrack needs to be exchanged). More details
available from “File” menu -> Export video sound...

File Name: Allows you to specify the file name, and source directory
of the media file. Clicking on the folder button launches a file
selection dialog that allows you to browse your hard disk(s) and
specify the media file type. Once you have located the desired media
file, simply click on OK, and MAGIX Music Studio 12 deluxe will make
the link.
Play always: This button activates synchronized playback.
Synchronization to Audio playback: Synchronizes the new media link
(e.g. AVI-Files) with the existing VIP.
Always reload file before playback: This button specifies whether the
media file should be reloaded every time before each playback. This
can make sense, for instance, if you are still editing a MIDI song in a
simultaneously open MIDI sequencer. You then only have to save the
file as a MIDI file from the sequencer - MAGIX Music Studio 12 deluxe
will automatically reload it before it is played back the next time. If the
media file is not yet complete, this option should not be activated.
The file will be loaded only once, which particularly makes sense with
AVI files: The window with the video will then continue to remain
open. This lets you check the image content that matches each
marker precisely. Play start is faster.
Video Options
Get audio from video: With this button the audio files from an AVI file
can be extracted and converted into a wave file. This wave file can
then be edited further in MAGIX Music Studio 12 deluxe in virtual
projects.
Replace audio in video: This option can be opened using the "Export
video sound" function to replace the existing soundtrack in a video or
create a new video.
Show current video frames: This option opens a keyframe window
that you can freely scale on the screen without any loss of space in
the VIP.
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Options menu
Show video track in the VIP: This is an especially strong feature of
MAGIX Music Studio 12 deluxe. In virtual projects a video timeline
can be displayed above the audio tracks. A movie strip of any chosen
size can be inserted, upon which the current video position can be
perfectly recognized. With range and object selections the beginning
and the end are displayed precisely according to the frame.
Play video without sound: This option makes MAGIX Music Studio
12 deluxe integrate the video without the sound so that the audio can
be adopted by MAGIX Music Studio 12 deluxe.
Video in MAGIX Music Studio 12 deluxe window: This option opens
the AVI window only on the MAGIX Music Studio 12 deluxe main
screen. This is often more practical than a completely independent
AVI video.
Video Overlay (Video output of the graphics card): Video overlay
means that the graphics card itself takes care of the video display
and the video picture is positioned on top of the actual windows
screen (overlay).
Text Comments
You can enter text comments to the current project via a simple text
editor. This text can be displayed at each new opening of the project.
This will preserve important information about the project together
with the audio material.
Snap and Grip Setup
See “Menu View”!
CD Arrange-Mode
If you activate this menu feature, MAGIX Music Studio 12 deluxe will
arrange the next objects introducing a Red Book-Standard-Pause
between them.
The following procedure highly recommended:
• Open a new VIP, with 4 tracks for example, so that you may reedit it
later on
• Activate the Special CD Arrange Mode in the CD Menu
• Load wave files, audio tracks or make a recording using the
microphone

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Options menu
You will notice gaps in the VIP between the individual objects, which
represent the inserted breaks. You can adjust the length of the
included pauses in the dialogue ”Adjust Pause Length” if you want.
Destructive Wave Edit Mode
Wave projects can be edited destructively as well as virtually. Please
also read the corresponding descriptions in the first chapter of the
handbook. You can select the desired editing method from the list.
Units of Measurement
See “Menu View”!

Project Options

This will show you information on the current project. This includes
creation date, memory size, path and file names. For virtual projects,
a list of all included physical files is displayed.
Virtual projects also display a list of linked Wave projects.
Volume Reduction in Virtual Projects: In Project Information for virtual
projects you can reduce the level in 6 dB steps. This volume
reduction is necessary for multi-track virtual projects as the sum of all
tracks in this case must not exceed 16 bit (0 dB) in this case.
Theoretically, each Track of a 4 Track stereo Project must be
reduced by 2 bit's (12 dB). In the real world application, Tracks are
often not recorded or played back at the maximum level so that the
reduction can be adjusted accordingly. However, raising the volume
reduction setting may result in clipping.

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Options menu
Please keep in mind that MAGIX Music Studio 12 deluxe reduces the
volume of Wave Projects to the setting in the Virtual Project that uses
the Wave Project. This allows you to switch between the VIP and the
Wave Project without the usual encounter of volume differences
between the Project types. If a Wave Project is opened by itself
(without using the Wave Project in a VIP), MAGIX Music Studio 12
deluxe automatically uses the maximum volume playback.
Key:

Track Information
Please refer to menu “Track”!

Synchronization / Synchronization
settings

Master synchronization: MAGIX Music Studio 12 deluxe will slave to
SMPTE/MTC/MC and can act as the master for MIDI Clock and MIDI
Time Code.
Sync output is directly linked to audio playback so that no delays
occur between MAGIX Music Studio 12 deluxe and external devices,
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even with long tracks. This new synchronization technology was
specially developed for connecting MAGIX Music Studio 12 deluxe
with MIDI sequencers such as Cakewalk, Cubase, Logic, Evolution
Audio, MIDI Connections, etc, that can run on the same PC in
multitasking mode.
In this case you should use a virtual MIDI router for internally linking
the programs, such as "Hubis MIDI Loopback" from the MAGIX Music
Studio 12 deluxe studio CD-ROM.
Wherever possible please use MTC -25 frames/sec. as, unlike with
MIDI clock, no tempo changes have to be taken into account.
If MAGIX Music Studio 12 deluxe is running as Master, please set the
FX factor to 1.0.
Slave synchronization with real "chase lock": MAGIX Music Studio 12
deluxe supports real "Chase Lock" synchronization, i.e. audio
playback can be controlled precisely by a received timecode signal
(MC or MTC). In this case not only the starting point of audio
playback is controlled externally, but sync also controls playback
speed if "Chase Lock" is activated. This way MAGIX Music Studio 12
deluxe can follow the sync of analog tape machines or VCRs for quite
some time, which always have a certain slip, without delay.
This is a very powerful feature which many "professional" systems
only offer at a high price!
By entering the "Sync Velocity" you can influence the speed of the
tempo adjustment. The greater the sync velocity, the faster MAGIX
Music Studio 12 deluxe will follow a tempo change of the sync
master; however, this also means that the pitch fluctution in the audio
material is greater.
Only use values greater than 100 if MAGIX Music Studio 12 deluxe
does not synchronize precisely in standard cases.
The "Chase lock" synchronization uses a realtime resampling routine
requiring a certain CPU power. Anything as fast as a Pentium 90
processor should suffice.
When using the hardware pitching feature, the Chase Lock
synchronization uses direct access to the sample rate of the sound
card in 1 Hz steps. This achieves particularly precise synchronization
without additional CPU load. However, the sound card has to support
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this feature, as is currently the case with the ARC44 and ARC88 4 or
8 channel.
MIDI Clock Input Device: Here the driver must be selected from which
MAGIX Music Studio 12 deluxe will receive MIDI Clocks for the
synchronization.
BPM: Here you have to enter the tempo at which you want to receive
MIDI clocks.
MIDI Clock Output Device: Here you have to select the driver via
which MAGIX Music Studio 12 deluxe should send MIDI clocks for
synchronization.
BPM: Here you have to enter the tempo you want to send MIDI
clocks.
SMPTE/MTC Input Device: Here you have to select the driver via
which MAGIX Music Studio 12 deluxe should receive MIDI timecode
for synchronization.
Sync velocity: The greater the sync velocity, the faster MAGIX Music
Studio 12 deluxe will follow a tempo change of the sync master;
however, this also means that the pitch fluctution in the audio
material is greater. Only use values greater than 100 if MAGIX Music
Studio 12 deluxe does not synchronize precisely in standard cases.
MTC Output Device: Here you have to select the driver via which
MAGIX Music Studio 12 deluxe should send MIDI timecode for
synchronization.
Type: Select the proper frame rate. Use 24 frames for cinematic
synchronization, 25 frames for PAL video, and audio synchronization,
30 frames for NTSC video.
Pre-roll-Frames: You can specify, how many frames MAGIX Music
Studio 12 deluxe is to ignore before the synchronization starts. Here
you can account for the fact, that certain analog instruments need
time to reach the correct speed. In order to have MAGIX Music
Studio 12 deluxe link up to the proper time values, a certain pre-roll
frame count can be specified.
SMPTE-Offset: The SMPTE offset is indicated in milliseconds and in
SMPTE frames. The offset is removed from the incoming SMPTE time
code signal to line up differences between tape material and
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recorded samples in MAGIX Music Studio 12 deluxe. With an offset of
“60:00:00” milliseconds (1 hour) a tape that was previously stripped
can be synchronized, if the start point for the recording/playback
starts at 1 hour. MAGIX Music Studio 12 deluxe will, however, start at
the correct beginning position.
FX: With this parameter, possible inaccuracies during the positioning
of long samples can be equalized. Requirement is a flawless
synchronization at the sample beginning. Follow the instructions in
the chapter “Problem Solutions”.
Key:

Program Preferences
VIP Mouse Mode
This submenu features the same functions as the mouse mode bar.
Please also read the chapter Mouse functions and mouse modes
(see page 429).
Wave Mouse Mode
You can select between five draw modes for Wave projects (HD and
RAM Wave projects):
Please read the chapter "Mouse functions and mouse modes".
Object mode
Link curves and objects
In this mode, Volume and Panorama curves are attached to the
objects beneath them so that they can be moved together. This can
be useful if the curves are aligned exactly with the audio material of
the object and the object has to be moved.
Link all objects in one track
In this mode, all objects following the current track are selected and
moved together. This can be useful when the latter part of a project is
already complete and a part further forward is still being edited. This
way, the latter part remains in the front range even if it is moved or if
something is added to it.
This also works if multiple objects are selected which then have to be
on several tracks.

