Magix Samplitude Music Studio 17 Producer 11.5 Owners Manual EN

User Manual: magix Samplitude Producer - 11.5 - Owners Manual Free User Guide for Magix Samplitude Software, Manual

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Manual
2 Copyright
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Copyright
This documentation is protected by law. All rights, especially the right of
duplication, circulation, and translation, are reserved.
No part of this publication may be reproduced in the form of copies, microfilms
or other processes, or transmitted into a language used for machines,
especially data processing machines, without the express written consent of
the publisher.
All copyrights reserved.
All other product names are trademarks of the corresponding manufacturers.
Errors in and changes to the contents as well as program modifications
reserved.
MAGIX, Samplitude, Hybrid Audio Engine are registered trademarks of MAGIX
AG.
This product uses MAGIX patented technology (USP 6,518,492).
VST and ASIO are registered trademarks of Steinberg Media Technologies
GmbH.
Other mentioned product names may be registered trademarks of the
respective manufacturer.
Copyright © MAGIX AG, 1994-2009. All rights reserved.
Preface 3
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Preface
Congratulations on your purchase of Samplitude 11.5 Producer!
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 both beginner and professional musicians alike. You
may find yourself asking questions like "What do I really need?", or "What's the
best value for my money?"
Samplitude 11.5 Producer is the perfect solution: Fast and easy-to-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, but additional studio equipment can easily be added.
The following pages will introduce to you in detail the various functions and
possibilities offered by Samplitude 11.5 Producer.
Have fun with Samplitude 11.5 Producer.
Your
MAGIX team
4 Table of Contents
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Table of Contents
Copyright 2
Preface 3
Support 13
Before you start 15
Package contents 15
System requirements 15
Serial number 16
Installation 16
More about MAGIX 18
myGOYA 18
MAGIX Premium Club 18
MAGIX News Center 19
Introduction 20
What is Samplitude 11.5 Producer? 20
What’s new in Samplitude 11.5 Producer? 21
The features 22
Tutorial 25
Step-by-step mode 25
Switch workspace 35
Recording in the Arranger 36
Integrate audio material 38
VIP and wave projects 38
Arranging MAGIX Soundpool sound loops 40
Add synthesizers 43
Editing objects 44
MIDI recordings 45
Edit MIDI 48
Effects 51
Burn CD 53
Program desktop overview 54
VIP window 54
Transport control 55
Track editor 58
Track box 61
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Workspaces 62
Mouse functions and mouse modes 63
Universal mode 63
Curves / Object mode 65
Range mode (safe mode) 65
Curve mode 66
Cut mode 66
Pitchshift / Timestretch mode 67
Draw volume mode 67
Draw panorama mode 67
Wave edit mode (only wave projects) 67
Scrub mouse mode 67
Zoom mode 68
Button overview 69
Toolbar (left section) 69
Toolbar (right section) 70
Mouse mode bar 70
Position bar (left side) 71
Position bar (right) 71
Range bar 72
Functional overview 73
Working with objects in the VIP 73
Ranges 77
Working in wave projects 80
Using markers 81
Volume 82
Output mode 83
Record 83
Tips & tricks 87
Effects and effect plug-ins 90
What effects are there, and how are they used? 90
Saving effect parameters (preset mechanism) 91
Dehisser 91
"Sound FX" (object editor, mixer channels, Mixmaster) 93
Parametric equalizer (track effects, mixer channels, Mixmaster) 97
MAGIX Mastering Suite (Mixmaster) 98
Vintage Effects Suite (track effects, mixer channels, mix master) 103
Essential FX 117
Vandal SE 121
Track dynamics 138
Track delay/reverb 140
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Elastic Audio Easy 141
Installing VST plug-ins 152
Effect calculations 152
Samplitude 11.5 Producer as an external effects device 153
Automation 154
Automation – context menu 154
Automation modes 157
VST plug-in/VST parameters dialog 158
Recording automation in "Read" mode 158
"Draw" mode 158
Edit automation curves 159
Move automation curve with audio/MIDI data 159
Mixer 161
Overview 161
Operating the mixer 162
Channel strips 163
Master section 165
Global settings 167
Buses and routing 169
Embedding external effects devices 170
Tips and tricks 170
MIDI in Samplitude 11.5 Producer 172
What is MIDI? 172
Connect external equipment 172
Convert MIDI objects into audio files 173
MIDI settings 174
MIDI: Import, record, edit 174
MIDI object editor 178
MIDI editor 181
Notation display, movement, zoom 181
Synchronized MIDI editor and VIP screen view 182
Multi-object editing (MO editing) 183
Using the MIDI editor: Selecting events 184
Editing events: Piano roll 185
Controller editor 189
List editor (midi event list) 192
Drum editor 194
Score editor 197
Quantize 210
MIDI editor shortcuts 214
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Software / VST instruments 216
Installing VST plug-ins 216
Load instruments 217
Loading routing settings with software instruments 218
Load effects plug-ins 220
Route MIDI instrument inputs 222
Instruments with multi-channel outputs 223
Adjust instrument parameters 223
Play and monitor instruments live 225
Routing VST instruments using the VSTi manager 227
Preset management 228
Freezing instruments (freeze) 228
Tips on handling virtual instruments 230
ReWire 230
Surround sound 232
Surround panorama module 232
Stereo and mono signal processing with twin-channel Surround 234
Automation of twin-channel Surround 235
Synchronization 237
Synchronization formats 237
Synchronization / Synchronization settings 239
Burning CDs 242
Red Book 242
Writing 242
Burning CDs in Samplitude 11.5 Producer 243
DSP display 244
Tools and wizards 245
Load audio CD track(s) 245
Batch processing 247
Crossfade Editor 251
Remix Agent 252
Harmony Agent 259
Track settings 260
Managers 262
SMPTE Generator 273
Solo JamSession 274
Synth objects 278
Timestretch patcher 311
Make CD 312
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File menu 315
New Virtual Project (VIP) 315
Open 317
Load / Import 318
Save project 321
Save project as 322
Save project as template 322
Save object 322
Save session 322
Export 322
Trackbouncing (internal mixdown) 326
MIDI bouncing 326
Range trackbouncing 327
Rename project 327
Clean up 327
Close project 329
Project properties 329
Program settings 332
Exit 335
Recently opened files 335
Edit menu 336
VIP mouse mode 336
Wave Project mouse mode 336
Object mode 336
Undo 337
Redo 337
Undo History 337
Delete undo levels 338
Copy 338
Cut 338
Split 340
Insert 340
Delete 341
Silence 342
Tempo 343
Range 344
Crossfade 349
Track menu 350
Insert new tracks 350
Copy track(s) 352
Insert track(s) 352
Delete track(s) 352
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Track type 352
Input 353
Track size 353
Track Freeze 354
Track effect settings 355
Track information 355
More 355
Object menu 360
Object editor 361
MIDI editor 361
Wave editing 361
Edit 362
Quantization 366
Object effects 367
Select objects 382
Groups 383
Move object 383
Snap point (Hotspot) 385
Object color / name 385
Tempo and beat recognition 385
Harmony Agent 386
Harmony display 386
Audio ID 386
Timestretch/pitchshift patcher 386
Playback / Record menu 389
Play once 389
Play loop 389
Play in range 389
Play with preload 389
Play only selected objects 389
Restart play 390
Stop 390
Stop and go to current position 390
Playback mode 390
Playback options 391
Record 393
Record mode / Punch in 393
Record options 394
Monitoring 397
Move play cursor 398
Marker 400
Solo JamSession 406
MIDI record modes 406
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MIDI panic – All notes off 406
Automation menu 408
First entries in the automation context menu 408
Editing curves 408
Delete all curves 409
Automation mode 410
Do not display automation. 410
Display track automation (default setting) 410
Display selected curves only 410
Display unselected curves (cannot be activated) (Default setting) 410
Display unselected curves (can be activated) 410
Effects menu 411
Amplitude / Normalize 412
Dynamics 414
Frequency/Filter 417
Delay / Reverb 420
Time / Pitch 422
Distortion 425
Restoration 426
Stereo / Phase 428
Modulation / Special 430
Sample manipulation 432
Plug-ins 434
Essential FX 436
MAGIX Plug-ins 439
Process only left (right) stereo channel 439
Waveform Generator 439
SMPTE Generator 439
Apply effects offline 439
CD menu 440
Load audio CD tracks 440
Make CD 440
Indices (Track markers) 440
CD track/index manager 441
CD disc options 442
CD text / MPEG ID3 editor 443
Set pause time 443
Set start pause time 444
CD arrange mode 444
Get CD info (FreeDB Internet) 444
FreeDB options 444
Show CD-R drive information 445
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Show CD-R disc information 445
Audio ID 445
View Menu 446
Mixer 446
Multitrack recorder MR-64 446
Mastering Suite 446
Transport control 446
Time display 448
Visualization 449
Export tool 451
Managers 451
Track editor 451
Rebuild graphic data 452
Sections 452
Hide submix / AUX buses 452
Grid view 453
VIP display 455
Overview mode 455
Horizontal 456
Vertical 456
Cascade 456
Tile 457
Untile 457
Window 457
Toolbars 458
Tasks menu 459
Online menu 460
Catooh – the Online Content Library 460
MAGIX Online Album 460
magix.info 461
More online services 462
MAGIX Screenshare 462
Manage login details 463
Upload song to Soundcloud 463
Help menu 464
Help 464
Help index 464
Context help 464
About Samplitude 11.5 Producer 464
Watch the introductory video 464
System information 464
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MAGIX auto-update 465
MP3 Encoder activation 465
Preset keyboard shortcuts 468
Mouse 468
General settings 469
System / Audio 469
Program 485
Edit keyboard shortcuts and menus 489
Design 493
Easy setup 496
Project settings 498
Project options 498
Mixer setup 499
Synchronization 499
Recording options 500
Varipitch/practice mode 502
Index 504
Support 13
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Support
Dear MAGIX customer,
Our aim is to provide convenient, fast and solution-focused support at all
times. To this end, we offer a wide range of services:
Unlimited web support:
As a registered MAGIX customer, you have unlimited access to web support
offered via the convenient MAGIX service portal on http://support.magix.net,
including an intelligent help assistant, high-quality FAQs, patches and user
reports that are constantly updated.
The only requirement for use is product registration on www.magix.com
The online community - on-the-spot support and a platform for exchange:
MAGIX customers have free and unlimited access to the online community at
www.magix.info, which includes approx. 100,000 members and offers the
opportunity to ask members questions concerning MAGIX products as well as
use the search function to search for specific topics or answers. In addition to
questions & answers, the knowledge pool includes a glossary, video tutorials
and a discussion forum. The multiple experts, found round-the-clock on
www.magix.info guarantee quick answers, which sometimes come within
minutes of a question being posted.
Email support for MAGIX products:
8 (eight) weeks of free email customer service (starting from the purchase
date) is automatically included with the purchase of any new MAGIX product.
MAGIX guarantees fast processing of your request and an immediate reply.
Premium email support:
If you experience problems after the 8 weeks of free email support have
expired, you can purchase a Premium email support ticket in the MAGIX Shop
for USD 12.99 | CAD 13.99 | GBP 9.99 | AUD 18.99 | ZAR 120.00 | EUR
12.99 | SEK 119.00 | NOK 99.00 | DKK 99.00. This ticket applies to a
specific problem and is valid until it is solved; it is therefore not restricted to
one email.
Reporting evident program errors is exempt from this regulation.
Please note: To be able to use the Premium email support and free product
email support via the Internet, you have to register your MAGIX product using
the serial number provided. This can be found on the CD case of your
installation CD or on the inside of the DVD box.
Additional telephone service:
Besides the large number of free customer service offers, we also offer a
fee-based telephone customer service.
14 Support
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Here you can find a summary of our technical support telephone numbers:
http://support.magix.net/
Mail (Europe): MAGIX Development Support, P.O. Box 20 09 14, 01194
Dresden, Germany
Mail (North America): MAGIX Customer Service, 1105 Terminal Way #302,
Reno, NV 89502, USA
Please have the following information at hand:
Program version
Configuration details (operating system, processor, memory, hard drive, etc.),
sound card configuration (type, driver)
Information regarding other audio software installed
MAGIX Sales Department
You can reach the MAGIX Sales Department workdays for help with the
following questions and problems:
Orders
Product consulting (pre-purchase)
Upgrade requests
Returns
Europe
Monday - Friday, 09:00-16:00 GMT
U.K.: 0203 3189218
Denmark: 699 18149
Sweden: 0852500858
Finland: 09 31581630
Norway: 0210 30665
North America
9 am to 4 pm EST Mon-Fri
Phone: 1-305-722-5810
Before you start 15
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Before you start
Package contents
Program disc: This disc contains the Samplitude 11.5 Producer installation
manager.