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Editing keyboard shortcuts and menus
In this dialog, you can freely choose the keyboard shortcuts for every
menu function in the main menu or for the Auto Jam Session of
MAGIX Music Studio 12 deluxe. This way, it’s possible to set the
commands you use most often to a special key combination so they
can be opened quickly.

When you close MAGIX Music Studio 12 deluxe, the shortcut settings
are saved in the Windows folder file MusStu40.ini, so that they are
automatically made available the next time the program is opened.
It is, however, also possible to export sets of shortcut keys or menu
definitions in files.
The display of the entire menu tree is the key function of MAGIX
Music Studio 12 deluxe.
Here, you can select which menu point you want to create a new
shortcut or if the menu point should appear in the main menu of
MAGIX Music Studio 12 deluxe.
Shortcut list
Export list: You can use this to export the shortcut as a list in a text
file in different formats. A window will open in the Shortcut Editor
which displays a complete list of the current shortcuts. The included

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Copy button can be used to copy this list to the Windows clipboard
and then edit and print it using a text editor.
Reset: Activates all preset shortcuts again.
Load/Save: Previously saved shortcuts are loaded and activated or
the current shortcuts are saved under a file name.
Shortcut
To add a new shortcut, click on the desired menu item and then on
the input box at the bottom. Then click on the shortcut key.
You can also use combinations of any key with Shift, Alt or Control.
Please do not use the space bar, ESC or Insert key (0 in the number
block), as the functions of these keys are permanently set in MAGIX
Music Studio 12 deluxe and cannot be changed.
Assign shortcut: This button can be used to activate the key
sequence on the left as a shortcut. A warning will be displayed if this
command should already have been assigned. However, you can
also check in advance whether the key combination has already been
assigned. To do this, click on the Search button (binoculars) once the
key sequence has been entered. An assigned menu command will
then be displayed in the top list.
Delete: Deletes the selected shortcut.
Assigned: Shows all the shortcuts assigned to menu points. You can
assign menu commands to multiple shortcuts.
Auto JamSession
Editing this is basically identical to editing the main menu. However,
you cannot set any keyboard shortcuts, but rather MIDI commands
or joystick actions.
The commands listed here don’t exist in any menu. For this reason,
the buttons “Show/Hide menu point” and “Reset” (from show/hide
menu command) are greyed out. Similarly, the list cannot be exported
or saved.
Reset: Activates all preset shortcuts again.
Note: The MIDI input device can be set in the metronome options.
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To assign a new shortcut to a command, enter the type of shortcut in
the flip menu “Status”.
Note: MIDI commands can also be learned. If you should use control
change events for remote controlling, you can choose between
“CtrlUpDn” and “CtrlChg” in the “Status” menu.
• CtrlUpDn: This is a special adaptation for use with a sustain pedal
from the MIDI keyboard. A command is activated only when the
pedal is “tapped”lightly, because, when playing, the sustain pedal is
typically held longer than it takes to actually activate an assigned
command.
• NoteOn: Note On events are always transmitted when a key on the
MIDI keyboard is pressed. It’s also possible for other keys of the
MIDI keyboard to transmit Note On events. Please refer to the
instructions of your MIDI device.
• CtrlChg: Control Change events are transmitted to the MIDI device.
The MIDI device can also be programmed so that pressing a key will
transmit such a Control Change event. Please refer to the
instructions of your MIDI device.
• PrgChg: Program Change events are actually there to effect a sound
change in the sound generator.
• PitchWheel: The Pitch Wheel normally serves to modulate the pitch
of the sound played. When using it, a quick movement is all that’s
necessary to execute an assigned command.
• Joystick1/2: Use the buttons 1-4 of your joystick to control the Auto
Jam Session. In the field beside it, “Button”, enter the corresponding
number of the desired button. Here, you cannot set the channel as
joysticks don’t have anything to do with MIDI devices.
• Channel: MIDI Channel 1 is always set as the default. In case your
MIDI device transmits to a different MIDI channel, you can set it here.
• Assign: With this button you can activate the specified MIDI event or
set the joystick button as a new shortcut. A warning will be displayed
if this command should already have been assigned.
• Delete: Deletes the selected shortcut.
• Assigned: Shows all the functions of shortcuts assigned to menu
points. You can assign menu functions to multiple shortcuts.
Learning MIDI commands
1.
2.

Select the function you want to remotely control via MIDI from the
list at the top.
Click on the “Learn” button. This now turns red.

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3.

From the MIDI device, activate the MIDI command to start the
function.
4. In the dialog, click on the “Assign” button to complete the learning
process.
Change Toolbar style
You can change the style of the toolbars into 3-D or a flat look. You
have to restart MAGIX Music Studio 12 deluxe if you changed the
toolbar style.
Edit Toolbars
With this command you open the tool bar editor for the according
toolbar. The same function can be called by right-clicking on the tool
bar. All tool bars are customizable. You can customize any toolbar by
adding or removing any command, which is available as a toolbar
icon.
Inside the toolbar editor there is a context-sensitive pop-up help.
Reset Toolbars
This menu lets you reset several toolbars.
Grid Setup
See “Menu View>Snap setup”!
Video Height
If the option to display the AVI frames in the VIP window, the height
of the AVI pictures is determined with this setting.
Font Selection
MAGIX Music Studio 12 deluxe will also let you specify the font used
for text display in the various objects.
Font for Time Display
This option lets you select the display font for the Time Display
(Window->Time Display).
Display mode
Please read the explanations in the "View" menu
Color Setup
Here you can adjust the foreground and background color for
displaying samples in wave projects, the colors of the volume and
panorama curve, the grid, the oscillograph and the time display.

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Color selector
The standard Windows color selector has its own integrated online
help which can be accessed with the F1 button or the ? button in the
dialog.
In addition to the mentioned function attributes, the sets of the userdefined colors can be saved onto a file and reloaded again.
Right-click in the color selector dialog to access a menu with all the
saved user-defined color palettes. With „Current user-defined save
as...“ you can save the current palette onto a new file which will then
appear under Color palettes in the menu.
Undo Definitions
The depth of undo can be specified when working with VIP’s. A value
of “20” means that the last 20 changes can be undone.
Object Lock Definitions...
Here you can select which functions should not be permitted by
locking the objects.
The choice consists of:
Moving: The objects cannot be moved unintentionally (default). This is
especially useful for multi-track recordings to prevent inadvertent
offset between each track from the beginning.
Volume Changes: Deactivates the volume handles of the objects.

System/Audio
In the “System” menu, you have options to fine-tune MAGIX Music
Studio 12 deluxe.
In detail this is:
•
•
•
•
•
•
•

Audio playback settings (Playback Devices)
Audio record settings (Record Devices)
Program Options
Paths/Skins
View options
Color setup (colors)
Metronome settings (MIDI options)
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Options menu
Most of the dialogs can also be activated separately via the different
menus and are explained at a the corresponding position. In the
following you can find the explanations on system settings directly via
the "System/Audio" dialog.
Playback Devices (audio playback settings)

Device Resolution / Device Communication
Here you can specify the bit resolution for communicating with the
audio driver for recording and playback. Usually, resolution selection
is automatic. If the output device is not able to display at the desired
resolution (e.g. 24 bit), an appropriate lower solution will be dithered
automatically by MAGIX Music Studio 12 deluxe and sent to the
driver. In certain circumstances, e.g. if the driver triggers error
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messages (because it registers certain resolutions but can not
actually play/record them), you can force 16 bit driver address here.
Driver system
You have the choice between MME, multi-channel MME, and ASIO.
MME is the standard Windows multimedia driver system. If your
sound card supports 24/32-bit audio playback, but still experiences
problems when playing high-resolution audio files, try using these
drivers.
ASIO
However, if your sound card model uses ASIO drivers, you have
some distinct advantages over MME:
MAGIX LoLa is supplied with the program. This is a universal ASIO
driver that can be used for many sound cards that do not have their
own ASIO drivers..
• Lower latency of the driver system. This results in considerably lower
response times for real-time editing. This enables software
monitoring of the inputs (and VST instruments). The CPU load of the
system drops, more high-quality effects are possible without
intermediate bouncing.
• Driver-side synchronization between recording and playback is
available. This ensures that overdub recordings are 100 % stable
regarding timing. This also allows for mechanisms for compensating
latency for effects permitting software FX monitoring.
• ASIO also offers a general method for treating multi-channel audio.
All bit-resolution and multi-channel problems which may appear with
WDM drivers under Win2K/XP are avoided from the outset.
• Advanced hardware monitoring options via use of ASIO direct
monitoring (flexible routing including Pan & Volume, irrespective of
the sound card).
ASIO settings
ASIO driver: The drivers of each ASIO device currently available in the
system are listed here. "Settings" opens the settings dialog of the

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sound card driver. Please refer to the sound card manual for more
information.
ASIO software monitoring with track effects: With this option you can
use MAGIX Music Studio 12 deluxe as an external effects device. This
requires that an ASIO driver is installed for the sound card.
Buffer settings
Play/Record buffer: Specifies the buffer sizes for playback or
recording of audio data.
In principle, the larger the buffer, the safer playback will operate on
slower systems or at full load. The number of simultaneously playable
tracks also increases. However, this reducese the reaction time of the
CPU, which can particularly disturb realtime effects. We therefore
recommend searching for an optimum compromise for your system.
When recording and playing simultaneously, the record and play
buffer have to be the same size.
RAM Buffer: This parameter allows you to control the size of the RAM
Buffer. The RAM Buffer is used to record and playback audio from
RAM Projects. The default size is 4000 and will generally perform
well, but you can try smaller sizes for quicker response time.
HD /Scrubb Buffer: This parameter allows you to control the size of
the HD (hard disk) / Scrubb Buffer. This Buffer is used to playback
audio from Hard Disk Projects (HD Wave). The default size is 8000
and will generally perform well. However, you can try smaller sizes for
quicker response time, or larger sizes if you experience drop-outs or
errors. T
VIP Buffer: This parameter allows you to control the size of the VIP
(Virtual Project) Buffer. The VIP Buffer is used to playback and
manipulate audio when in the VIP window. The default size is 16000
and will generally perform well. VIP Buffer: As error-free playback is
usually more important than fast reaction times, this value should be
possible be increased from 16000 to 32000 when playing many
tracks. When playing virtual projects or using the mixer only these
settings are relevant.
Realtime Buffer: Values of 8000 are set as default. This buffer is only
used for realtime previewing the effects from the effects menu.

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Buffer Number: Here you can specify how many of the buffers
described above should be used. More buffers increase reliability, but
also increase the memory requirements. Reaction times become
longer. You can check the current buffer usage levels in the status
bar to the bottom right.
HD record buffer: 16000 samples are set as a buffer, however, they
are used for audio recording and indicate how much data should be
written on a block of the hard drive.
Deactivating non-reachable menus and buttons: If this option is
activated, many menus only appear if projects are opened.
Record Devices
The installed sound cards are listed in the large window at the top of
the dialog. With the Device Info you can open the small dialog. There
you will find information on the sound card activated in the adjacent
window (supported sample rates, manufacturer, etc.).

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Options menu
Metronome
Here you can set a metronome to help keep in time with the beat
during recordings. You will require soundcard with MIDI functionality
and/or an external MIDI instrument to provide the metronome click.
.

Active during recording: This option allows you to hear the
metronome click during recording.
Active while playing: This option allows you to hear the metronome
click while playing.
Output device: Selects the device that will provide the metronome
click (usually the soundcard).
MIDI Channel: Sets the MIDI channel, through which MIDI commands
are sent.

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Tact / Tact velocity: Here you can set the various notes and velocities
for the first beat of each tact and/or the subsequent tacts.
Paths/Skins
At the top of the dialog you can specify which data you want to
assign to which paths by default.
Skins are a new feature in MAGIX Music Studio 12 deluxe (screens).
You can select skins for projects, the mixer and the Transport
Control. We are planning to design many different skins for the future.
This adds excitement to your work: Your eyes will never be bored
again when working with MAGIX Music Studio 12 deluxe.
Im/Export: This parameter allows you to specify the default Path
(location) for Files that are either Imported or Exported to/from MAGIX
Music Studio 12 deluxe.
HD-Projects: This parameter allows you to specify the default Path
(location) for Hard Disk Projects (HD Wave).
RAM-Projects: This parameter allows you to specify the default Path
(location) for RAM Projects (RAP).
Virtual Projects: This parameter allows you to specify the default Path
(location) for Virtual Projects (VIP).
Sessions: This parameter allows you to specify the default Path
(location) for saved Sessions.
Program Options
Includes various selection boxes you can click. They are selfexplaining.
Show extended project tooltips: If this box is selected, a small
explanation is displayed for each button in the dialog as soon as the
mouse pointer is hovered of the mouse.
Uncheck this box to deactivate the tooltips again.
Disable Menus and Buttons if Function is not available: Click on
(enable) this option and MAGIX Music Studio 12 deluxe will "gray out"
functions that are not available.

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Options menu
Opens VIP and Record Window on Program Start: Click on (enable)
this option and MAGIX Music Studio 12 deluxe will automatically
open a VIP and Record window when the program is started.
Check Space Key for Playback Stop also in Background: Click on
(enable) this option and MAGIX Music Studio 12 deluxe will continue
checking the Spacebar (to stop playback) while multi-tasking in
another program.
Pentium III optimization: If you own a Pentium III system, this option
will be activated by default. This makes the EQs twice as fast. If you
like, however, you can deactivate this option.
Preview Time (Seconds): This parameter lets you specify the length of
ALL calculated Previews (in seconds). The preview function is used
by some high-power effects for offline editing of wave project
("Effects" menu).
Maximum Reverb time for Objects without Fadeout: If you use realtime
effects on objects, it can happen that, for example, reverb gets cut
off at the end of the object. If you enter a value here, the effect is
computed for that amount of time.
Key:

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Window menu

Window menu
Cascade
This function arranges all open windows in a cascade style.

Tile
All open windows are moved next to each other, making use of the
whole display area. This is useful when dragging physical sample
ranges into VIP’s.
Keys:

Return/Enter

Untile
This function will return the window order to the previous state.
Keys:

Shift + Return

Arrange Icons
All icons are rearranged along the lower portion of the screen.

Main Toolbar
Please use this command for hiding or unhiding the Main Toolbar
(see page 434). Here you will find buttons for frequently used MAGIX
Music Studio 12 deluxe commands.
A check behind the menu item indicates that the toolbar is visible.

Position bar
Shows or hides the positioning bar on the lower portion of the
display.

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Window menu
Mouse Mode Toolbar
Shows or hides the mouse mode toolbar with buttons to select
different mouse modes in VIPs.

Range bar
Shows or hides the range bar on the lower portion of the display.

Workspace bar
Displays or hides the workspace bar at the bottom part of the screen.

Button bar
Shows or hides the button bar at the bottom part of the screen,
which includes the 4 buttons Object Editor, Visualization, Transport
and Mixer.

Status bar
Shows or hides the status bar on the lower portion of the display. A
tick behind the menu point shows that the status bar is visible.

Mixer
Opens the mixer. Please refer to the Mixer chapter!
Key:

Track Editor
The Track Editor to the left of the arrangement window enables
access to all important parameters of the selected track. Record and
monitoring status, volume, panorama, MIDI/audio in- and outputs,
plug-ins, AUX sends and EQ settings are displayed in well-arranged

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sections and can also be edited in this view. You will instantly see all
relevant settings of the corresponding track.
You can open the Track Editor via the corresponding track button at
the bottom of the VIP below the workspace selection button or via
the menu "Window > Track Editor".

Time display
Shows or hides the time display window
This lets you read the current position, for example, while externally
synchronizing, at large distances. Font and colors of the display can
be selected in the context menu (right mouse-click on the time
display).
In the context menu of the time display the number of lines/fields that
are to be displayed can be set between 1 and 5. For each line/field
the size that is to be displayed can be selected from the menu.
Double-clicking lets you edit the sizes (with the exception of the
current mouse position and the current mixer value).
The most important options:
Position/Start of range: Displays the current position of the current
play cursor or of the beginning of the range. When moving the
objects you can see the starting position of the object here. Should
you enter a negative number into the range when editing, the play
cursor will be set to the end of the range.
Range length: in "Object -> "Object Length; negative number",
instead of the start of the range, the end of the range is saved.
End of the Range: ->End of the Object, negative number -> Start of
the Range
Current Mouse Position: not editable
Current Mixer Value: Value of the mixer fader/dial that was just
changed or the volume or pan fader in the VIP; not editable.

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Window menu
Visualization
The Visualization Meter is a floating control which enables you to
meter (measure) the audio in a variety of ways.
You can choose between the following display options: Peakmeter,
Oscilloscope, Phase correlator, Spectroscope and Spectrogram.
The settings of the Meter can be adjusted by right clicking on the
Meter and selecting the appropriate adjustment. Use the mouse to
click on setup. A context menu now opens in which you can set the
value ranges, update speeds, drop times, and colors. You can also
reset the peak values.
Tuner: For “tuning” guitars and other string instruments. A calibrating
line appears when the A0 note is played. If deviating tones are
played, the deviation can be read on the basis of the calibration line
and the numerically indicated pitch is corrected accordingly.

Transport Control
The transport control window contains the most
commands for playback, recording, and positioning.

important

Start / Stop / Forward / Rewind Buttons: This allows positioning
similar to that of a tape machine.
Right-clicking the Playback button opens the Playback Parameter
window for the stereo master operation. This lets you determine the
sample rate, playback device, and the Scrubbing/Varipitch options.
Record button: Starts the recording for all active tracks. This means
that tracks with the red REC button enabled need to be configured
with the proper recording devices prior to starting the recording.
Right-click on the REC button for each track to select the device.
Right-clicking the Record button displays the Record Parameter
window. This lets you make settings such as ‘Playback during
recording’ and also lets you record material directly from the Record
Parameter window.
Time Display: This displays the current playback position of the
project. Double-clicking on the window lets you numerically enter a
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new playback position. Clicking the green arrow lets you set various
units of measurement.
L/R Time Display: This displays the length of a selected range and is
editable by double clicking the display.
Marker Buttons 1-12: Clicking on one of the marker buttons saves the
current playback position to the button. If it already contains a
previously saved position (marker appears in light color), the program
will place the playback position to the saved position. A right click
clears the button memory and allows you to store a new position to
the button.
Marker Button: This button open the Marker Manager for more
detailed Marker editing.
Punch Button: This button switch MAGIX Music Studio 12 deluxe into
punch record mode. This means that the recording process can be
started any time during playback. This is also called ‘On-The-Fly
Recording’. This can be repeated numerous times. Punch In and Out
markers are set automatically. You can stop a punch in recording
process with another click on the Record button. However, this does
not stop the playback of the project.
Punch In Button: This sets the punch in position.
Punch Out Button: This sets the punch out position. If the both the
punch in and punch out markers are set, the punch recording can be
started with the Playback button. The program will play back the
project until it reaches the punch in point.
Sync Button: This button opens the Synchronization window.
Loop Button: The loop button activates the Loop mode, meaning that
playback continues to loop through a previously selected range.
RCMON Button: This button activates the Record Monitoring feature
of MAGIX Music Studio 12 deluxe. All tracks that have their REC
buttons activated are monitored with the peak meters. The inputs of
the audio device(s) are directly routed to the outputs of the
soundcard, if the soundcard offers this functionality (check with your
soundcard manufacturer). This offers the same functionality as with
real tape machines.