Printed manual: The print manual contains all necessary information for a
quick start with the program.
Note: The complete documentation can be found after installing Samplitude
11.5 Producer as a PDF-file under "Start" -> "Programs" -> "MAGIX" ->
<"Programmname"> -> "Documentation".
System requirements
For Microsoft® Windows® 7TM | XPTM | VistaTM
Processor: Intel® Pentium® or AMD® Athlon® 1.2 GHz and up
RAM: 512 MB (1 GB recommended)
Hard drive space: 3 GB free
Graphics card: Resolution 1024 x 768
Sound playback: Full duplex 16-bit sound card or ASIO-enabled sound card
(recommended)
DVD drive
Optional:
Burn CDs/DVDs with CD/DVD±R(W) recorder
MP3 export with Windows Media Player 10, or higher
Access to and publication on www.magix.com and on MAGIX Online World
only with Internet connection and an up-to-date browser
Sending emails possible with Internet access and existing Microsoft® OutlookTM
or Microsoft® Outlook ExpressTM standard email software
Note: Artist rights and ancillary publisher copyrights must be respected. Only
non copy-protected audio CDs can be imported.
16 Before you start
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Serial number
A serial number is included with each product, and although it is not required
for the installation of the software, it does enable access to additional bonus
services. Please store this number in a safe place.
What can a serial number do?
A serial number ensures that your copy of Samplitude 11.5 Producer is clearly
assigned to you and only you, and it makes improved and more targeted
customer service possible. Abuse of the software can be prevented with a
serial number, since it ensures that the optimum price/performance ratio
continues to be offered by MAGIX.
Where can the serial number be found?
The serial number can be found on the reverse side of your CD/DVD case. If
your product, for example, is packed in a DVD box, then you'll find the serial
number on the inside.
For versions that have been especially optimized for the Internet (download
versions), you'll receive your serial number for activating the software directly
after purchasing the product via email.
When will you need the serial number?
The serial number is required when you start or register Samplitude 11.5
Producer for the first time.
Note: We explicitly recommend registering your product, since only then are
you entitled to get program updates and contact MAGIX Support. Entering the
serial number is also required for activating codecs.
Installation
Step 1: Insert the program disc into the drive. The installation program starts
up automatically. If the disc doesn't run automatically,
open Windows Explorer and click the letter of the CD-ROM drive
or double-click on "Start.exe" to start the installer.
Before you start 17
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Step 2: To begin the installation of Samplitude 11.5 Producer, click on "Install".
The Samplitude 11.5 Producer installation program will appear.
Hint: During installation, you will be asked (in case there are multiple users on
your computer) if you would like to set up for the administrator. The option
"Administrator only" restricts use of the program to the specified administrator.
The "All users" option allows all users of the computer to use the program.
Simply follow the on-screen instructions to complete the installation process,
and then click "Continue". All files are now copied onto the hard drive.
Step 3: Once the installation is complete, confirm the message by pressing
"Finish". Now you can start the program at any time from the Windows "Start"
menu.
Uninstalling the program
If you would like to uninstall Samplitude 11.5 Producer, you can do so via the
control panel under "Software". Or go to "Programs > MAGIX > Samplitude
11.5 Producer > Service and Support > Uninstall Samplitude 11.5 Producer".
18 More about MAGIX
www.magix.com
More about MAGIX
myGOYA
Well connected: Products and services online from MAGIX
Discover the possibilities of myGOYA. Every MAGIX product offers a direct and
easy-to-use gateway to the world of online multimedia.
Present your photos, videos, and music directly in your Online Album or in
worldwide Internet communities.
Find professional templates & content for enhancing your personal projects.
Design your own personalized website using professional Flash® design with
photos, videos, music & impressive animations.
Order brilliant photo prints to be sent directly to your doorstep. It's quick,
easy, and well-priced.
Experience these and many more online services at
http://www.mygoya.com.
MAGIX Premium Club
Our exclusive club for all MAGIX customers who own a registered product.
MAGIX Premium Club members have access to a wide range of services:
Free product updates & services
Exclusive club events & surprises
News & info about the club, and much more
Membership is free.
You can find more information about this topic on the web at
www.magix.com
Hint: You can register your product either directly from the program using the
"Help" menu, or with your product registration number at www.magix.com.
You can find your product registration number on your program CD. Earlier
network card numbers with the example format XY-58241-45 are still valid.
More about MAGIX 19
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MAGIX News Center
The MAGIX News Center features links to current online tutorials and tips &
tricks on the software application examples. The "News" is indicated by color
according to content:
Green indicates practical tips & tricks for the software
Yellow reports the availability of new patches and updates
Red for special offers, contests and questionnaires
If no new messages are present, the button will appear gray. When the MAGIX
News Center is clicked, all of the available information will be displayed. Click
the messages to reach the corresponding website.
20 Introduction
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Introduction
What is Samplitude 11.5 Producer?
Samplitude 11.5 Producer 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, wave files, video soundtracks, or
sounds & samples from the hard disk, the CD-ROM drive, or the Internet. You
can even make your own recordings from a stereo system or with a
microphone. Everything you download or record is displayed as an object on
the Arranger's 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 essentially all about cutting, blending, adding, mixing
effects, and placing audio material into the right positions and into the right
tracks. But it’s also about play and experimentation. If it fits, throw it in!
Without experimentation there is no innovation. Samplitude 11.5 Producer
allows you to experiment, and experiment wildly. There’s no risk of your audio
material being damaged. All editing functions are "non-destructive”.
Export and use
Regardless what you're experimenting with, in the end something usable
should come out of it. Samplitude 11.5 Producer has everything you need to
be productive:
Homemade audio CDs which can be played by any standard CD player
Unique MP3 collections, e.g. as a source of material for your MP3 player
Introduction 21
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Podcasts: Simply export the project as a podcast and - if you want - publish it
online using MAGIX Podcast Service online (the MAGIX Podcast Service can
be reached via the "Online" menu.)
And much more. The export principle is simply "what you hear is what you
get". That is, what you export sounds exactly as it sounded in the
arrangement during playback in Samplitude 11.5 Producer.
What’s new in Samplitude 11.5 Producer?
Step-by-step mode
The step-by-step mode leads beginners and users who want to achieve quick
results through all relevant stages of a music production: Recording > Editing >
Mixdown > Mastering > Exporting > Burning CDs & Publishing.
It can be set via "Workspace > Easy".
Optional accompaniment
You can add a variety of different accompaniments in different music styles to
your recordings – ideal as a source of inspiration. The accompaniments can be
found in the recording workspace of the step-by-step mode.
New instruments
The program includes three new virtual instruments with high sound quality
and intuitive user interfaces: the piano "Century Keys", the saxophone
"Saxophonia", and an authentic "Jazz Drums" set. All three instruments (and
many others) can be accessed via the button "Synth > Vita".
Upload and Sharing
You can publish your songs directly via Facebook, My Space TM, and Twitter.
This works via the online platform Soundcloud ®. You can load your songs
straight from the program to Soundcloud ® with a simple click and create a link
to your Facebook, MySpace, or Twitter account.
The Soundcloud® upload feature can be found in the "Online" menu (or in the
"Export" area of the step-by-step mode).
More Help
We have made Samplitude 11.5 Producer even more user friendly: The video
tutorials as well as the tutorials in the "Help" menu have been expanded
considerably. The toolbar now includes an integrated search function that
22 Introduction
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searches for functions in the program as well as relevant topics in the program
Help.
Effects rack with presets from professional studio producers
We have added many useful effects presets from well-known professional
producers to the effects rack.
The features
The best possible sound quality
This feature is especially important to every music lover: Samplitude 11.5
Producer offers unique sound quality for digital music editing.
100% sound neutrality: Benefit from Samplitude, professional audio software
that's been used for years in sound studios and radio & TV stations around
the world. Samplitude's unique feature is that the original sound of audio files
is not diminished by any specific audio discoloration, as is often the case with
other programs.
24-bit/48 kHz recordings: Your own recordings can be made with the correct
hardware in professional, high-quality, high-resolution 24-bit/48 kHz format.
32-bit floating point: Internal sound processing is executed via the 32-bit
floating point process for especially differentiated and high-quality calculation.
This way, the audio picture can be created with especially high dynamics.
Digital distortion and clipping is virtually impossible.
Formats and interfaces
Import: MIDI standard formats (MID, GM, GS, XG), WAV (24 & 32-bit), WAV
with codec, MP3, CD-A, OGG Vorbis, AIFF, FLAC, MOV, AVI (audio tracks)
Export: MIDI standard formats (MID), WAV (24-bit), WAV with codec, MP3,
CD-A, OGG Vorbis, AIFF, WMA, FLAC, QuickTimeTM, AVI (as video sound)
Interfaces: VST, ASIO, ReWire, DirectX®, SMPTE, MTC, MC (master and slave)
Synthesizers
Samplitude 11.5 Producer comes with the following synthesizers that you can
play directly on your PC keyboard, via your mouse or with a MIDI keyboard:
MAGIX Vita: A sampler with incredibly realistic-sounding, "classical"
instrumental sounds like different guitars (Power Chords, clean electric guitar,
Introduction 23
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acoustic guitar, bass guitar), different pianos, percussion, strings, brass,
woodwinds (each as an individual set & as an ensemble set), and much more.
Drum & Bass: For bass and drum tracks in "Drum 'n' Bass" sound
Beatbox 2: For computer beats and computer sounds
LiVid (Little Virtual Drummer): For "real" acoustic drum tracks
Robota: For "mean" electronic sounds
Revolta 2: An analog, varied, and powerful-sounding 12-voice synthesizer
with sound matrix, noise generator, and a complete effects section with nine
effect types. With this synthesizer, you can create any electronic music you
can imagine. The sound presets were created by the sound designer for
Access Virus and Rob Papen's Albino.
Atmos: For natural sounds or atmospheres like rain, thunder, or wind.
Effects and effects plug-ins
Samplitude 11.5 Producer offers the following effects and effects plug-ins:
Equalizers: 10-band graphic and 4-band parametric
Echo/Reverb + Room Simulator
Vocoder
Vandal SE: Authentic simulation of classic guitar effects, tube amplifiers, and
speakers.
Essential FX: Basic effects for unique sounds (stereo delay, chorus/flanger,
phaser)
Vintage Effects Suite, consisting of chorus, flanger, analog delay,
distortion, filters, and the low-fi effect BitMachine.
Mastering Suite, consisting of equalizer, vitalizer (stereo enhancer),
multiband compressor, and audio meter + limiter.
Compressor with many presets such as limiter, Deesser, noise gate,
expander, or leveler and in different models, e.g. as the multiband
compressor Multimax.
Tape simulation: High-quality simulation of analog tape compression
Stereo FX: For editing the stereo bandwidth
Declipping: For eliminating digital clipping
Timestretching/resampling/pitchshifting: For correcting pitch and length
Elastic Audio easy: Dynamic pitch correction with harmonization (creates up
to 4 choir voices)
am-track SE: High-quality tape machine sound emulation makes typical
aspects of the large, saturated sound characteristics of magnetic recordings a
digital-quality reality.
MIDI integration
Samplitude 11.5 Producer helps you arrange, load, record, edit, and play MIDI
data just as easily as audio data. You can combine wave sound files with MIDI
24 Introduction
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files for controlling the sound chip on your sound card or VST instrument
plug-ins or external synthesizers, and then arrange everything together.
For MIDI recordings and editing you can use the extensive MIDI editor with
piano roll, drum editor, velocity/controller editor, and event list.
MIDI object recording can be started directly from the arranger by setting the
recording mode in the track box to MIDI.
Multitrack recorder (MR-64)
The multitrack recorder (MR-64) looks like a hardware mixer and can also be
operated in the same way. It can also be launched as an alternative to the
current mixer interface to make multitrack recordings just like with a real mixer.
The MR-64 unites the advantages of the analog look with digital technology:
realistic appearance, direct workflows, and familiar functionality.