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Window menu
Scrub >> <<: These buttons allow you to scrub through your project.
During scrubbing the playback of the project continues with varying
speed while the playback direction can be changed. This also offers a
convenient way of finding audio sections such as clicks or mistakes in
the audio material.
Jog & Shuttle Wheel: The transport control includes a Jog & Shuttle
wheel which you can use to "scrub" over the files. The Scrubbing
function behaves like the editing function of a tape player. The motor
is switched off, the tape, however, remains at the sound head. With a
digital system it is more difficult to realize scrubbing as there are no
mechanical moving parts.Turning the tape reels manually moves the
tape slowly along the tape head. Using the scrubbing function in
MAGIX Music Studio 12 deluxe is similar to using a tape player as
playback follows the movement of the mouse. Quickly moving the
mouse increases the playback speed, while slowly moving it
decreases the speed accordingly.
Tempo: In the tempo section of the transport console you can
change the playback speed and the beat of the whole arrangement.
All objects in the VIP are adapted to the speed of your choice with
timestretching.
The item "Tap Tempo..." opens a dialog where you can "tap in" the
beat by clicking on the "Tap" button or by pressing the "T" key on
your keyboard.
In addition, you can fade in the bar grid with the „SNAP“ button and
switch on the metronome click with the „CLICK“ button.

Manager
Please also read the corresponding chapter The Managers (see page
235).

Close all Windows
Closes all opened projects. Before closing a window/project, MAGIX
Music Studio 12 deluxe will ask you whether you would like to save
the project.

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Window menu
Taste:

Taste:

Iconise all waveprojects
This function will reduce all Wave projects to their icons to make
room for the display of the virtual projects.

Hide all wave projects
This function will hide all Wave projects to make room for the display
of the virtual projects.

Half Height
The MAGIX Music Studio 12 deluxe screen is shown in the upper half
of the display.
This is particularly useful if you want to simultaneously use a
sequencer program so that both programs are operated
simultaneously, without having to switch between programs with the
Alt + Tab key.

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Jobs menu

Jobs 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, you also find
quick access to lots of functions.
If you click on an entry with a camera symbol, you will open a short
tutorial video which displays solution. Entries without camera symbols
solve the problem immediately.

Services
MAGIX Online Services
You can access these services via the Service menu.
These offer interesting new services for your photos, movies and
music 24 hours a day. For example, you can have your pictures
developed online or published directly on the web.

MAGIX Community
The perfect place to discuss everything to do with photography:
• Upload photos, comment on them, and have them rated by other
users.
• Create your own profile & guestbook.
• Create your own photo groups & make friends.

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Services
Once you have registered for free, you can use all the features. Have
fun with your pictures on the web!

MAGIX Blog Service
YOU make the news: Share your thoughts, experiences, and news
with a worldwide audience in no time with your own interactive online
journal. With professional templates & 100% unique design, including
photos, videos, and music – no previous design know-how required.
Invite family, friends, and acquaintances to join in and enter their
comments!
Advantage: With MAGIX you can manage multiple blogs per account.
A free MAGIX Online Album belongs to the MAGIX Blog Service so
that you always have full control over your comments.

Export podcast
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

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Services
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" webradio 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.
Select the "Upload arrangement as podcast show (audio)" in the
iPACE > 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
of your MAGIX Online Album the cast can
now be found in its new format in the newly created folder "My
podcasts".

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
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Services
button "Subscribe to RSS feed" which allows any user of your MAGIX
album website 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 Studio 12
deluxe 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.
With Make podcast you can publish your project as a track on your
podcast.

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Services
The export podcast dialog now opens. Here the required information
for your podcast track has to be entered.

Title: This is the title of your podcast. A podcast typically contains
several tracks, and new ones are added regularly. This is not where
you enter the name of the podcast to which the track belongs. You
can enter the name when you upload to MAGIX Online Album. A
podcast then corresponds to an album.
Export podcast: The project is encoded as an MP3 and then
uploaded to the MAGIX Online Album. You can only upload one
contribution at a time (one file).
Description: It is important to enter a unique name and description so
that other listeners will find your podcast.
Responsible: Here you enter your email address so that you can be
contacted.

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Menu Help

Menu Help
Help Index
Use this command to show the index of the help. From this page you
can jump to specific commands or read through the instructions step
by step.

Context Help
Use this command, to get help about any part of MAGIX Music
Studio 12 deluxe. By pressing the Context Help button in the top tool
bar the mouse indicator will become an arrow with a question mark.
Then click on any button or menu in one of the tool bars. Information
about this topic will then be displayed.

About Help
Use this command for getting information about the online help
system.

About MAGIX Music Studio 12 deluxe
Copyright notices and version numbers are displayed.

Start selection / Tip of the day
Use this command to get the tip of the day and to display the start
selection window.
For tips, the file >tips.txt< is required in the MAGIX Music Studio 12
deluxe folder.

System Information
A window is displayed, containing information about the memory
status and other parameters.
www.magix.com

Menu Help
Particularly useful is the display of the free storage on all connected
disk drives, the used system resources utilized by MAGIX Music
Studio 12 deluxe and the memory usage. Make sure the parameter
for system memory used by MAGIX Music Studio 12 deluxe never
grows larger than the displayed overall system memory available
(physical RAM). If this happens, the performance of MAGIX Music
Studio 12 deluxe is reduced caused by page swapping (virtual
memory) done to compensate for the missing memory.

MAGIX Auto-Update
Automatically searches the Internet for up-dates to MAGIX Music
Studio 12 deluxe. An Internet connection must first be provided for
this purpose.

Web publishing area
Opens the MAGIX web publishing area where MAGIX users can
publish their own music productions.

MP3 Encoder activation
Why does it have to be "activated"?
To import (decode) or export (encode) certain video and audio
formats you will require a specific codec to be able to read in and
export these formats. The integration of decoders and encoders from
third parties into programs usually costs money. Fee-based activation
of the codec will make it possible for MAGIX to provide an optimum
price/performance ratio for your software in the future.
How does activation work?
To be able to use the MP3 Export you have to activate the encoder.
Activation is fee-based and can be done online or via post/fax. The
quickest and easiest way to order an activation code is via the
Internet. Ordering the activation code takes just a few minutes via
email. The order of your activation code via post/fax takes a few
days.
This is how activation works:
• Order activation code online

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Menu Help
Click on "Order online..." (Field 1). Your web browser will open where
you can register your MAGIX Music Studio 12 deluxe first (if you have
not already done so). You will then be forwarded to a website where
you can order your MP3 Enencoder activation.
• 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 print out to the address/fax no. mentioned. Once payment has
been processed successfully, your activation code will be sent to you
via email in just a few days.
• Enter activation code
After receiving your personal activation code you can use the
"Activate MP3 Encoder" option in the "Help" menu to open the
activation dialog for the corresponding file format. Copy the activation
code from your email into the input field in the dialog (field 3) and
click on "Activate..." (field 4).
Possible problems and their solutions
The MAGIX website won't open
Check your Internet connection, you may have to use manual dial-up.
The form for post/fax ordering 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 in the "Help" menu)
• Encoder/Decoder name
Your user code (accessible via the "Activate via post/fax" dialog)
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Mouser functions and mouse modes

Mouser functions and mouse
modes
Universal Mode
Right Mouse Button:
Left Mouse Button:

Displays context sensitive pop-up menu.
In universal mode a distinction is made
between the upper and lower half of a
track in the VIP. More mouse functions
are available for the left mouse button.

Mouse functions for the upper half of the track:
• Stretch and move ranges (with Shift)
• Set the start position of the play cursor by clicking next to the object
• Reduce the horizontal zoom level by double-clicking next to a range
• Increase of the horizontal zoom level by clicking on a range
Select Objects
Single click selects objects (or group of objects.)
Single click + Ctrl selects multiple single objects.
Single click + Shift selects multiple objects, including all objects
between the two clicks.
If you click left next to an object, you can sketch a rectangle with the
mouse button pressed down by dragging the mouse the right. All
objects contained therein are selected (lasso function).
Moving Objects
Objects (or a group of objects) are moved if you click into their lower
half and drag them to the desired position while holding the mouse
key.
Dragging + Shift moves objects or object groups up or down the
track list without changing the time position.
Dragging + key ‘k’ move the object under the mouse pointer, plus all
objects behind on the same track.

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Mouser functions and mouse modes
Duplicating Objects
Dragging + Ctrl duplicates one or more objects. To do this you also
have to click the lower half of the object.
Dragging + Shift + Ctrl duplicates one or more objects, while allowing
the objects to be moved up or down the track list without changing
the time position.
Lasso Function
Object lasso: If you click left next to an object in the lower half of the
track, you can sketch a rectangle with the mouse button pressed
down by dragging the mouse the right. All included objects are
selected.
Volume and panorama lasso: If you click left next to an object in the
lower half of the track, you can sketch a rectangle with the mouse
button pressed down by dragging the mouse the right. All contained
volume and panorama points are selected.
Volume and length of individual objects
You can individually adjust the volume and length with the five object
handles.
Object Handles: The upper handle changes the object volume. The
changed level is shown in dB in the upper left-hand corner of the VIP.
Side handles: Fade-in oder fade-out. The fade curves used here can
be set in the Crossfade Editor.
Lower handle: Adjusts the length of an object.
Volume and Panorama Automation Curves
The volume and panorama curves can be used to graphically adjust
the volume and stereo panorama curves of the tracks. Movable
handle points are created on the curve.
Double-clicking on the automation curve creates a new curve event.
Another double click on the same curve event deletes the event.
Selected handles can also be deleted by selecting "Delete Curve
Handles" from the Edit menu.
A volume or panorama handle is selected simply by clicking. Several
handles are selected by holding the Ctrl key while clicking.

www.magix.com

Mouser functions and mouse modes
If you click right next to an object, you can sketch a rectangle with
the mouse button pressed down by dragging the mouse the right. All
contained volume and panorama points are selected (lasso function).
Selected volume and panorama points can be moved with the
mouse. To move several points, you have to hold the Ctrl key while
dragging.

Curves/Object mode
This mode differs to the universal mode only in as much that the track
is not split in two halves.
Play-cursor, fields and zooming are not set in the upper part of the
track, but rather in the beat line above the first track. All other
functions are handled by the universal mode (only, one needs to work
with split tracks).
The curves/object mode is less complicated to use and is therefore a
default setting.

Range Mode (Secure Mode)
Right Mouse Button: Displays context sensitive pop-up menu.
Left Mouse Button: Range: Selecting ranges and moving ranges (with
Shift key). Objects or automation curves cannot be changed by
accident (therefore called ‘Secure Mode’).
Create ranges
In Range mode, ranges are sketched by clicking and dragging the
mouse pointer while holding the mouse button.
The "Range mode" is a saved mode as objects or curves can not be
moved accidentally.
Play Cursor
Single click sets the play cursor anywhere in the track.
Zoom
Double click outside of a selected range (or no range) zooms out.
Double click inside a selected range zooms in.
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Mouser functions and mouse modes
Quick switch to other mouse modes
Using the ‘.’ (Period key) temporarily switches to the object mode,
which allows moving of objects.
Using the ‘-‘ (Minus key) temporarily switches to the curve mode,
which allows moving and manipulating of automation curve events.

Curve Mode
Right Mouse Button: Context menu
Left Mouse Button: The left mouse key offers following functions:
Volume and Panorama rubber band
When you click into the track near by an object, you can, by pulling
the mouse to the left or right, spread a rectangle with the mouse key
kept depressed. This will select all volume and panorama points
contained within.
Volume and Panorama gradients for the whole track
By means of the panorama and volume curves, volume and stereo
panorama graduations can be graphically recorded. For this purpose
sizing handles, which are moved are created on the curve.
A double click on the volume or panorama curve creates a new
handle, and a further double click will clear it. Selected handles may
also be cleared by selecting the option ”clear handles” in menu ”edit”.
You may select a volume or panorama handle by a single click. You
will select further handles by holding the Ctrl key while clicking.
When you click into the track on the right besides an object, you can
spread a rectangle with the mouse key kept depressed. This will
select all volume and panorama points contained within (rubber band
function).
You may move selected volume and panorama handles with the
mouse. To move several handles the Ctrl key must be kept
depressed while pulling.

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Mouser functions and mouse modes
Cut Mode
Right Mouse Button: Context menu
Left Mouse Button: You can use the mouse cursor like a pair of
scissors to crop objects.

Pitch-shift/Time stretch Mode
Right Mouse Button: Context menu
Left Mouse Button:The lower right tab allows compression or
stretching of an object. A time stretching effect is created: The object
is not played as a loop or shorter version, but simply in a different
play tempo.
Using the center tab, the pitch can be altered using pitch shifting.

Draw Volume Mode
Right Mouse Button: Displays context sensitive pop-up menu.
Left Mouse Button: Draws volume automation curves into VIP tracks.
The ‘V’ button for a respective track needs to be active prior to
drawing the volume curve.

Draw Panorama Mode
Right Mouse Button: Displays context sensitive pop-up menu.
Left Mouse Button: Draws volume automation curves into VIP tracks.
The ‘P’ button for a respective track needs to be active prior to
drawing the panorama curve.

Wave Edit Mode (only wave projects)
Right Mouse Button: Context menu
Left Mouse Button: Free-hand drawing function for the wave format.
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Button Overview
Scrub Mouse Mode
Right Mouse button: Context menu
Left Mouse button: Scrub function. Click into project: Pre-listen with
control over play tempo. The project will be played forward and back
controlled by the distance of the mouse pointer from the actual play
cursor position. The larger the distance the faster the play tempo.
You can set 3 individual scrub modes in the play parameter window .

Zoom Modus
Right Mouse Button: Zooms out of the project
Left Mouse Button: Zooms into the project

Button Overview
When the program is first started, only the tools and mouse mode
bars are opened in the upper right corner of the monitor. All further
ones may be added via menu ”windows”.
All toolbars may be placed on the screen at discretion, and they are
automatically arranged in the upper part of the screen by a double
click onto the header line.

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Button Overview
Tools bar (left)

New multi-track project

Oen VIP

Open Audio file

Export/Store project

Save Project

Cut

Copy

Insert

Tools bar (right)

Set Marker

Set Track Index

Set Sub Index

Set Pause

Set CD End

Set indexes at object borders

Make CD

Play Once

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Button Overview
9

Play Loop

Play into Range

Stop

Record Options

Multi-I/O-Recording

Mixer

Mouse mode bar

Universal mode

Range mode

Curve mode

Object and curve mode

Cut mode

Pitchshift/Timestrech mode

Draw Volume mode

Draw panorama mode

Draw wave mode (wave projects only)

Scrubbing mouse mode

Zoom mode

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Button Overview
Positioning bar (left)

Cropping at start

Cropping to left

Half cropping to left

Half cropping to right

Cropping to right

Cropping at end

Object edge left

Object edge right

Range to last marker

Range to next marker

Zoom in

Zoom out

Zoom all

Range as clipping

1 Pixel = 1 Sample

Positioning Bar (right)

Zooming range 1 sec, 10 sec, 60 sec or 10 min

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Button Overview
2

free definable zoom sections

Zoom in vertically

Zoom out vertically

Zoom all vertically

Range as vertical clipping

Zoom in Waveform

Zoom out Waveform

Range bar

Play cursor to start of range

Play cursor to end of range

Fold range to the left

Fold range to the right

Range start to previous zero crossing

Range start to next zero crossing

Range end to previous zero crossing

Range end to next zero crossing

Range editor

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Shortcuts and Intellimouse

Shortcuts and Intellimouse
The keyboard layout can be configured and customized in the menu
Options > Program settings. You will also see the keyboard shortcuts
in the menu entries. In addition, the underlined letters apply to the
menu entries of the respective functions.
Below are the default MAGIX Music Studio 12 deluxe shortcuts for
the program:

File menu
New Virtual Project (VIP)...

Open
Virtual Project (*.vip)...
HD Wave Project (*.hdp)...

O
Umschalt + L

Load / Import
Load audio file
Audio importieren...
MIDI (*.mid)...
Speichern
Speichern unter...
Export audio (WAV)

W
Ctrl + I
Umschalt + M
Strg + S
Umschalt + S
Ctrl + E

Edit menu
Undo
Redo
Cut
Delete
Copy
Paste from clip

Ctrl + Z
Ctrl + Y
X
Del
C / Ctrl + C / Ctrl + Ins
V / Ctrl + V / Shift +
Ins

More
Set Silence
www.magix.com

Alt + Del

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Shortcuts and Intellimouse
Copy + Silence
Copy as...
Overwrite with Clip

Ctrl + Alt + C
Shift + C
Alt + V / Ins

View menu
Sections
1
Activate next section
Activate previous section

Shift + B
Page down
Page up

Grid
Snap to grid

´
Ctrl + ´

VIP Display mode > Definition
Modus 1/2 Umschalten

Shift + Tab
Tab

Store position and zoom factor
1
2
3

Ctrl + Numeric '1'
Ctrl + Numeric '2'
Ctrl + Numeric '3'

Store zoom factor
1
2
3

Ctrl + Numeric '4'
Ctrl + Numeric '5'
Ctrl + Numeric '6'

Get position and zoom factor
1
2
3

Numeric '1'
Numeric '2'
Numeric '3'

Get zoom factor
1
'2
3

Numeric '4
Numeric '5'
Numeric '6'

www.magix.com

Shortcuts and Intellimouse
Horizontal
Half section left
Half section right
Section to play cursor
Section to range start
Section to range end
Zoom in
Zoom out
Show all
Zoom to range

Ctrl + Alt + Cursor left
Ctrl + Alt + Cursor right
Ctrl + Alt + ,
Alt + Home,
Ctrl + Shift + Page up
Alt + End,
Ctrl + Shift + Page down
Cursor up,
Ctrl + Cursor right
Cursor down,
Ctrl + Cursor left
Ctrl + Alt + Cursor up
Ctrl + Alt + Cursor down

Vertical
Half section up

Shift + Cursor up

Half section down
Zoom out wave
Zoom in wave

Shift + Cursor down
Ctrl + Cursor down
Ctrl + Cursor up

Track menu
Track properties
Mute
Mute / Inactive
Solo
Solo exclusive
Record
Monitoring
Lock
Volume curve active
Pan curve active
Edit volume
Edit Pan

www.magix.com

Alt + M
Ctrl + Alt + M
Alt + S
Ctrl + Alt + S
Alt + R
Ctrl + Alt + Shift + F
Alt + L
Alt + K
Alt + P
Ctrl + Shift + K
Ctrl + Shift + P

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Shortcuts and Intellimouse
Object menu
Cut objects
Duplicate and move
Separate with alternative crossfade
Separate objects
Trim objects
Undo object split
Glue objects

Ctrl + D
Shift + T
T
Ctrl + T
Ctrl + Alt + T
Ctrl + Alt + G

Move/edit objects/crossfade
Object step size 1
(left) Object to left
Right object to left
(left) Object to right
right Object to right
Object(s) to left
Object(s) to right
Object start to left
Object start to right
Object end to left
Object end to right
Crossfade to left
Crossfade to right
Object start offset to left
Object start offset to right
Object end offset to left
Object end offset to right
Increase left volume
Reduce left volume
Increase right volume
Reduce right volume
Increase volume
Reduce volume
(left) object content to left
(left) object content to right
right object content to left
right object content to right
Object content to left

Ctrl + 1
Alt + 1
Ctrl + 2
Alt + 2
Ctrl + Alt + 1
Ctrl + Alt + 2
Ctrl + 3
Ctrl + 4
Alt + 3
Alt + 4
Ctrl + Alt + 3
Ctrl + Alt + 4
Ctrl + 5
Ctrl + 6
Alt + 5
Alt + 6
Ctrl + 8
Ctrl + 7
Alt + 8
Alt + 7
Ctrl + Alt + 8
Ctrl + Alt + 7
Ctrl + 9
Ctrl + 0
Alt + 9
Alt + 0
Ctrl + Alt + 9
www.magix.com