Soundpool manager
The Soundpool manager helps control, preview, and load MAGIX Soundpool
loops. Hundreds of loops are included, and many more can be found at
Catooh. The loops are categorized into "styles" (e.g. ambient, dance, hip hop,
rock, etc.) and "instruments" (e.g. drums, bass, guitars, etc.). The name of the
loop file also informs you about the kind of sound you can expect. Every loop
can be previewed by clicking it. Monitoring is adjusted to the loops in the
arranger. For example, first a framework of bass and drums is constructed and
then played back in a loop, and as you search for the right guitar sounds in the
Soundpool manager, the monitoring will be matched with the drum loop. Every
loop can be loaded into the arranger by dragging it or by double-clicking. The
Soundpool manager can be launched via the "Manager (view page 262)"
button.
Jam Session
The JamSession lets you create complete songs single-handedly. The program
simulates working with hardware "Looping delays", like, for example, the
Gibson Echoplex. The difference is that Samplitude 11.5 Producer creates an
arrangement during "looping" which can later be edited and compiled into a
complete song. During a Jam Session, everything you do is recorded. The
most important thing with the Jam Session is the fun factor – there can never
be too much of it!
Activate "Solo Jam Session" via the "Playback" menu.
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Tutorial
In this chapter we will introduce the most important features of Samplitude
11.5 Producer. You will learn how to create an arrangement with audio and
MIDI as well as the powers of both formats. You will also receive information
about essential parts of the program so that you can take advantage of all
possibilities of Samplitude 11.5 Producer.
Step-by-step mode
Samplitude 11.5 Producer offers a step-by-step mode for beginners and users
who want to achieve quick results. All major tasks when producing music in a
virtual recording studio are solved in five, clearly defined steps.
Recording: First, vocals and instruments are recorded on multiple tracks.
Editing: The recorded material is then edited, with a focus on cutting and
arranging.
Mixing: The tracks are mixed, i.e. positioned within the volume and stereo
panorama.
Mastering: In the end, the entire sound is edited with effects.
Export: After you have completed all stages, the next step is to "output" your
material, either as a classic audio CD or as a song file in MP3 or WAV format.
Or you can upload and publish your song directly on the Internet.
In what follows, we will present these five steps in more detail, because "Easy
Mode" offers the fastest start into the program.
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Quick setup
After starting the program for the first time, the "Quick Setup" dialog appears.
In this dialog, you can specify which sound card configurations you would like
to use. Usually you will not have to change anything, because Samplitude 11.5
Producer automatically selects the correct settings. If you are using several
sound cards, however, you can select the one you want to work with from the
menu.
You can also set your plug-in directory for VST plug-ins and other elements.
The settings dialog appears only once when you start the program for the first
time, giving you the chance to check and adjust the settings of Samplitude
11.5 Producer. After that, you can open the dialog by pressing "y" on your
keyboard (or via "File" > "Program settings" > "System/Options").
Beginners should not change the settings at all and simply click "OK".
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Start selection
The start dialog, which appears after every program start, opens:
In "Project settings", you can give your project a name (for example, the name
of the song you want to record) and specify the number of tracks and a track
directory. Everything can be changed at a later stage.
The main purpose of this dialog is to open a new or an existing project that
was saved previously. Since we are still at the beginning, we don't have any
existing projects yet. Therefore, we will create a new project:
Click on "New Project".
The interface will open in step-by-step mode with the "Recording" setting.
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Recording
In this view, you can do multi-track recordings via a connected microphone, for
example.
It is recommended not to record an entire song at once, but to record the
different instruments and voices one after another on different tracks. For
example, if you wrote a song that you usually accompany with the guitar, you
should record the guitar without vocals first and then add the vocals later, in a
second step. This has the advantage of being able to entirely focus on one
aspect, i.e. the instrument or vocals, thereby improving recording quality.
The top area displays multiple empty tracks of your project, which are
arranged one below the other. The control panel for the recording is located
below the tracks. The large display, especially of the time display, enables
better control of the recording. This is useful, because as a singer or pianist,
you don't want to have to look at the screen continuously in order to follow the
progress of the recording. Thanks to the large display, a side glance from the
distance is sufficient to see where the recording stands.
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You can activate background music
via Accompaniment. This function is
more of gimmick and allows you to
experiment! Let yourself be inspired
by the different accompaniments to
create your own melodies.
Metronome adds a regular clicking sound, which serves as a rhythmic
orientation. The sound should be output via headphones to ensure that it is
not recorded. You can select different speeds via the arrow keys.
Practice Speed allows regular playback speed to be reduced. This way, you
can record at half speed and use the result with normal speed.
Monitor lets you preview audio material and monitor it while recording. The
level displays what enters the sound card inputs. If it reaches the upper red
range, the input level is too high. In this case, you should reduce the input
volume.
If you are ready to start your first test recording, click on the red "Record"
button. Samplitude 11.5 Producer now starts recording and indicates this in
the record window by displaying a counter with the passed record time.
After recordings is complete, an audio file with the recording appears in the top
track.
Now you record on other tracks. The red button to the left of every track
displays which track is currently being recorded. In the top picture this is track
2.
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You can enable any track for recording by clicking with the mouse and then
record on any track.
Editing
In the "Editing" view, the record field is deactivated and only the Arranger is
visible.
Samplitude 11.5 Producer offers almost unlimited possibilities for audio editing.
In step-by-step mode, the focus is one removing slight irregularities from the
audio material.
Let's just say you accidently knocked the microphone against something while
you were singing and now your otherwise good recording is ruined because of
the cracks. Instead of using the cleaning effects from the effects menu, we can
simply cut out the crackling. This is the easiest and most effective method for
removing isolated cracks.
Play back your recording (the easiest way to do so is by using the spacebar
on your keyboard) and search for the section that you want to cut out.
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You can move the playback marker in the bar ruler above the first track at any
time by clicking.
If necessary, zoom into the display to get a better view of the waveform
display. To do so, use the horizontal and vertical zoom buttons located in the
bottom right-hand corner:
Place the playback marker just before the crackling and press the "t" key on
your keyboard (or click on the "Scissors" symbol in the toolbar).
Now place the playback marker just after the crackling and press the "t" key
again.
Click on the isolated piece containing the crackling and delete it from the
track.
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Did you cut out too much by mistake? No problem: The object handles located
at the edges can be used to recover deleted material and vice versa, to
remove bothersome rests.
To do so, select the section you want to edit with the mouse.
Move the mouse pointer exactly on top of the handle. After it has turned into a
double-arrow, you can move the front part to the right or to the left with the
mouse button held down – ideal for fine-tuning your cuts.
As mentioned before, Samplitude 11.5 Producer offers many more editing
possibilities. We will discuss more options later. For now, we will leave it at this
simple editing exercise.
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Mixing
The next area of the step-by-step mode opens the mixer. All other elements
are hidden to provide a better overview.
With the Mixer you can adjust and even automate the volume and panorama of
the recorded tracks. Furthermore, you can add effects and much more.
Adjust the volume of the individual tracks with the sliders in the lower part of
the mixer until you have a balanced result and every instrument in the song is
sufficiently accounted for.
Take some time and experiment with the effects (Aux, Inserts, Sound FX,
Dynamics, EQ) on the individual tracks.
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Mastering
The "Mastering" area of the step-by-step mode opens the Mastering Suite,
which is used to optimize the overall sound.
The Mastering Suite includes four devices, which are organized on top of
each other in an effects rack. Which device is used for what purpose?
Equalizer: For regulating the sound characteristics. You can set four frequency
bands separately in the graphical control panel.
Vitalizer: A stereo effects processor that allows you to change the stereo
width. In "Multiband mode" only the mids are edited.
Multimax: A multiband compressor for editing the volume and the sound
impression.
Limiter: To prevent overmodulation.
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Export
After successfully passing through the four stages of the step-by-step mode,
the result is a first, perfect song. The last stage, "Export", is where you decide
what you want to do with your song.
There are four options to choose from:
Burn CD: An audio CD that can be played back on any CD player is the typical
way of exporting your song.
Save as Wave: An audio file in WAV format is the standard format for audio
productions. It can be played back with different software and on multiple
devices and features crystal-clear sound.
Save as MP3: MP3 is a space-saving alternative to WAV that can be played
back directly in the player.
Upload: This uploads the song directly to the Soundcloud® community.
This was intended as a first, quick overview of the step-by-step mode!
Switch workspace
Now that you have a rough idea of what digital music production is about, lets
take a look at the advanced options. Let's go to the "Workspace" box at the
bottom of the screen and switch to "Power User" mode, the mode for
ambitious users.
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Recording in the Arranger
You can also record directly in the Arranger, i.e. outside of the step-by-step
mode. Here's how it works:
If necessary, activate the transport control via "View" > "Transport Control".
Recording the first track
Right-click the "Record" button on the transport console.
Enter all of the necessary settings for recording in the dialog which appears.
Hint: If the transport console is hidden, show it by clicking the "Transport"
button in the lower part of Samplitude 11.5 Producer.
By default, the "Monitor" button is always selected (if not, then click "Monitor"
to activate it). This function lets you preview audio material and monitor it while
recording. The level will display what enters the sound card inputs. If it reaches
the upper red range, the input level is too high. In this case, you should reduce
the input volume.
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Click on the "Record" button. Samplitude 11.5 Producer now starts recording
and indicates this in the record window by displaying a counter with the
passed record time.
Now stop the recording at a suitable position by pressing the "Stop" button.
Samplitude 11.5 Producer then stops recording. You can now either use the
recording or delete it. You can repeat the recording without saving the first
attempt on your hard drive. If you want to use your recording, Samplitude 11.5
Producer will add the audio material to the first track as an object.
You can listen to the result anytime by clicking on the "Start" button in the
transport control or by pressing the space bar.
Record another track
Now we will record a second track. If the record dialog is still open, please
close it.
Activate the "Record" button in a second track by clicking on the red "Record"
button to the left in the second track. The track is now ready for recording.
Right-click on the "Record" button in the transport control. You can now enter
further settings for recording. As we want to play the first track while the
second is being recorded, you will have to activate "Play during recording".
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Click on the "Record" button.
Now stop the recording at a suitable position by pressing the "Stop" button.
Note: "Play during recording" mode requires that your sound card can play
audio material while recording new material (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 "Play during 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 series), as well as other audio files. There are several possibilities
for loading audio material:
In the menu bar, click "File -> Load/Import -> Load audio file..." and select a
file via the import dialog.
Activate the integrated file browser via the "Manager" button at the lower edge
of the screen. This accesses all drives and folders on your computer. Any
audio file can be dragged by holding the left mouse button to the track (drag &
drop).
You can also drag audio files directly from Windows Explorer® into the
Samplitude 11.5 Producer arrangement.
Audio tracks first have to be copied onto the hard drive separately. To do this,
click into the top menu bar in Samplitude 11.5 Producer on "File ->
Load/Import -> Load audio CD track(s)..."
VIP and wave projects
A wave object is created for each audio object that you can see in the
arranger. You can generally work on two project types:
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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.
Switch to a wave project (your first recording, for instance), mark the
corresponding object in the VIP by clicking on it, click into the top menu bar of
Samplitude 11.5 Producer on "Object", and select the option "Edit wave
project...".
If you have opened a wave project, then you will see the wave display of the
audio material in enlarged view. The acoustic properties are directly visible in
wave form, and where there's something to see, there's something to hear,
and the higher the peak of the wave form, the higher the volume will be. Press
the space bar on your keyboard to play back 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 "Del". 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, then click on "Save project".
The original audio file will now be overwritten.
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Arranging MAGIX Soundpool sound loops
Up until now, you have only been working with your own material. Next, we
would like to show you how to build your own songs using the included
Soundpool loops.
MAGIX Soundpools offer professionally produced, short audio files - so-called
"samples". They have been produced to be perfectly combined with each
other and looped. "Looping" means creating an entire instrument track from a
single audio sample. This entails replaying the sample sequentially to provide
the impression of a repeating musical leitmotif. This process is used today in
almost every area of modern pop music.
It's best to create a new, empty arrangement first. Click "File" and select the
option "New virtual project (VIP)".
Click the "Manager" button and select the tab "Soundpool" to display the
Soundpool samples.
The "styles" are displayed on the left side of the Soundpool manager. If you
have inserted a MAGIX Soundpool DVD, for example, then you can select a
style here to display only those samples which were created for a particular
style. Samplitude 11.5 Producer shows "Rock" because this style is included.
Next, select the instruments that you want to use. At the start, we recommend
choosing a drum sample to create the initial percussive structure. Open up the
"Drums" folder.
To preview, click once on a file in the Soundpool manager file list. To load it,
drag the desired file to the track. Once you let go of the mouse button, the file
will appear as an audio object at that position.
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Each object can be moved in any way in the arranger with the mouse;
horizontally on a track as well as vertically between tracks. Drag the drum loop
to the first track and all the way to the left (at the beginning).
Next, the sample will be looped, i.e. the short object will be played over and
over. Click the audio object's handle at the lower right and drag it to the right
as far as you imagine you will need for the first part of your song - probably 8
bars or so. The object will be properly placed on the first 8 bars of the first
track.
Make sure that the playback range is as long as the extended sample - 8 bars
in our example. To do so, click above and to the right in the timeline and drag
out the playback range to match the length of the looped object.
Now press the play button (space bar is faster). The drum sample will loop for
8 bars. This means that the playback cursor starts right at the front, moves
across the playback range, and then transfers to the start again once the end
is reached without any interruptions. You can also move the playback marker
independent of the playback range by clicking on the lower section of the
timeline.
Note: All additional loops can be previewed during playback and inserted. This
lets you preview new potentially interesting samples for your arrangement to
test if they work. If continuous playback gets on your nerves after a while, then
you can always interrupt it by pressing the space bar again.
Next, try loading a suitable bass line. Open up the bass folder, test some of
the bass samples there, and then drag a bass loop you like onto the second
arranger track.
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Note: Melody producing instruments are arranged by pitch, i.e. every sample
features multiple variations which provide different levels of pitch. By
combining different variations of a pitch, you can produce chords.
Add new instruments to your drum and bass loops. This way, any number of
files can be dragged from any folder into the arranger and positioned on top of
one another, on multiple tracks, or behind one another.
Tip: This lets you create complete songs and also a professional framework for
your recordings.
Because not all instruments are normally looped for the entire arrangement,
gaps should be built into the architecture of your song to provide musical
variation. To do this, looped objects can be cut or loaded multiple times to
create the required empty spaces. To learn more about editing objects, read
the quickstart in "Editing objects (view page 44)".
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Add synthesizers
To open the software synthesizer folder of Samplitude
11.5 Producer, click the "Synth" button.
After selecting a synthesizer, the corresponding control console will appear
where you can program the rhythms, melodies, chords, and sounds of the
synthesizer.
Synthesizers become independent objects after they are programmed, and
then they can be moved around just like other objects on the Arranger.
Exception: Vita (and all associated Vita instruments) and Revolta 2 remain
coupled in the track where they are placed. They are controlled via MIDI
objects.
Experiment with the various synthesizers in Samplitude 11.5 Producer to
discover the possibilities.
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Editing objects
Editing objects is the same for all object types. The following options are
equally available for audio objects, synth objects, and MIDI 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 held depressed. 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 in the VIP 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. Any disturbing passages at the beginning or
end of the recording can be removed simply by moving the ends inwards.
If the option "Create looped object" is activated in the top menu bar under
"Object", you can stretch the object with the right handle. Use this feature to
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.
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. Next, click in the toolbar on the "Group" symbol.
All objects can be split into multiple objects. Select the option "Split objects" in
the "Edit" menu (or press "T" on the keyboard). The selected object will be
split at the position of the playback marker.
Right-clicking on the object also opens a context menu for you to 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 MIDI object quantization.
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Tip: The object editor can be opened permanently; it adjusts its settings
depending on the object which is currently selected.
MIDI recordings
MIDI recordings are created for operating VST instruments or external
synthesizers with the help of a MIDI keyboard. The instruments will not be
recorded as audio data, but rather remote controlled via the MIDI data format.
Every detail of this remote control - i.e. every button press, every note, every
velocity level - can be corrected and edited retroactively via the MIDI editor.
Please read more on this in the section "Editing MIDI (view page 48)".
What is MIDI?
A few words about MIDI: MIDI files do not contain the actual sound like audio
files, but only the note control information. This data is interpreted and played
back by the VST instrument or synthesizer. MIDI is thus a kind of remote
control for synthesizers. This has some advantages:
MIDI files need a lot less memory than wave files.
MIDI files can be adapted to any tempo (BPM) without affecting the sound.
The playback tempo is simply changed.
Transposition of MIDI files to other pitches is also easy. As a result, 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 easily.
The disadvantage of MIDI files: The audio is not yet determined and is only
produced during playback.
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Preparing a MIDI recording
Prepare an empty track in your VIP for recording.
Click "R".
Then click "Track Editor" in the lower half of Samplitude 11.5 Producer's
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): This could be a MIDI keyboard which you use to enter MIDI notes
and which are then recorded by Samplitude 11.5 Producer.
Output (Out): This could be a virtual instrument (VST instrument) that plays
back the MIDI notes entered via the MIDI keyboard as sounds. To select a
VST instrument, click the small triangle next to "Out" in the Track Editor and
select "New instrument".
Note: All global MIDI settings can be found in the "System" dialog ("Y" key),
submenu "MIDI".
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"In" and "Out" in the Track Editor allow you to assign a special "Receive" and
"Send" channel to every track for MIDI data. This is important if you want to
control an external synthesizer via a MIDI keyboard, for example.
For instance, if your MIDI keyboard is transmitting on MIDI channel 1, you
should enter the value "1" in the "In" menu. During recording, Samplitude 11.5
Producer will receive all MIDI 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 under "Channel Out" in 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, and you can set the MIDI record
mode in the transport control.
Normal: This recording mode corresponds to that of audio recording, i.e. a
new MIDI object is created over the existing object for each recording
process. 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, and 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. However, existing objects
remain the same.
Replace: The data is recorded to an existing object and 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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Edit MIDI
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 (toggling between the drum editor and piano roll is possible)
Controller editor (velocity, MIDI volume…)
List editor (event list)
Score editor
Here various tools like the pencil or eraser are available.
Fundamentally, changing, moving, or deleting notes always refers to all
selected MIDI events (red) with just a few exceptions, e.g. you can select a
group of notes in the piano roll and then change the velocity of these note
groups to modify all selected notes simultaneously.
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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
like 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 the pencil tool and paint the notes into the score sheet.
MIDI notes can also be sustained by holding the left mouse button
or double-clicking.
The "Eraser" tool deletes notes from the note field.
The "Step recording" button enables step-by-step audio recording.
Tip: The tool for drawing the pattern is particularly interesting. Use the
selection tool to select specific notes and press the key combination "Ctrl + P".
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The selected notes are played as a sound pattern. Switch to the pattern
drawing tool. You can now easily sketch the sound pattern with only one click.
Tip: Pressing the "left" and "right" arrow keys on your keyboard moves
forwards/backwards in the notation, respectively. The cursor up/down keys
adjust the note pitch in stages.
Using the controller editor
In the controller editor you 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.
Multi-object editing
With the new MIDI editor you can now edit several MIDI objects together in the
MIDI editor. Please select the MIDI objects in the arrangement in sequence by
holding "Ctrl" and then clicking on the MIDI editor button to open it. In an
already opened MIDI editor you can include additional MIDI objects by clicking
on them while holding down "Shift".
You can access individual MIDI objects via the
drop-down menu next to the name.
Hint: Right-clicking on this position opens the object editor so that you can
quickly toggle between the object and MIDI editor.
From MIDI to audio
If you are controlling an external MIDI synthesizer in your arrangement, you can
convert its sounds into audio tracks with the Samplitude 11.5 Producer record
function. This is particularly recommended if you want to enrich sounds
created with your external MIDI synthesizer with audio effects, convert your
project into MP3, or burn it onto disc.
Connect the audio output of your external MIDI synthesizer to the audio input
of your sound card.
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Set an audio track to "armed" by pressing "R".
Start audio recording as usual. The MIDI data will be played and recorded
simultaneously via the record function. The result is an audio file that can be
edited and exported together with other 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 and beats composed via MIDI and record them as audio
files again.
Note: If you prefer VST instruments as synthesizers, it makes more sense to
use the Track freeze (view page 354) function from the "Track" menu.
Effects
You can considerably enhance your music productions with effects. Clever use
of effects adds depth to your song and simply sounds better. Samplitude 11.5
Producer has plenty of effects. Experiment with the various effects in
Samplitude 11.5 Producer and learn how to use them.
Calculating audio effects
You can add audio effects in three different levels: audio objects, tracks, and in
the master. When played, effects are first calculated in the audio objects. 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.
Use track effects like reverb, etc. on any objects located on a single track.
Finish off your song with powerful master effects that have an effect on the
entire song.
Effects in audio objects: Right-click on an object to open the context menu
and add an object effect. You can access the object effects directly via the
context menu. Object effects can be selected and subsequently edited via the
object editor.
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Effects in tracks: To adjust track effects in
the mixer, open the mixer by clicking on
"Mixer" in the lower part of Samplitude 11.5
Producer. In the "Ins" section, click on the
arrow symbol of an effect slot in the
corresponding channel.
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 real-time effects.
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Burn CD
Once your VIP is finished, you can burn it onto disc. Click on the button with
the CD symbol. The CD burning dialog now opens.
Now click on the "Burn CD" button...
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Program desktop overview
VIP window
1 Menu bar: You'll find menus in the main window of Samplitude 11.5
Producer directly under the title bar. A keyboard shortcut can be allocated
to every menu entry.
2 Toolbar: Toolbars 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. More information on the individual toolbars
can be found in the keyboard shortcut overview.
3 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 markers and
playback cursors can be positioned. 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.
4 Project window/clip: A "clip" refers to part of the project visible in the
project window. Which section of the project it is depends on the position
of the section and the zoom.
There are many commands for moving (scrolling) the visible clip and
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customizing its size (zooming). These can be opened via the menu view,
the grid/marker bar, and the shortcut keys.
5 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 (view
page 61).
6 Track editor: The left border 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 directly in this view.
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 by right-clicking them.
8 Status display: The status display appears at the bottom border of the VIP
window. For longer actions or calculations a bar is displayed whose width
shows the current state of operation.
Furthermore, CPU load information on the processor load, latency, buffer,
etc. is updated and displayed constantly. The status display can also be
opened via the "Window -> Status display" menu.
Transport control
Keyboard shortcut: Ctrl + Shift + T
The transport control window contains the most important commands for
playback, recording, and positioning.
Note: The transport control can be integrated as a toolbar. Select the option
"Activate docking for transport control" in the timeline menu and then move the
transport control to the desired position.
Play, stop, fast forward/rewind buttons: These control playback position just
like a cassette player.
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Right-clicking the "Play" button: This opens the "Stereo master" mode's
playback parameters window. Specify the sample rate, playback device,
scrubbing/varipitch options, etc.
Right-click the "Record" button: Opens the recording parameters window.
Adjust recording settings like "Play while recording"; you can also start a mono
or stereo recording straight from this window.
Record button: Starts the recording for all activated tracks, i.e. tracks with a
red "R" button in the track info to the left. The recording devices have to be set
up beforehand by right-clicking the "R" button.
Time display: Displays the current playback position. The unit of measurement
can be selected by clicking the small triangle.
Range buttons: You can save ranges with buttons "1" and "2". Use the arrow
symbol to open previously used ranges.
L/E time display: Displays the length and end position of an area and can be
edited by double-clicking.
"Edit": Opens the marker manager for extensive marker editing. More
information can be found in the chapter "The Managers".
Marker buttons 1-12: Clicking will save the current playback position to one of
the 12 marker buttons. 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 assigned.
Audio dropdown menu: Set up the desired recording mode.
Standard mode (playback during record): This is the typical recording mode
for multitrack productions. This adds further tracks to already available audio
material while playing.
Punch marker mode: This setting starts a recording process which can be
started and stopped at any time during playback by clicking.
"Moni": This button activates Samplitude 11.5 Producer's record monitoring
feature, i.e. all tracks with an active "R" button display the adjacent input
signals in the peak meters. Right-clicking the "Moni" button lets you select
from the various monitoring modes.
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Note: Detailed information about monitoring can be found in Samplitude 11.5
Producer's help chapter "System settings -> Global audio options ->
Monitoring settings".
"Sync": This button opens the synchronization settings dialog. Further
information can be found in the help chapter "MIDI in Samplitude 11.5
Producer -> Synchronization".