Shortcuts and Intellimouse
Object content to right

Ctrl + Alt + 0

Object step size 2
(left) Object to left
Right object to left
(left) Object to right
right Object to right
Object(s) to left
Object(s) to right
Object start to left
Object start to right
Object end to left
Object end to right
Crossfade to left
Crossfade to right
Object start offset to left
Object start offset to right
Object end offset to left
Object end offset to right
Increase left volume
Reduce left volume
Increase right volume
Reduce right volume
Increase volume
Reduce volume
(left) object content to left
(left) object content to right
right object content to left
right object content to right
Object content to left
Object content to right
Object to position of play marker
Object to original position
Arrange objects
Mute objects
Create looped object

Ctrl + Shift + 1
Alt + Shift + 1
Ctrl + Shift + 2
Alt + Shift + 2
Ctrl + Alt + Shift + 1
Ctrl + Alt + Shift + 2
Ctrl + Shift + 3
Ctrl + Shift + 4
Alt + Shift + 3
Alt + Shift + 4
Ctrl + Alt + Shift + 3
Ctrl + Alt + Shift + 4
Ctrl + Shift + 5
Ctrl + Shift + 6
Alt + Shift + 5
Alt + Shift + 6
Ctrl + Shift + 8
Ctrl + Shift + 7
Alt + Shift + 8
Alt + Shift + 7
Ctrl + Alt + Shift + 8
Ctrl + Alt + Shift + 7
Ctrl + Shift + 9
Ctrl + Shift + 0
Alt + Shift + 9
Alt + Shift + 0
Ctrl + Alt + Shift + 9
Ctrl + Alt + Shift + 0
Ctrl + Alt + P
Ctrl + Alt + O
Ctrl + Alt + Shift + A
Ctrl + M
Ctrl + L

Select objects
Select all objects
Unselect all objects
Select next object
www.magix.com

Ctrl + A
Ctrl + Shift + A
> / Ctrl + Alt +W

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Shortcuts and Intellimouse
Select previous object
Object lasso
Build group
Ungroup
Object name
Object editor
Object manager
Take Manager

< / Ctrl + Alt + Q
Ctrl + Alt + L
Ctrl + G
Ctrl + U
Ctrl + N
Ctrl + O
Ctrl + Shift + O
Ctrl + Alt + Shift + T

Realtime effects menu
Elastic Audio

Ctrl+Shift+E

Offline effects menu
Normalize...
Normalize (quick access)
Manual declicker

Shift+N
N
Ctrl + Shift + D

Range menu
Select all as range

Move play markers
Marker at start
Set marker at end
Move left in side mode
Move left in scroll mode
Move right in side mode
Move right in scroll mode

Home
End
Arrow left
Alt + arrow left
Arrow right
Alt + arrow right

Object edge left
Object edge right
Track marker left
Marker right

Ctrl + Q
Ctrl + W
F 2 / Alt + Q
F 3 / Alt + W

Manipulate range
Range start to left
Range start to right

Alt + '/'
Alt + '*'
www.magix.com

Shortcuts and Intellimouse
Range end to left
Range end to right
Fold range to left
Fold range to right
Range start -> 0
Range start <- 0
Range end -> 0
Range end <- 0
Set range start to left marker
Set range start to right marker
Split range
Remember range
Other...
Get range
Get range length
Save marker
Marker with name...
Marker with automatic numbering
Set marker to record position
Get marker
Restore previous range
Box 1
Box 2
Box 3
Box 4
Box 5

Shift + arrow left / Alt + '-'
Alt + '+' / Shift + Arrow right
Ctrl + Shift + Arrow right
Ctrl + Shift + Arrow right
Ctrl + Page Up
Shift + Page Up
Ctrl + Page Up
Shift + Page Down
Shift+F2
Shift+F3
B
Alt + F2 - F10 (exception: Alt
+ F4 and F9)
Alt + F11
Ctrl + F2-F10
Ctrl + Shift + F2-F10
Shift + 0-9
?
Shift + #
Alt + ?
1 - 9, 0
Shift + Backspace
Alt + Numpad 1
Alt + Numpad 2
Alt + Numpad 3
Alt + Numpad 4
Alt + Numpad 5

CD/DVD menu
Set track index
Remove all indexes
CD Index Manager

Ctrl + Alt +I
Ctrl + Alt + Shift + I
Ctrl + Alt + Shift + D

Tools menu
Manager
File Browser
Object manager
Track manager
Marker manager
www.magix.com

Ctrl
Ctrl
Ctrl
Ctrl

+
+
+
+

Shift + B
Shift + O
Shift + S
Alt + Shift + M

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Shortcuts and Intellimouse
Range manager
Take Manager

Ctrl + Alt + Shift + B
Ctrl + Alt + Shift + T

Playback menu
Play
Replay
Play with preload
Play in range/loop
Only play selected objects

Space bar
Space bar
Shift + Space
Shift + P
Ctrl + Space

Stop and jump to
current position
Playback parameters

Number block ','
P

Playback mode
Auto scroll
Soft autoscroll
Scrubbin activated

Scroll Lock
Shift + Scroll
Alt + Shift + Arrow down

Scrubbing left

Alt + Shift + Arrow left

Scrubbing right

Alt + Shift + Arrow right

Recording
Record options...
Input monitoring

R
Shift + R
Alt + Shift + M

MIDI menu
Object editor
Glue MIDI objects
Track information
MIDI Controllers

Ctrl + O
Ctrl + Alt + G
Alt + I
Ctrl + Alt + A

Options menu
Project properties
Mixer setup...
Playback parameters

Ctrl + Shift + M
P
www.magix.com

Shortcuts and Intellimouse
Project status
Project options
Track information...
Synchronization active
Synchronization settings...
Display options
System

Shift + I
Ctrl + Shift + #/I
Alt + I
G
Shift + G
Shift + Tab
Y

Window menu
Tiled
Restore
Mixer
Time display
Visualization
Transport console
Close all windows

Return (Enter)
Shift + Backspace
M
Ctrl + Shift + Z
Ctrl + Alt + Shift + V
Ctrl + Shift + T
Ctrl + H

Help menu
Help
Context help

F1
Shift+F 1

Mouse
Middle-click
Wheel

Play Start/Stop
Horizontal scrolling

Shift+Wheel
+ Ctrl

You can fine-adjust
active buttons/faders
Horizontal zooming

+Shift

Vertical zooming
(Increase/reduce wave
shape size)

+ Ctrl+Shift

www.magix.com

vertical scrolling in
VIPs (tracks)

447

448

Index

Index
0
0 -> Range <- 0

312

1
1 Mono - L&R-Wave
265
1. Download and record 20
2
2. Arrange and Edit
20
24 bit audio support
71
24 Bit Playout & native
editing
24
2Mono > Stereo/LR-Wave264
3
3. Export and use

A
About Help
426
About MAGIX Music Studio
12 deluxe
426
Accessing Audio Material in
an Object
60
Accidental
179
Activate next /previous Track
297
Add one Track
292
Add several Tracks
292
Adjust instrument parameters
184
Adjusting a Range
63
Adjusting and optimizing the
score.
172
Adjusting the Signal
70

Algorithms for
Timestretching/ Pitchshifting
351
Alternative mixer skins
124
Amp Simulation
332
Amplitude / Normalisieren >
Loudness adaption
320
Amplitude / Normalize
319
Amplitude/Normalize > Fade
in/out
321
Amplitude/Normalize >
Normalize
319
Amplitude/Normalize > Set
Zero
321
AmpSim
85
Analog Delay
93
Analog delay parameter
94
Append Projects
278
Applications of the Elastic
Audio easy Editor
118
Arrange Icons
414
Arranging the synth object
192
Artefacts on Cleaning Effects
82, 330
ASIO driver support
25
Atmos
199
Audio + MIDI in one
application
21, 32
Audio ID
392
Audio:
49
Auto Crossfade active
283
Auto Jam Session 229, 372
Auto Jam Session modes 231
Auto JamSession
403
Automation of twin-channel
Surround
251
AUX busses
133
Axes labelling and legends113
B
Bar position markers
(Advanced Tempo Mapping)
376
www.magix.com

Index
Batch processing
25
Batch-processing
268
Beat marker
351
Beat marker slicing
339
Beat marker stretching 339
Beat signature
179
Beatbox 4.0
196
Beginning of Range <- 0 311
Beginning of Range -> 0 311
Bereich manipulieren
311
BitMachine (only available as
a download after registration)
102
BPM value
352
Build Loop Object
303
Build Physical Loop
341
Burn
387
Burn CD
42
Burn Project Backup on CD
262
Burning CDs
253
Burning CDs in MAGIX
Music Studio 12 deluxe 254
Busses and Routing
133
Button bar
415
Button Overview
414, 434
Buttons
197
Buttons in the dialog
344
C
Carrier Input
333
Cascade
414
CD Arrange-Mode 391, 396
CD Disc Options
389
CD menu
383
CD Text / MPEG ID3 Editor
390
CD Title
389
CD Track Options
389
CD/DVD menu
445
CD-R write settings
42
Change mode
291
Change Play Direction
361
Change Sample Rate
340
www.magix.com

Change Toolbar style
405
Changing Object Borders in
Virtual Projects
61
Changing Range Ends
64
Channel strips
125
Chorus
99
Chorus parameters
100
Cleaning FX (object editor) 78
Clear FreeDB cache
392
Clef
178
Clip
55
Clip for Audio Data (Wave
Projects)
55
Close all Windows
419
Close Project
273
Color selector
406
Color Setup
405
Compressor
84
Connect external equipment
136
Connect to the Internet 272
Context Help
426
Controller Editor
155
Convert audio
264
Convert MIDI objects into
audio files
138
Copper Synth
219
Copy
171, 277
Copy and Silence
279
Copy as
279
Copy Objects
298
Copy Track(s)
294
Copy/Paste Track Effects
Settings
295
Copyright
2
Correction
Setting the manual and and
Onbeat/Offbeat
355
Create ranges
431
Creating a VIP
26
Crossfade Editor
280
Crossfade with Clip
280
Curve Mode
432
Curves/Object mode
431
Cut
275