"Punch" button: This button switches Samplitude 11.5 Producer to "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 placed automatically. A punch recording is ended by
pressing the "Record" button; playback is not affected.
"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. Once reached, the recording
button turns red. Recording is active until the "Punch Out" marker is reached,
and then Samplitude 11.5 Producer changes back to playback mode.
"Loop" button: Use this to switch to "Loop" mode, and a specific range will be
played back repeatedly.
MIDI record modes: The following MIDI record modes are available: normal,
overdub, multi-overdub, and replace. The different modes determine how the
newly recorded MIDI files will be added to the VIP.
Tempo section: You can adjust playback speed and tempo of the entire
arrangement in the tempo section of the transport control. All objects in the
VIP are adapted to the speed of your choice via the timestretching feature. You
can also switch on the metronome by pressing "Click". Right-clicking the
"Click" button opens the metronome's settings dialog.
Scrub control: The "Scrub control wheel" adjusts the playback speed. This can
be used to locate audio passages. The buttons beneath it can be used to start
playback forwards and backwards at a slower speed. This can also be used to
improve control over audio passages, for example to edit out crackles or other
errors later on.
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Track editor
1 Track number display and track name:
Right-clicking on the track name opens the
"Track settings" dialog.
2 Switches off all tracks with the exception of the
one selected.
3 "M" button: Mutes the track.
4 Record icon: Activates the track for the
recording.
5 Lock: Enables you to protect objects in the
track and prevents unintended moving or
deleting of an object.
6 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.
7 Volume input field and volume control
8 Peak meter: Both LED displays show the input
and output signal for the track.
9 Panorama button: Controls the position within
the mix.
10 "FX": Access the activated track's effects. You can copy, insert, reset,
save, or load them. Save your personal track effect settings in the program
directory in "FX presets -> Track FX". Of course, you can also create new
subfolders.
11 "MIDI" button: Switches the track to MIDI recording and opens the MIDI
section of the track editor.
12 Automation: This area provides Automation of MIDI controllers, VST
parameters, and certain effects in the track.
Automation
1Right-clicking opens the context menu
2Select the plug-in you would like to automate
here.
3Select the parameter you would like to automate
here.
The slider controls the selected parameter while automation is drawn.
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MIDI
1 Arrow: Opens and closes the respective dialog
box.
2 In device: Opens the MIDI input device menu.
3 Out device: Opens the MIDI output device menu.
4 Channel in: Set the MIDI input channel here.
5 Channel out: Set the MIDI output channel here.
6 Program: This slot is responsible for selecting the
program for the MIDI instrument.
7 Bank MSB: Set the device-specific control
change messages for controlling your external
instrument here.
8 LSB: Set the device-specific control change messages for fine-tuning your
external instrument here.
9 Drum map: Select a drum map for allocating MIDI notes to the
device-specific sound here.
10 Transpose: Transpose the notes of the respective MIDI input or output up
or down here.
Audio
"In" slot: Specifies the audio input device, i.e. a sound
card.
"Out" slot: Specifies the audio output device. This may be
a sound card output or (in "MIDI" mode) a VST instrument,
for example.
Gain: Set the sensitivity of the input here.
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Plug-ins
Activates the sound effects rack containing various track
effects, plus a compressor.
In the first slot, you can also select a MAGIX synth to be
controlled via the track. Clicking on the button to the
right of the field beside "Plug-ins" activates and opens
the "DirectX/VST plug-ins" dialog to put together a
plug-in setup for this track.
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.
EQ
Contains the parametric EQ for this track. Right-clicking
opens a convenient input window.
Comments
Track info section for quickly adding notes on tracks.
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Track box
1 Track number display and track name: Right-clicking on the track name
opens the "Track settings" dialog.
2 "S" button: Switches off all tracks with the exception of the one selected.
3 "M" button: Mutes the track.
4 "Rec": Activates the track for the recording. A right mouse click opens a
menu to switch to recording mode: If the track is set to MIDI recording,
then the MIDI section in the track editor will open.
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 Lock: Enables you to protect objects in the track and prevents unintended
moving or deleting of an object.
7 "FX": Access the activated track's effects. You can copy, insert, reset,
save, or load them. Save your personal track effect settings in the program
directory in "FX presets -> Track FX". Of course, you can also create new
subfolders.
8 Peak meter: Both LED displays show the input and output signal for the
track.
9 Volume: Controls the track's volume.
10 Panorama: Controls the position within the mix.
Both the "Vol" and "Pan" buttons activate curves that allow the volume and
panorama in the track to be automated.
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Workspaces
The purpose of a workspace is to sort menu entries and toolbars in such a
manner that you have a good overview of Samplitude 11.5 Producer's
functions. 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-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 defined. "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. Manually 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 be 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 "Show menu item" or "Hide menu item" button.
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Mouse functions and mouse modes
Universal mode
Right mouse button: Displays context sensitive pop-up menu.
Left mouse button: 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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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 and allows 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 or 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 it. Several handles
are selected by holding "Ctrl" while clicking.
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If you click right next to an object, you can sketch a rectangle with the mouse
button by dragging the mouse to the right. All volume and panorama points
contained are selected (lasso function).
Selected volume and panorama points can be moved with the mouse. To
move several points, you have to hold "Ctrl" while dragging.
Curves / Object mode
This mode differs from the universal mode only in 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 (tracks are split).
The curves/object mode is less complicated to use and is therefore a default
setting.
Range mode (safe mode)
Right mouse button: Displays context sensitive popup menu.
Left mouse button: Selecting ranges and moving ranges ("Shift"). Objects or
automation curves cannot be changed by accident (i.e. "Safe 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 "safe" mode, since objects or curves cannot be moved
accidentally.
Play cursor
Single clicks place the play cursor anywhere in the track.
Zoom
Double clicks outside of a selected range (or no range) zoom out. Double
clicks inside a selected range zoom in.
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Quick switch to other mouse modes
Using the "." (period key) temporarily switches to the object mode to allow
objects to be moved.
Using the "–" (minus key) temporarily switches to curve mode to allow
automation curve events to be moved and manipulated.
Curve mode
Right mouse button: Context menu
Left mouse button: Offers a range of functions. I.e.:
Volume and panorama rubber band
When you click on the track near an object, you can, by pulling the mouse to
the left or right, spread a rectangle by holding down the mouse key. This will
select all volume and panorama points contained in the selection box.
Volume and panorama gradients for the whole track
Using 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
another double click clears 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
"Ctrl" while clicking.
When you click the track on the right beside an object, you can spread a
rectangle with the mouse held down. This selects 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, "Ctrl" must
be kept depressed.
Cut mode
Right mouse button: Context menu
Left mouse button: You can use the mouse cursor like a pair of scissors to
crop objects.
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Pitchshift / Timestretch mode
Right mouse button: Context menu
Left mouse button:The lower right tab allows an object to be compressed or
stretched. A timestretching 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 via pitchshifting.
Draw volume mode
Right mouse button: Displays context sensitive popup menu.
Left mouse button: Draws volume automation curves into VIP tracks. "V"
needs to be active for a respective track prior to drawing the volume curve.
Draw panorama mode
Right mouse button: Displays context sensitive popup menu.
Left mouse button: Draws volume automation curves into VIP tracks. "P"
needs to be active for a respective track prior to drawing the panorama curve.
Wave edit mode (only wave projects)
Right mouse button: Context menu
Left mouse button: Freehand drawing function for wave format.
Scrub mouse mode
Right mouse button: Context menu
Left mouse button: Scrub function. Click project to 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
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the distance the faster the play tempo. You can set 3 individual scrub modes in
the play parameter window .
Zoom mode
Right mouse button: Zooms out of the project.
Left mouse button: Zooms into the project.
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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.
Toolbar (left section)
1 New Virtual Project
2 Load VIP
3 Load audio file
4 Export/save
5 Cut
6 Copy
7 Insert
8 Split object
9 Glue object
10 Undo (Undo)
11 Restore (Redo)
12 Grid on/off
13 Auto crossfade on/off
14 Crossfade editor
15 Group
16 Ungroup
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Toolbar (right section)
1 Set marker
2 Set CD track
3 Set subindex
4 Set pause
5 Set CD end
6 Set indices at object borders
7 Make CD
8 Loop playback
9 Play range
10 End playback (stop)
11 Recording options [R]
12 Multi-cards/MIDI recording
13 Mixer
Mouse mode bar
1 Universal mode
2 Range mode
3 Curve mode
4 Object and curve mode
5 Cut mode
6 Pitchshift/Timestrech mode
7 Draw volume mode
8 Draw panorama mode
9 Draw wave mode (wave projects only)
10 Scrubbing mouse mode
11 Zoom mode
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Position bar (left side)
1 To beginning
2 One section left
3 Half section left
4 Half section right
5 One section right
6 To end
7 To previous object edge
8 To next object edge
9 To previous marker
10 To next marker
11 Zoom in
12 Zoom out
13 Show entire project
14 Zoom to range
15 1 pixel = 1 sample
Position bar (right)
1 Zoom range 1 second
2 Zoom range 10 seconds
3 Zoom range 60 seconds
4 Zoom range 10 minutes
5 Reduce section vertically (zoom out)
6 Increase section vertically (zoom in)
7 Show all vertically
8 Show range vertically
9 Zoom into waveform
10 Zoom out of waveform
11 Overview mode
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Range bar
1 Play cursor to start of range
2 Play cursor to end of range
3 Fold range to the left
4 Fold range to the right
5 Start range at previous zero point
6 Start range at next zero point
7 End range at previous zero point
8 End range at next zero point
9 Range editor
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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 wave 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 wave file is inserted.
Method 2: Drag & drop from Windows Explorer
Open Windows Explorer and arrange the Explorer and Samplitude 11.5
Producer 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 Samplitude 11.5
Producer while holding down the mouse button.
Load ranges from wave projects into the VIP
Open a wave project.
Mark the range which is to be incorporated into a virtual project.
Create a new virtual project with "File -> New multitrack project" ("E") or with
the corresponding button in the toolbar.
Tile the open windows by pressing enter.
Drag the selected range in the wave project into the virtual project by clicking
the left mouse button into the range and then dragging it 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 object menu, select ”Destructive editing”. The same menu option is
available from the context sensitive menu by right clicking on the object.
This opens the corresponding wave project window. The marked range
represents the audio material that is used in the VIP object.
Selecting an object with the Mouse
Clicking the left mouse button selects the desired object.
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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 down the outline of the object is displayed.
Clicking the mouse button outside of the object deselects the object.
Moving and duplicating objects
Once one or several objects have been selected, they can be shifted vertically
(by track number) and horizontally (in the timeline) while holding the left mouse
button. As soon as you let go of the left mouse button, the object will be
placed at the current position.
If several objects have been selected in different tracks, the selected group can
be moved vertically only so far that all objects remain within the tracks.
If "Shift" is pressed when moving the objects, the time position is retained and
you can only change the track.
If "Ctrl" is pressed while moving the object selection, then 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 cannot be extended beyond the beginning or end of the
corresponding wave project.
Fade in / Fade out and object volume
The object handle in the top center 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.
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The top left and right-hand handles of the object change the fade in and fade
out settings of the object.
Since these changes are applied in real time during playback of the project,
then 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, then 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 "Edit" menu can be used.
Object editor
The object effects window
FX inserts
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
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These effects are assigned to each audio object in real time.
In the "Volume/Pan" section you edit panorama and volume-specific settings.
The "On" buttons 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 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 "Plug-ins" section.
The position / fades window
The length and end values of an object are given 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
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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 realignment can be entered either as a factor relative to the
initial value or absolutely in semi-tones and percentages.
Timestretching (change of speed): Speed realignment can be entered either
as a factor relative to the initial value or absolutely as a new 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.
Ranges
Ranges are selected sections of the arrangement that can be set for editing or
re-opening later on. When creating ranges you are not bound to object
borders, individual tracks or any other limitations like markers. Ranges that you
search for are displayed inverted. By switching on the "Grid" function in the
"Project options" you can set the step size of the selection.
Selecting a range
To select an area, move the mouse pointer to the top half of an object and
press the left mouse button. Move the mouse pointer within the object while
keeping the mouse button held. Now you can see an inverted rectangle
between the starting point and the current mouse position. Once you let go of
the mouse button, the range will be selected.
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The play cursor always automatically remains at the beginning of the range,
even if you can't see it at this moment in time. To expand the range onto other
tracks, click on the top half of the selected object again and drag the mouse
down vertically while keeping the mouse button held. If you hold the Shift key
and click in the range, all objects with a centrepoint within the selection
rectangle will be selected.