449

450

Index
Cut Mode
Cut Objects
Cut Track(s)
Cutting Objects

433
298
294
298

D
Declipping
327
Default
338
Definition
287
Dehisser
78, 331
Delete
276
Delete all markers
315
Delete Curve Handles
280
Delete Freeze Data
347
Delete HD-Wave Project 263
Delete marker
315
Delete notation symbol 171
Delete notes
171
Delete Objects
299
Delete Panorama Handle 280
Delete Track(s)
294
Delete Undo Levels
280
Delete Virtual Projects
263
Delete Volume Handle
280
Deleting freeze data manually
348
Denoiser
79, 329
Description of all control
elements
114
Destructive and nondestructive editing
55
Destructive Wave Edit Mode
397
Dialog menu
185
Difference between Open>WAV and Import Sample>WAV:
259
Digital Audiometer
92
Digital Transfer
70
Direct X / VST plug-in set-up
344
DirectX and VST Plug-ins 23
DirectX Plug-Ins
295, 342
Display elements
248

Display Filter
350
Display mode
405
Distortion
101
Drag&Drop of VST plug-ins
344
Draw mode 1/2
288
Draw Panorama Mode
433
Draw Volume Mode
433
Drawing
251
Drum & Bass machine 2.0192
Drum Editor
163
Drum kit
196
Drum Map Editor
165
Drum Maps
165
DSP Display
255
DSP Display and Writing
Speed
255
Duplicate Objects
299
Duplicate Objects multiple
300
Duplicating Objects
430
Dynamics
325
E
Echo
336
Echo / Delay
336
Echo / Reverb
85
Edit menu
439
Edit object parameters
241
Edit Objects
34
Edit time display
317
Edit Toolbars
405
Edit Window
112
Editing drum events
164
Editing Events
Piano Roll
151
Editing keyboard shortcuts
and menus
402
Editing MIDI data in the score
sheet
170
Editing MIDI objects
142
Editing notes with the mouse
153
Effect automation
199
www.magix.com

Index
Effect Calculations
121
Effects
39, 207
Effects and effect plug-ins
23, 76
Elastic Audio
111
Embedding external effects
devices
134
End of Range <- 0
312
End of Range -> 0
312
Enhanced Auto Jam Session
dialog
233
ENVELOPE
223
Equalizer
83, 323
Exit
273
Explanaition of the user
interface
205
Export audio
265
Export podcast
265, 422
Extract
278
Extract Objects
299
F
Fade-In / Fade-Out and
Object Volume
62
Features of the CD ROM
Drive Configuration Dialog 260
Features of the Drive List
Dialog
260
Features of the Track List
Dialog
260
FFT Equalizer
324
File browser
237
File menu
439
Filter
97, 333
FILTER
224
Filter graphic
334
Filter parameters
97
Fix vertically
285
Flanger
95
Flanger parameters
96
Flip Range left
311
Flip Range right
311
Font for Time Display
405
Font Selection
405
www.magix.com

Formats and interfaces
22
FreeDB Options
391, 392
Freeze Data Administration
347
Freezing instruments (Freeze)
188
From MIDI to Audio
37
FTP Download
273
Functional overview
60
Fundamental frequency
analysis correction
120
Fundamentals of the Elastic
Audio Editor
113
Further Recording Dialog
possibilities
71
G
General information on the
Elastic Audio Editor
111
Generate a complete new file
388
Generating remix objects 356
Get CD info (FreeDB Internet)
391
Get Marker
314
Get Noise Sample
329
Get position and zoom level
291
Get Range
314
Get Range Length
314
Getting started
17
Global Settings
131
Glue MIDI Objects
374
Graphical instrument
interface and parameters
dialog
184
Grid Lines
285
Grid Setup
405
Group objects
301
Group Objects
303
H
Half Height

420

451

452

Index
Handle
52
Handling
230
Hard drive Recording
68
HD Wave Project
258
Help Index
426
Help menu
447
Hide all wave projects
420
Hide SubMix/Aux Busses 285
High-end 32-bit floating point
23
Horizontally
292
Hotspot
303
How does activation work?
427
I
Iconise all waveprojects 420
Ignore all tempo markers,
use only project tempo 381
Import Audio
258
Importing MIDI data
141
In addition:
25
Insert empty Track
292
Insert new notes
171
Insert new Tracks
292
Insert notation symbols 171
Insert Objects
299
Insert Silence
278
Insert Track(s)
294
Installation
18
Installation of instruments
and path settings
182
Integrate audio material
30
Interface Connection
136
Invert Phase
323
J
Jobs menu

K
Keyboard commands and
mouse-wheel assignments
121
L
L&R-Wave - 1 Mono
264
L&R-Wave - 2 Mono
264
Lasso Function
430
LFOs (Low Frequency
Oscillators)
225
Linear view
167
Link all objects in one track
401
Link curves and objects 401
List Editor (midi event list) 158
Live Input Mode
370
LiViD - Little Virtual Drummer
203
Load audio CD track(s) 383
Load Audio CD Track(s) 259
Load instruments
184
Load ranges from Wave
Projects into the VIP
60
Loading an audio file into a
VIP Object
60
Loading sounds and
controlling instruments
205
Lock Objects
301
Lock Objects > Lock
Definitions
301
Lock Objects > Lock Objects
301
Lock Objects > Unlock
Objects
301
Loop effects
232

421
M
MAGIX Auto-Update
MAGIX Blog Service
MAGIX Community

427
422
421

www.magix.com

Index
MAGIX Jam Session
Automation
24
MAGIX Mastering Suite
88
MAGIX Music Studio 12
deluxe as an external effects
device
122
MAGIX Online
19
MAGIX Online Content
Library
22
MAGIX Online Services 421
MAGIX Premium Club
19
MAGIX Remix Agent
24
MAGIX Revolta
21
Main Toolbar
414
Make CD
386
Manager
349, 419
Manager & Explorer
24
Marker Manager
244
Markers on Range Borders
315
Master module / global
parameters
226
Master section
128
Maximize Track
295
Media link
394
Menu Edit
257, 274
Menu File
256, 383
Menu Help
426
Menu Object
298
Menu Playback/Record 360
Menu Tools
346
Menu Track
292
Menu View
284
Metronome
411
Metronome active
381
Metronome Options
381
MIDI
Import, Record, Edit
139
MIDI / Joystick ...
235
MIDI bouncing
374
MIDI Cabling
137
MIDI Controller / Destination
228
MIDI Editor
35, 147, 373
MIDI Editor shortcuts
161
www.magix.com

MIDI functions
153
MIDI in MAGIX Music Studio
12 deluxe
136
MIDI integration
23
MIDI menu
373, 446
MIDI Object Editor
143
MIDI Options
381
MIDI Panic – All Notes off 382
MIDI record modes
33
MIDI Record Modes
381
MIDI Score Settings dialog
175
MIDI settings
139
MIDI:
48
Minimize none
295
Mix with Clip
279
Mixer 38, 74, 123, 334, 415
Mixer Setup
393
Mode
81
Mode 1
291
Modus 2
291
Monitoring
186, 371
Monitoring > Input monitoring
on/off
371
Monitoring > Peakmeter
Monitoring
371
Monitoring > Software
Monitoring / Software FX
Monitoring
371
Monitoring > Tape player
monitoring
371
Mono
250
Mono, L & R, and stereo
wave projects:
59
Monophone voice
339
More
278
More about MAGIX
19
Mouse
447
Mouse functions for the
upper half of the track:
429
Mouse mode bar
436
Mouse Mode Toolbar
415
Mouse modes
164
Mouser functions and mouse
modes
401, 429

453

454

Index
Move and transpose
171
Move Object
302
Move play cursor
310
Moving and Duplicating
Objects
61
Moving and zooming
149
Moving Objects
429
Moving ranges with the
mouse
63
Multimax
91, 326
Multi-Overdub
382
Multi-view
156
Multi-voice notation
174
Mute objects
302
N
Name
248
New MIDI object
373
New MIDI track
373
New Object
298
New SubMix/Aux Bus
292
New Synth
MAGIX Vita
21
New Synth Object
298
New track folder
292
New Virtual Project (VIP) 256
Noise Sample Section 80, 330
Normal
381
Notation display in Piano Roll
and Controller Editor (with
velocity curves)
148
Notation display, movement,
zoom
147
Notation symbols
178
Notation system settings 176
Note allocation in multiple
systems
172
Note display
Interpretation options 177
Note parameters
170
N-Tuplet (off, 3, 5, 7, 9) 161
Number of first CD Track 389

O
Object
258
Object Background Color 304
Object color/name
304
Object editor
35
Object Editor
304, 373
Object Foreground Color 304
Object Level
68
Object Lock Definitions... 406
Object Manager
240, 308
Object menu
442
Object mode
401
Object Name
304
Object synths and track
synths
191
Object to Original Time
Position
302
Object to Playcursor Position
302
Object-Editor
62
Objects
56
Objekte
290
Offline Effects and Realtime
Effects
39
Offline effects menu 318, 444
Offset
160
Open
163, 229, 257
Open MIDI Editor
147
Open new Manager
349
Open the dialogue
247
Opening the Score Editor 167
Opening the synthesizers 191
Operating the Mixer
124
Operating the Mixer with the
mouse and keyboard
124
Operating the Object Editor
305
Options for oscillator 2
222
Options for the Track Marker
recognition
384
Options menu
393, 446
OSCILLATORS
220
Output Mode
68
www.magix.com