You can also select a range by dragging the mouse across the timeline. This
will then be indicated by a different color. Double clicking this range in the
timeline selects a range in the selected track; double clicking again selects the
range over all tracks, and double clicking once more restores the simple
timeline selection.
In the timeline selection you can also position the play cursor outside the
range. The range will be retained in Loop mode. This way you can start
playback in front of or within a loop. In this case, the range edges may also be
modified during playback. The playback range may be deleted by dragging to
size 0. . Click the range borders in the timeline to position the play cursor at
the playback borders. Double clicking the timeline outside of the range
removes the playback range.
Leaving a range
To select a different range, click somewhere in the project other than the
current range, and simply draw a new range.
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Reactivating the range
Enter shortcut Shift + Backspace. By clicking on this command repeatedly you
can restore the last five ranges. You can execute the same function by clicking
on the button with the left arrow in the transport control.
Change range borders
Timeline selection enables you to change the range edges by positioning the
mouse over them. The mouse icon changes to a double arrow. The range
borders may now be changed by dragging horizontally.
To change the edge of an existing track range (start, end, top edge, or bottom
edge), left click inside the range of the existing area and hold down the mouse
button. Next, leave the range in the direction of the edge you would like to
change while holding down the mouse button. As soon as the edge of the
existing range has been crossed, the range edge will follow the movements of
the mouse pointer. Once you have newly defined the range border, you can let
go of the mouse button. The start of the range may be changed via the arrow
keys, and the range's end may be changed by pressing "Shift + arrow".
Horizontal movement of a range
Left click within the existing range while holding down "Shift" and hold down
the mouse button while moving the range horizontally.
Saving and opening ranges/special range commands
Selected ranges may be saved via the "Range" menu or by pressing "Alt" and
via the function keys "F2 - F10", and then opened again via "Ctrl + F2 - F10".
"Alt + F4" however, shouldn't be used, since this is a Windows command that
closes the current screen. Similarly, "Alt + F9" should not be used either, since
this is used for 4-point cut editing in Samplitude 11.5 Producer. On the other
hand, you can redefine this keyboard shortcut for Samplitude 11.5 Producer
whenever you like via "Options -> Program settings -> Shortcuts" and via the
"Edit" menu.
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Ranges may also be saved and renamed without any restrictions by pressing
"Alt + F11".
These and other special functions for defining, changing, and using ranges are
available in the "Range" menu. This includes a range editor dialog for the exact
numerical input of ranges and the range manager for quickly and easily viewing
and selecting ranges.
All menu commands for editing ranges are explained in the menu reference
under "Range".
Examples for working with ranges
Sample 1: Moving multiple neighboring objects to a new position. Instead of
selecting each object separately while holding down the Ctrl key, you can
select a range that contains all objects. Select the desired objects via "Object
-> Select objects -> Select objects in active track".
Example 2: To remove a section of a song from the VIP window completely.
This may be, for example, a verse of a song that should be cut out in order to
reduce the overall length of the track. Select a range and activate all tracks by
double clicking twice to select the affected verse. Next, select "Edit -> More ->
Delete with time/ripple" to remove the verse.
Example 3: To play a selected range as a loop. Activate the "Loop" button in
the transport control. In this case, the range edges may be modified by
dragging the handles on the edges. This enables previewing prior to making a
cut.
Working in wave projects
A wave project contains the audio files. Objects in VIP refer to these audio files.
Access the wave project via 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”.
The name of the wave project is in the title bar of the wave window along with
the bit resolution, the length of the sample, and the resulting memory
requirements. To activate a wave project, the appropriate window must be
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clicked with the mouse. Samplitude 11.5 Producer can administer many wave
projects on screen simultaneously.
Virtual wave editing
Samplitude 11.5 Producer 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
"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.
In the title bar of the wave window you can always see which wave editing
mode (destructive or non-destructive) you are 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 (*.wave) as so-called
"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 + 0 - 9". 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.
To delete a marker, click on it and press "Del". markers can be moved by
grabbing them and dragging them to where you want to go, the mouse
pointer changes into a double arrow.
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If you right click within a marker line, a context menu will appear for 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, and
then click on the second marker while holding down "Shift". This selects a new
range.
To quickly move between the marker positions, use the shortcuts. See
"Keyboard shortcuts" ("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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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 ("P").
With the "Sample rate" option you can choose a different sample rate as
playback. "Device" allows you to select the desired playback device (if you
have more then one active sound card).
Please note that some sound cards 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 dialog rather than the play parameter window.
Track information opens by clicking 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 analog/digital converter (A-to-D, ATD or A/D). In order to
record, the A/D Converter gathers samples of the signal to be digitized in
determined time lapses and measures its frequency. The rate is called ”sample
rate” and normally lies in the kHz ranges. KHz means a vibrating frequency of
several thousand 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.
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The precision with which the A/D converter measures the analog signal is
determined by the sample resolution. The finer the resolution, the better the
digital transformation.
CD-quality audio recordings are recorded with a sample rate of 44.1 kHz and
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 sound card
modifier can record them. Most sound cards have separate microphone inputs
that pre-amplify signals, but the results are rarely 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 on the sound card.
Stereo system: The stereo system’s amplifier usually has a separate line-out. If
instead, you see ”Aux. out sockets,” then you should use these. Connect them
with the input on the sound card (usually shown in red). Normally, a
high-fidelity (hi-fi) amplifier has cinch sockets and 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),
then you can use the headphones 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 cassette deck line out. Record transfers often leave
you 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 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
dialog with the "Record" button and start the recording source.
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You can check the control on the LED displays in the recording dialog.
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, then you
can reduce the incoming signal only by using the sound card’s mixer window.
This is located in the recording dialog under the "Level control" tab.
If you reduce the input sensibility with the sliding regulator (fader), then you
also reduce (with many sound cards) the precision of the resolution of the
digitized analog signal. 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 Samplitude 11.5 Producer. 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 dialog. Click on the "Dev." button in the recording
dialog. In the following dialog (sound card characteristics), set the audio
recording formats supported by the sound card.
Now, connect the digital output of your recorder to the digital input of your
sound card, and now start recording!
24-bit audio support
Audio files in Samplitude 11.5 Producer 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 dialog, and select the ”24-bit” option under ”sound
card properties”. 24-bit recordings require a high-quality audio card with 20 or
24-bit converters, as well as a 24-bit-compatible NME drive. 24-bit audio
material can also be transmitted via audio cards with SPDIF digital interfaces.
We have had positive experiences with the 24-bit audio cards produced by
Marian, RME, SEKD and Terratec.
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The high resolution audio files are stored and edited in the 32-bit ”floating
point” file format by Samplitude 11.5 Producer. 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 (depending on the type of
audio card) 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 which distorts immediately once the zero dB line has been
crossed.
Even in cases whereby audio material is intended for burning onto a 16-bit CD,
it is worth selecting 24-bit recording, since 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 hard disk as 16-bit recordings. But with current hard disk
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 wave files,
enabling trouble-free file exchange with other high-quality audio systems.
Further recording dialog possibilities
The recording dialog also offers:
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 option to directly incorporate a variety of audio formats, e.g. to save hard
disk space.
Please read the “Recording options” section of the “Playback menu” chapter to
learn about all of the recording dialog options.
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Tips & tricks
A few tricks that help make working with Samplitude 11.5 Producer easy:
Working with projects
The "A" key will select the complete sample as a range.
"Home" and "End" 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 wave. Next, hold "Shift" and click on the
second marker.
Using the "Shift + mouse click" a range can be moved horizontally.
"Shift + Ctrl + arrow 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 "Tab" 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 creates and deletes
volume handles. Activate the volume automation curve with "V" in each track
of the VIP!
Change the function of the mouse buttons in VIPs with "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 accidental
movement. This is especially useful for multitrack 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 "Free bar snap" section. Next, click on the
"Get range" button in the "Free bar snap" section 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 popup 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.
"Delete" 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.
"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 auto crossfade mode is active while the separation
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takes place, Samplitude 11.5 Producer 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 "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 "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 "Ctrl" and individually clicking on
the desired object.
Holding "Shift" and clicking the mouse button behind the last object you want
to select will select objects between the two points.
wave, HDP, and RAP projects, as well as stored objects, can be opened with
Windows Explorer by dragging them from the Explorer window to the
Samplitude 11.5 Producer window. A special menu option is available to open
Explorer from within Samplitude 11.5 Producer with "Tools -> Explore the
HDP directory". The default folder opened in Explorer is the same as the HD
project settings in the system dialog ("Y").
"Shift + Tab" can be used to display the VIP display mode dialog. This dialog
allows you to change VIP display aspects like the VIP window behavior when
an object or range is moved toward the currently displayed window borders
(VIP border scroll).
Press "Enter" and all open windows are tiled on the Samplitude 11.5 Producer
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 effects 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 "Shift" and clicking on "Solo", 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.
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Performance
If errors occur during playback, you have the following options:
Increase the VIP and HD buffer in the system dialog ("Y").
Zoom out to project full view ("A" button at position bar)
Deactivate the "Autoscroll" function in the playback parameters dialog ("P").
Reduce the number of displayed image elements of the VIP window in the
object display in virtual projects dialog ("Shift + Tab").
Bounce several tracks by mixdown and mute the original tracks.
Reduce the used real-time effects in the object editor or mixer.
Do not use plug-ins, since 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 ("H")
and open the VIP again. Now the NT file system performance is optimum
again.
It often helps to run two copies of Samplitude 11.5 Producer 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
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 ("Y") to
prevent the program in the background to stop any process.
Recording / Playback
The recording window can be displayed by pressing "R". The recording can
be started with "R" and stopped with "S" when the recording window is
displayed and active.
Playback can be started and stopped with the space bar. When stopping, the
play cursor returns to the original position. If the playback is stopped with "0"
on the numeric keypad, the cursor will stop at the current playback position.
Continuing to hold "0", while moving the mouse (scrubbing) can alter the exact
position.
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Effects and effect plug-ins
Samplitude 11.5 Producer contains many high-quality effects and effects
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?
There is generally a difference between the effects types. The following effects
occur in Samplitude 11.5 Producer:
Real-time effects: These effects are also referred to as "non-destructive" or
"virtual" effects, and 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", and they are
added to the audio file before it is played; either the original file is changed, or
a copy is created on the hard drive for working with.
These effects are independent effects modules, i.e. they are provided by third
party vendors or programmers. In Samplitude 11.5 Producer we distinguish
between three types of effects plug-ins: "MAGIX plug-ins", "DirectX plug-ins",
and "VST plug-ins".
The area of application is a further criteria for effects. The following are
integrated into Samplitude 11.5 Producer:
Object effects (can be accessed via the object editor or the "Real-time
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 plug-in)
Mixer channel effects (can be accessed via the "Insert" section of the mixer):
These real-time effects affect track effects the same way as complete tracks.
AUX effects: (accessible via the track editor and trackbox): 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 trackbox): These effects serve for
editing surround material.
Master effects (can be accessed via the "Master" section of the mixer): These
effects are for editing the master sound.
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Most of the effects modules, i.e. 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 which can also be activated via the "Offline effects" menu, 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 subdirectory of the main
Samplitude 11.5 Producer 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 effects
dialog, then you will need to click on "OK" 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, then the parameters selected in the list
entries will be applied to the default parameters for destructive editing.
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 artifacts 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.
Audio type: Lets you set the audio material that is to be edited; the algorithm
is adjusted accordingly.
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Noise reduction: Set the attenuation of the hissing in decibels. It often 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 filtered-away 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.
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 becomes relative, i.e. the resulting value is determined from the
automation as well as the noise level controller settings.
One advantage of this is that you no longer have to set the noise level value
manually and that this value can also be adjusted later if the noisy portion
fluctuates, e.g. if you use music tracks with differing hiss levels within one
project.
If the noise level is constant, then a better result may be obtained manually
(adaptive off). However, the noise level value must then be set precisely.
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"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: Each 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 overemphasizing single frequency areas that sound artificial.
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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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.
Touchscreen (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, and 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 ”Threshold”
determines the entry threshold. Rise and decrease of time can be influenced
by attack and release.
The processing is realized ”in advance”, as often occurs in high-quality studio
equipment. This means that there won’t be any overdriven peaks or other
artifacts, as the algorithm can never be ”surprised” by the peak levels.