Index
Overdub
Overlapping Objects
Overview
Overwrite with Clip

382
62
123
279

P
Package contents
17
Page format settings
180
Page view
168
Parallel
251
Parameters
227
Parametric Equalizer
88
Parametric Equalizer (mixer
channels, mix master)
86
Paste from clip
277
Patches in brief
352
Paths/Skins
412
Performance
74
pillepalle coder
activation
427
Pitch-shift/Time stretch
Mode
433
Pitch-sliced-objects and VIP
objects
119
Play and monitor instruments
live
186
Play Cursor
431
Play in Range
360
Play loop
360
Play once
360
Play only selected objects 360
Play while recording
368
Play with Preload
360
Playback Devices (audio
playback settings)
407
Playback menu
446
Playback of a range
64
Playback Options 362, 393
Play-Cursor
56
Playing BeatBox on the MIDI
keyboard
199
Playing BeatBox on your
computer keyboard
198
Position bar
414
www.magix.com

Positioning bar (left)
437
Positioning Bar (right)
437
Possibility 1
Auto-record in the Surround
Panning Dialog
252
Possibility 2
Drawing mode in the
Surround panning dialog
252
Possibility 3
Drawing automation curves
in the VIP track
252
Possible problems and their
solutions
428
Pre and Post in the plug-in
dialog
344
Preface
3
Preparation
Setting the Start Marker
and Object End
354
Preparing a MIDI recording 32
Preset management
187
Presets
334
Print notes
181
Print TOC
388
Printing score
180
Process only left (right) stereo
channel
345
Processing audio effects 39
Processing Section
79
Processing the Surround
Sound automation
252
Program desktop overview 43
Program Options
412
Program Preferences
401
Programming
196
Programming the synth
object
191
Project Options
397
Project properties
393
Punch In Mode active
368
Punch In Record
369

455

456

Index
Q
Quantization
166, 233
Quantize
160
Quick switch to other mouse
modes
432
R
RAM and HD wave projects58
RAM Wave Project
258
Range
54
Range all
310
Range bar
415, 438
Range Editor
316
Range length
312
Range Manager
246, 316
Range menu
310, 444
Range Mode (Secure Mode)
431
Range to beginning
311
Range to end
311
Range trackbouncing
347
Realtime effects menu
444
Rebuild Graphic Data
284
Recall last range
316
Record
68, 365
Record another track
29
Record Device
234
Record Devices
410
Record mode / Punch In 368
Record Options
365
Record without Playback 368
Recording and playback of
an instrument
187
Recording information
235
Recording MIDI tracks
139
Recording Source
69
Recording the first track
27
Recording/Playback
75
Redbook
253
Redo
275
Remix Agent
353

Remix Agent – Tempo and
Beat Assignment
353
Remove all Indices
386
Remove DC offset
328
Remove Index
385
Remove Punch Markers 369
Remove unused Samples 347
Rename Project
263
Replace
382
Requirements
354
Resample / Time stretching
337
Resampling
337
Reset
161
Reset Toolbars
405
Reset Track Effects settings
295
Restart Play
361
Reverb
336
Reverse
341
Revolta
220
ReWire
189
Robota
208
Room Simulation
335
Routing the signal:
134
S
SampleTank 2 MX (SE) 204
Save complete VIP in
262
Save in Format
264
Save markers
314
Save Object
262
Save Project
261
Save Project as
261
Save Project as Template 262
Save Session
262
Saving Effect Parameters
(Preset Mechanism)
77
Saving Ranges and Special
Range Commands
64
Schematic illustration of the
Robota synthesis
209, 210
Score Editor
166
Score Editor Modes
167
www.magix.com

Index
Scrub Mouse Mode
434
Section
53
Sections
284
Select Objects
303, 429
Select Objects > Switch
Selection
303
Selecting a Range
63
Selecting an Object with the
Mouse
61
Selection
156, 170
Send project via email
273
Sequencer
214
Services
421
Session
258
Set CD end
384
Set End Marker
369
Set Markers on Silence 315
Set new beat marker
376
Set new beat position marker
376
Set New Original Time
Position
302
Set new tempo marker 376
Set Pause
384
Set Pause Time
390
Set Silence
278
Set Start Marker
369
Set Start Pause Time
391
Set Sub-index
383
Set Track
383
Set Track Indices on Object
Edges
385
Set Track Markers
automatically
384
Settings
249
Set-up
193
SETUP / CONFIG VIEW 227
Setups, Drumkits, Presets
and Patterns
216
Shortcut
403
Shortcut list
402
Shortcuts and Intellimaus 439
Shortcuts for range editing 65
Show CD-R Disc Information
389
www.magix.com

Show CD-R Drive Information
388
Show Grid
285
Show TOC
388
SilverSynth Pro
217, 220
Smoothed
338
Snap and Grid Setup
286
Snap and Grip Setup
396
Snap to Grid
286
Software/VST instruments
182
Sound field
248
Sound FX (object editor,
mixer channels, mixmaster
)
83
Sound synthesis
208
Special selection options in
the Piano Roll
150
Spectral View
81
Split Objects
300
Split Objects on Marker
position
300
Split Range
312
Split Range for Video
313
Start selection / Tip of the
day
426
Status bar
415
Step 1
Automatic Tempo
Recognition
354
Step 2
Determining the start of a
measure.
355
Step 3
Use of the BPM and beat
recognition
356
Step Sequencer
218
Stereo and mono signal
processing with twin-channel
Surround
250
Stereo FX
90, 321
Stereo Thru
251
Stereo Wave> Mono
264
Stop
361

457

458

Index
Stop and go to current
position
361
Store position and zoom level
291
Store Range
313
Submit CD to FreeDB
391
Submix busses
134
Support
15
Surround Editor
295
Surround Panorama Module
247
Surround Sound
247
Surround-Panorama-module
251
Swingin % (Strength 0...100)
160
Switch Channels
321
Synchronization /
Synchronization settings 398
Synchronized MIDI Editor
and VIP screen view
149
Synth Objects
191
Synthesizer
22
System Information
426
System requirements
17
System/Audio
406
T
Take Manager
309, 350
Tape Simulation
106
Task Assistant
25
Tempo
233
Tempo/Time Signature 375
Terminology
52
Text Comments
396
The bass section (bottom
half)
195
The features
22
The filter parameters
224
The Managers 236, 349, 419
The MIX window
206
The Object Effect Window306
The parameters of LFO 1 &
LFO 2
225

The
Pitchshifting/Timestretching
Window
307
The Position/Fades Window
307
The rhythm section (top half)
193
The score
169
The Vita interface
201
This is how activation works
427
Tile
414
Time display
416
Timestretch Patcher
351
Tips & Tricks
72
Tips and tricks
134
Tips on handling virtual
instruments
189
Tools bar (left)
435
Tools bar (right)
435
Tools in the Elastic Audio
easy Editor
116
Tools menu
445
Track Bouncing
346
Track box
50
Track delay/reverb (track
effects)
110
Track Dynamics (track
effects, mixer channels) 108
Track Editor
21, 47, 415
Track Effects
197, 295
Track Freeze
296
Track Freezing
24
Track information
374
Track Information
398
Track Level
68
Track Manager
242
Track menu
441
Track MIDI record
374
Track Properties
294
Track UnFreeze
297
Transport control
44
Transport Control
417
Trim MIDI objects
374
Trim Objects
301
www.magix.com

Index
Tuner:
Turning knobs
Tutorial

417
218
26

U
Undo
274
Undo Definitions
406
Undo-History
275
Ungroup Objects
304
Units of Measurement
285, 397
Universal Mode
429
Untile
414
UPC/Ean Code
389
User-friendlier interface
25
Using markers
66
Using the Controller Editor 37
Using the keyboard
124
Using the MIDI Editor
Selecting events
150
V
Varipitch / Practice mode 364
Velocity
165
Vertical
292
Video Height
405
View menu
440
Vintage Effects Suite
93
VIP
290
VIP and Wave projects
30
VIP Display Mode
287
VIP Mouse Mode
401
VIP window
43
VirtClip for Virtual Projects 55
Virtual Project
257
Virtual Projects (VIP)
276
Virtual Projects (VIPs)
57
Virtual wave editing
66
Visualization
417
Vita
200
Vocoder
332
Volume
67, 248

www.magix.com

Volume and length of
individual objects
430
Volume and Panorama
Automation Curves
430
Volume and Panorama
gradients for the whole track
432
Volume and Panorama
rubber band
432
Volume/Pan curve active 280
VST Instrument Editor
374
W
WAV (Audio file)
258
Wave Edit Mode (only wave
projects)
433
Wave Editing
309
Wave Mouse Mode
401
Wave Project Level
67
Wave projects
58
Wave Projects
275
Waveform Colors
291
Waveform Display
288
Waveform Generator
349
Web publishing area
427
What effects are there and
how are they used?
76
What is MAGIX Music Studio
12 deluxe?
20
What is MIDI?
31, 136
What is SampleTank 2 MX
(SE)
204
What’s new in MAGIX Music
Studio 12 deluxe?
21
Why does it have to be 427
Window in % (Strength 0...
100):
160
Window menu
414, 447
Working in Projects
72
Working in wave projects 65
Working method
133
Working method and use 343
Working with MIDI
31

459

460

Index
Working with Objects in the
VIP
60
Working with Ranges
63
Working with synth objects
191
Working with tempo and bar
markers
377
Working with the file browser
237
Working with the Marker
Manager
245
Working with the Matrix
Editor
36
Working with the Object
Manager
241
Working with the Range
Manager
246
Working with the Track
Manager
243
Workspace bar
415
Workspaces
51
Writing
253
X
X-Sym.
XY-Sym.

250
250

Y
Y-Sym

250

Z
Zoom
Zoom Mode

431
434

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Magix Music Studio Deluxe 12.0 Owners Manual 12 Eng

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