Sensor field: The sensor field of the compressor can be intuitively altered with
mouse movement.
Ratio: This parameter controls compression intensity.
Threshold: Adjusts the entry threshold of the compression.
Attack: Adjusts 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: Adjusts 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.
Reset: Reset places the sound effect to the neutral starting position where no
processing power is used and where no effect is calculated in the sound.
Load/Save: Stores the current adjustments as an effect file in order to use
them for other projects.
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Vitalizer
The Vitalizer enables the justification of the audio material in the stereo
panorama to be adjusted. If stereo recordings sound unfocused and
undifferentiated, an extension of the stereo base-width often provides
increased transparency.
Use the maximize function to move the echo and improve the stereo picture,
for example, into the foreground.
Volume controller: Adjusts the volume of every single channel to adjust the
complete panorama. The reduction of left and right levels is displayed under
the control buttons in dB.
Pan-direction: Use this controller to move the sound source from the middle
into stereo panorama. The signals at the outer edges of the sound picture
remain unchanged.
Multiband: This option switches from "Stereo FX" to "Multiband" mode. Stereo
editing only applies to the middle frequency; the bass and highs remain
unchanged.
Bandwidth/maximize sensor field: Adjusts the base width between mono
(extreme left), unchanged base width (normal stereo), and maximum base
width (wide, extreme right). Raising the base width (values over 100) diminishes
mono compatibility. Recordings edited this way may sound slightly hollow
when listened to in mono.
Maximize strengthens the spatial component of the recording, which also
increases the stereo transparency without influencing the mono compatibility.
Stereo meter (correlation gauge): This provides a graphical display of the
phase relation of the audio signal. Use this to review the orientation of the
signal in the stereo balance and the effect of the stereo enhancer. To maintain
mono-compatibility, the "cloud" shown should always be higher than it is wide.
Echo / Reverb
Reverb
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"Reverb" gives you a high-quality reverb which can be specified further using
"Room Size", "Time" and "Color" and mixed into the original sound with "Mix".
You can choose between various reverb styles in the presets.
Room size: This controller controls a room simulator, which calculates the
reverb effect according to the room size. If the controller is turned all the way
to the left, then it sounds as if the audio object was recorded in a very small
room. If it is turned all the way to the right, it sounds as if the audio object was
recorded in a cathedral.
Time: This is where you set the reverb tail's length, i.e. the sound's "sustain"
level.
Color: Control the sound of the reverb here, dampen or brighten it.
Mix: This controller determines how much of the unprocessed original sound
(dry signal) is subjected to reverb (wet signal).
Echo
The echo effect is further refined with "Delay" and "Feedback" amounts and
calculated into the original sound by means of "Mix".
Delay: This sets the period of time between the individual echoes. The more
the control is turned to the left, the faster the echoes will follow each other.
Feedback: This adjusts the number of echoes. Turn the dial completely to the
left, there is no echo at all; turn it completely to the right and there are
seemingly endless repetitions.
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Parametric equalizer (track effects, mixer channels,
Mixmaster)
This dialog contains a 4-band parametric equalizer. With the parametric
4-band equalizer, filters can be activated on four freely selectable frequency
bands in order to adjust the sound of a sample. You can produce wide-band
frequency adjustments for both high and low pass ranges as well as
small-band corrections of specific frequency ranges.
Use the Play/Stop button to activate the real-time preview function. This lets
you check the acoustics of the filter setting before it is calculated into the
sample by clicking "OK".
Freq. (frequency): 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.
Gain: These controllers allow you to raise or lower the filter. Setting the
controller to 0 deactivates the filter and doesn't use CPU power.
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Volume: Use this controller to adjust the master volume should the level rise or
sink too much while filtering.
Setup 1-3: Here you can switch between three different filter setups so that an
acoustic comparison between the various settings can be performed, for
example, during the preview function (Play/Stop button).
MAGIX Mastering Suite (Mixmaster)
Parametric equalizer
The parametric equalizer consists of four filter bands to 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 10 kHz). You can also decrease the narrow bandwidth (high Q
value) in the frequency response to remove, for example, disruptive
frequencies.
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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 symbolize the four
wave bands. You can move them around with the mouse until you find your
desired frequency response.
Peak meter: With the peak meter 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-pass (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-pass or high-pass filter, all frequencies below (low-pass) or above
(high-pass) the set frequency are filtered out.
Vitalizer
The Vitalizer enables the justification of the audio material in the stereo
panorama to be adjusted. If stereo recordings sound unfocused and
undifferentiated, an extension of the stereo base-width often provides
increased transparency.
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Use the maximize function to move the echo and improve the stereo picture,
for example, into the foreground.
Volume controller: Adjusts the volume of every single channel to adjust the
complete panorama. The reduction of left and right levels is displayed under
the control buttons in dB.
Pan-direction: Use this controller to move the sound source from the middle
into stereo panorama. The signals at the outer edges of the sound picture
remain unchanged.
Multiband: This option switches from "Stereo FX" to "Multiband" mode. Stereo
editing only applies to the middle frequency; the bass and highs remain
unchanged.
Bandwidth/maximize sensor field: Adjusts the base width between mono
(extreme left), unchanged base width (normal stereo), and maximum base
width (wide, extreme right). Raising the base width (values over 100) diminishes
mono compatibility. Recordings edited this way may sound slightly hollow
when listened to in mono.
Maximize strengthens the spatial component of the recording, which also
increases the stereo transparency without influencing the mono compatibility.
Stereo meter (correlation gauge): This provides a graphical display of the
phase relation of the audio signal. Use this to review the orientation of the
signal in the stereo balance and the effect of the stereo enhancer. To maintain
mono-compatibility, the "cloud" shown should always be higher than it is wide.
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Multimax
MultiMax is a compressor with three independent frequency bands. The
dynamics are edited separately for each band.
The benefit of a multi-band compressor in comparison to a "normal"
compressor is that the "pumping" tendency and other disturbing side effects
are dramatically reduced when editing the dynamics. For instance, it can
prevent a bass top peak from "reducing" the entire signal.
Multi-band technology also lets you specifically edit individual frequency
ranges.
Link bands: When this function is activated and one fader is adjusted, all
faders are changed in the same ratio. However, the way the dynamics are
edited is not affected.
Limiter: MultiMax includes a limiter that prevents clipping by automatically
lowering the level if it is set too high. Quiet parts remain unaffected.
High quality: When the "High quality" setting is activated, an even more
precise algorithm is used which, however, requires more processing power.
We recommend that you switch on this setting before you export the project.
Bass/Mid/High: These knobs control the level of compression for each
frequency band.
Setting the frequency bands: The settings of the frequency bands are
changed directly in the graphic. Simply click on the separator lines and move
them.
Presets
In MultiMax, you can use the presets to open further special functions:
Dynamic expander: Too high a compression rate will result in audible noise
(usually defined as a pumping sound). Radio recordings in particular are
recorded with very high compression rates to increase the perceived volume.
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Unfortunately compression reduces the dynamics (interval between the
quietest and loudest part). The expander enhances the dynamics of the
recording.
Tape NR-B Decoder: Samplitude 11.5 Producer 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 completely suppresses noises which are
below a certain volume threshold. This lets you create song transitions that are
entirely noise-free, for example.
Leveler: This setting automatically sets the entire material to an identical
volume level. The volume control knob is no longer required. You can use this
function to equalize greater volume differences within a song. To equalize
volume variations between different songs, you can also use the function
"Loudness adaptation" from the Effects menu.
DeEsser: These special presets are for removing overstressed hiss sounds
from speech recordings.
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 selective equalizer editing, etc.
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Vintage Effects Suite (track effects, mixer channels,
mix master)
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" in terms of this delay also means that typical tape echo sounds can
be mimicked, e.g. tape speed fluctuations and reduced highs during playback
("feedback"). The feedback has a two-band filter that can be used to create
dark, high, or mid repetitions depending on the settings.
These properties can be useful, for example to create "wild" dub/reggae-style
delays that move towards the center of the sound with each repetition and
even grind slightly. In this case, "analog" means that you cannot digitally
overdrive the delay. Even in a 'looped' repetition, the signal cannot be
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distorted indefinitely, but it is 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 the echo.
Modulation
Speed: The tape warble speed. Low values result in very light fluctuations, high
values result in drastic warbling.
Depth: The warble intensity. When this control is turned all the way to the left,
there is no pitch modulation. For a subtle "analog" feel, we recommend a
setting between the 9 and 11 o’clock position.
Filter
"Low" This control progressively reduces the bass frequency as it is
turned to the right, making the signal sound "thinner".
"High" Once turned all the way to the right, the control only
attenuates the treble very lightly; turned completely to the left,
the delay repetitions become progressively less treble.
Feedback
Width: This controls the stereo width of the delay repetitions. When you turn
“Width” to the right, an additional effect is produced: the panning of the delays
increases. This is commonly referred to as a "ping-pong" delay.
Drive: When this control is turned all the way to the left, the delayed signal is
repeated only once. Turned all the way to the right, the feedback is seemingly
endless and the repetitions continue for a long time.
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The actual strength of the effect is dependent on the material, since the
feedback loop (as explained earlier) is addressed via compression and uses a
"tape saturation" effect. If you send a "loud" signal to the delay, then the
feedback will sound longer than at a lower level as compression "brings it up"
to a certain level. If you are used to "purely digital" delays, then this might take
some getting used to, but it will probably sound "livelier".
Flanger
The "Flange" effect is similar to that of the chorus, but does have a different
technical and historical background. It came about by chance: Someone
(various sources say John Lennon) slowed down one of two running
interconnected tape machines in a studio with his hand. The result: The rather
brief delay of the second signal compared to the first resulted in cancellations
within the frequency spectrum, leading to a so-called comb filter effect (the
sum of both signals creates "peaks" and "lows" in the spectrum that look
familiar to the teeth of a comb).
Flanging is basically a chorus effect, but it has a lower delay time (less than 10
ms). "Release" or signal doubling is not highlighted here; the result is a much
more creative frequency response deformation.
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A "complete" flange effect will definitely require feedback: The flange portion is
returned to the input to increase the effect. People often talk about the "jet
effect", since it resembles a jet on take-off.
Flanger parameters
Speed: Modulation speed.
Depth: The overall amount of modulation.
Feedback: The volume of the internal feedback loop.
Mode:
Normal: Flanging.
Dual: Two parts, panned left and right.
Quad: Four parts, alternately panned left and right.
Quad pan: Like “Quad”, but the “Depth” control also sets the intensity of the
signal’s pan movements between left and right.
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Filter
"Filter" is a "modulation" effect 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.
Possible areas of application are synthesizer sounds (filter sweeps on pads) or
creative distortions of drumloops (e.g. 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. The decisive factor is the current
signal strength above the frequency set for the filter.
Filter parameters
Speed: The modulation speed is set by note values ranging from 1/1 to 1/16
(even or dotted). Similar to analog delay, the tempo information is automatically
provided by the arrangement.
A peculiarity of the final position of the controller:
Tempo synchronization stops and modulation is controlled via the signal level.
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Freq: This is the base frequency for modulating the filter, and generally takes
place above this frequency, i.e. the modulation increases the filter frequency.
Depth: This control determines the modulation depth, i.e. the amount by which
the speed control (or envelope mode, as described above) increases the base
frequency. For extreme effects, turn “Freq” all the way to the left and “Depth”
all the way to the right.
Filter modes
Low-pass A filter with a slope of 24 dB/octave and a small
amount of resonance. The treble frequencies above
the base frequency (cut-off frequency) are filtered
steeply. This is great for filter sweeps on synth pads
and drum loops.
Band-pass Only the frequencies around the base frequency are
passed through the filter (24 dB slope with
resonance). Use this mode to create wah-wah effects
for guitars.
Band
elimination
(„Notch-Filter")
Two parallel filters (–36 dB) with linked base
frequencies create two ‘notches’ in the frequency
spectrum. This allows you to create interesting sounds
(e.g. guitar chords), and it sounds similar to a phaser.
High-pass This mode achieves the opposite effect to the
low-pass filter. Frequencies below the base frequency
are filtered steeply. If you ‘thin out’ sections of your
track (for example, a drum track) with a tempo-based
modulation, this can sound very effective when
contrasted with the full-range frequency spectrum (for
example, if the filter is turned off for the next object).
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Chorus
The chorus pedal creates characteristic "floating" sounds which one typically
recognizes from guitar or synth pads. You can add acoustic "depth" to an
instrument to add more power to the sound or to create the illusion that it
exists multiple times.
The chorus sound is created by using the so-called Doppler effect. You
probably have noticed this phenomenon daily life: The sound of an
approaching ambulance sounds higher than when it is moving away. This
effect is a result of the speed of the sound which first increases and then
decreases, thus also changing the sound pitch. If there were a second siren at
your location, an oscillation would develop between both sounds (just like
when two instruments are out of tune).
Chorus also splits the signal 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 instance. A short delay in the mix
already sounds "doubled" but is not authentic. This is where the
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above-mentioned "out-of-tune" effect comes in: The pitch of the effect signal is
slightly modulated by gently "drifting" forward and backward in the delay curve.
The result is a floating effect where the speed is influenced by drifting
Chorus parameters
You can enter the following parameters to control the floating effect:
Speed: Modulation speed. Low speeds create an even, continuous
development. High speeds produce vibrato-like qualities, but can also result in
an "underwater" effect.
Depth: Modulation depth. This determines how strongly the speed affects the
pitch modulation.
Mix: This sets the balance between the direct signal and the effects signal.
Mode: You can choose between four operating modes of the chorus effect:
“Normal” is a combination of the direct signal and the detuned delay signal.
“Normal, low-pass” is designed for bass-heavy signals like bass guitar. The
bottom end of the signal stays clear and well-defined, the effect is only audible
for the mid and treble frequencies.
“Dual” makes the source sound more lively than a single "part". The sound is
spread over the stereo panorama, which makes this mode seem "wider". The
character of the sound becomes livelier than with a single voice only, and it is
also distributed over the stereo panorama, making the mode sound "broader".
“Quad, low-pass” is ideal for creating sounds such as deep synth pads with
tight bass frequencies.
Tip: Similar to the stomp boxes our vintage effects are modeled on, there is a
"footswitch" below the pedal’s logo that can be clicked to turn the effect on or
off for A/B comparisons. All the effects of the Vintage Effects Suite have been
designed like this.
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Distortion
The distortion pedal is a "high gain" 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 sound. You should set the bass
controller depending on the basic sound of the guitar and the sound you are
aiming for ("powerful" or "cut").
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
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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. 60 dB). As the level increases, the valve goes
into overdrive and generates typical distortions. For a slightly distorted sound
("crunch"), it's sufficient to set the controller to 10-11 hours at maximum; the
modeled circuit also provides the usual "weight" for power rock chords, and
more. The further you turn this controller to the right, the more the mids of the
signal move to the fore so that the "high-gain" lead sound is better heard.
You can also use the distortion effect in combination with the amp simulation!
BitMachine
Audio material can always be edited into high quality with Samplitude 11.5
Producer. Nevertheless, there are some situations, 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 at 8 or 12-bit rates and at low sample 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.
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We have designed a range of "typical" presets to demonstrate the time travel
abilities of the BitMachine. These can be opened at the top right of the
interface
The following section describes the details of BitMachine:
"Filter" section
The filter in the BitMachine is a digital model of one of the most well-known
filters in music electronics, i.e. the "Chamberlin 2-pole" filter used in old
Oberheim synthesizers. These types of filters sound exceptionally musical.
They can also be used quite creatively in the BitMachine, but should not be
used exclusively to smooth out existing artifacts.
The filter works in the so-called "high-pass" mode, i.e. it lets through deep
frequency (or medium) material according to setting, and dampens highs and
medium areas.
Freq:
You can specify the cut-off frequency of the filter using "Freq". Filtering starts
above this frequency.
Reso:
The signal in the area around the cut-off frequency can be strongly elevated to
just below self-oscillation. Sharp, cutting sounds are possible at this level, and
the effect becomes even clearer when you vary the cut-off frequency.
Drive:
Both of the individual filters of the connections mentioned above have the
ability to overmodulate themselves internally. With the "Drive“ dial, you can
regulate the amount of overmodulation. The more you turn this dial up, the
more the signal is overmodulated. In this case, the parameters of the internal
workings of the filter interact with one another. Increasing drive weakens the
resonance, but, at the same time, the signal gets more volume, more bass and
becomes acoustically fuller.
Note: The two smaller dials from this section are explained under "Modulation".
"Modulation" section
You can automate your effects via the settings in the modulation section.
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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 then the modulation wouldn’t
have any effect. The modulation is always added to the set value.
Example: Turn the small dial beneath the "bits" dial fully to the left (Value: -50)
and the one beside it (beneath "sample rate") to the right (+50). You’ve now
assigned a modulation to both parameters with the LFO. They are not changed
uniformly, but rather opposite to one another: A negative setting is nothing
more than an inversion of the modulation, so you’re effectively turning down
the control signal.
waveforms of the modulation section
We’ve already explained this example with the help of sine oscillation. The LFO
can be in:
Sine form
Square wave (0 or 1, no intermediate level)
Random value (an internal randomizer will be queried at the set speed)
Oscillator speed
The LFO speed is specified with the "speed“ dial. If the "sync“ button is active,
then the LFO adapts to the song speed, and the dial locks musical values into
place (e.g. ¼ note). Rhythmic paths of the sound distortion are therefore
enabled. You can also switch off this synchronization and set the speed
manually (in Hz).
Modulation with the "Envelope follower“
In the modulation section you’ll find a fourth button, the audio input signal. If
this mode is active, then the signal itself can be called upon to extract
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“modulation tension”; a so-called "envelope follower" continuously scans the
volume of the input signal.
Note: The BitMachine doesn’t recognize the type of audio signal automatically.
For this reason, you should set the input sensitivity roughly with the "gain“ dial.
To do this, use the control LED: With accurate detection of the signal
dynamics, assigning the four small dials to modulation lows is easier and you
can use the full control range.
In envelope mode, the "speed“ dial is used to control the response speed of
the envelope (the display now switches to milliseconds). Lower times result in a
faster response, higher times make the envelope rise (and fall) slower. You
should experiment with the signal according to its complexity. The presets
provided can only point you in a rough direction.
"Reduction" section
Bits
This dial controls the resolution of the audio material. Turning the dial to the left
results in 16-bit quantization (CD quality). The further it is turned to the right,
the lesser the signal dynamic becomes. In extreme cases (1-bit), there are only
"on“ or "off“ states.
At the intermediate levels, you’ll notice an increase in the background noise
and a decrease in the dynamics. For example, 8-bit quantization will exhibit
dynamics of only 48 dB. Quieter points in the material sound noisy and very
quiet points sound "capped“. This effect is amplified the more you turn the dial
to the left until it starts crackling or "groaning".
Sample rate
The audio material is "down-calculated" with this dial, i.e. the internal sample
rate is reduced. A new separation ratio between old and new rates is created.
In relation to this ratio, a sample from the data stream will be "dropped“ at the
various points.
Note: The two smaller dials from this section are explained under Modulation.
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Tape simulation (plug-in)
Tape simulation offers you the possibility of giving your recordings an "analog
touch" by imitating typical aspects of a tape recording. In a lot of studios, 1"
and 2" tape machines are still used because they are thought to create a
fullness of sound, "warmth" and "saturation" that contrasts with the more
neutral and analytical sound of digital technology.
There are numerous factors that are decisive for the sound expressiveness of
tape-based recordings. Some of these are:
Distortions that occur when the tape is played in the saturation range,
changes to the frequency response, since recording and playback-side filter
steps prepare the signal. All machines also feature more or less pronounced
peaks in the frequency spectrum, above all in the bass range (so-called "head
bumps"),
loss of highs through self-erasure resulting from the HF stream ("bias",
pre-magnetization) and intermodulation between the wanted signal and the HF
signal.
Level: Sets the input level. You decide when the "virtual tape" is saturated and
how strong the effect of this color effect should be. The signal will gain more
"loudness".
EQ low/hi: Adjusts the frequency response (spectral balance controller). You
can choose whether you would like the output signal to have a richer bass
level or whether it should have more highs. This adjusts the pre-filtering at the
"recording end" as well as playback equalization.
However, please note that the frequency response of the simulation will not be
neutral even if the "EQ low/hi" controller is set to neutral. There will always be
some slight frequency-selective amplification.
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The distortion resulting from use of the tape simulation can quickly create
"acoustic fatigue", especially for material that is rich in highs. A direct 1:1
comparison with the tape section switched off reveals the differences more
easily. Slight editing with the simulation is generally sufficient to achieve an
"analog touch".
Essential FX
MAGIX Essential FX is a collection of "bread and butter effects" for the most
important applications. They are embedded as VST plug-ins (MAGIX plug-ins
directory) and may be used in the object or in the track. For object application,
see "FX plug-ins" in the "Audio effects" chapter or "Track effects" in the "Mixer"
chapter.
These are simple but solid tools with clear feature sets for daily application.
They include fewer controllers and require less resources.
Stereo delay
The stereo delay is a simple too for typical bread and butter delay effects. The
"analog algorithm" qualifies as a special feature that produces the sound of
echo devices from the old days.
Stereo delay parameters
Mode: This selects between the essential algorithms.
Digital: Normal, transparent delay
Analog: Simulation of a bucket brigade delay (BBD). These devices, which
originate from the pre-digital era, used analog building blocks for storage. The
signal was held for a short time in a relatively simple circuit and then moved on
to the next. This "bucket brigade" principle created a longer signal delay. But
since each element of the chain led to a loss of the signal and would increase
the system noise with longer delays, the devices would use a compander: At
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the input, the signal's dynamics are compressed, and then they are expanded
again at the output end. The simulation in the eFX delay mimics the loss and
compander behavior to produce these typical audio characteristics, especially
at longer delay periods and higher repetition rates (feedback).
Delay L/Delay R: Specify the delay period for the left and right channels here.
Tempo sync: If this button is active, the plug-in is directed at the
host/sequencer tempo. In this mode, changes are made to the delay period
via the L/R delay using the musical snap grid (e.g. 1/4 note).
Damping: This specifies the cut-off frequency at which the highs are
dampened during the delay. This useful for making the delays reverberate
more naturally or for creating special effects (reggae/dub-style effects).
Feedback: This parameter regulates the internal amplitude of the delayed
signal that is fed back to the input. In "Digital" mode, this process is
completely transparent; in "Analog", on the other hand, higher values, a very
loud input signal, or the sum of these will make the use of dynamics
compression audible. In both modes, the nullification of the feedback
parameter is in the center of the fader. To the right, the plug-in works in "Dual
delay" mode (both sides work independently), and to the left, "Ping pong"
mode will be activated (the delayed signal alternates between the left and right
sides).
Mix: Regulates the mix ratio of the original signal and the delayed portion.
Chorus/Flanger
This plug-in offers a simple way to make signals sound more interesting,
"spacier", thicker, etc. by modulating or delaying the pitch. The classical
domain of application is for guitars, Hammond organs, electric pianos, or
synths.
Chorus and flanger are two closely related effects, which is why we have
included them in a single plug-in. They normally differentiate in terms of delay
time, type of modulation, and degree of internal feedback.
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Chorus flanger parameters
Mode:
- Mono chorus: In this mode, the signal is fed through a delay unit and the
pitch is modulated. Original and delay copy are mixed into a monophonic
output signal.
- Stereo chorus: Compared to mono chorus, two copies of the original are
created, modulated against each other, and then fed accordingly to the set mix
ratio to the left and right output channel.
- Mono flanger & stereo flanger: Similar to the other modes. In this case, lower
delay periods and a slightly changed modulation are processed.
Rate: This specifies the speed of the modulation. Lower rates provide slight
hovering effects, and high speeds produce a wobbling, typically distorted
"underwater" sound.
Depth: This parameter specifies the depth of the modulation, i.e. the
maximum deviation of the modulation and the resulting pitch bending.
Feedback: This parameter defines the portion of the delay that is sent back to
the input. Feedback causes the effects of modulation to be more drastic and
cutting.
Nullification of the feedback is set at the middle of the fader. Set to the right,
the feedback is fed to the input equi-phasal; to the left, the feedback occurs.
Both variants may sound very different depending on the signal, since they
prefer different frequency ranges for dissonance.
Mix: Regulates the mix ratio of the original signal and the delayed portion.
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Phaser
The phaser is often mistaken for a flanger due to its typically sharper and
cutting effect. In any case, the pitch is not modulated. Instead, the modulation
process burrows multiple notches into the frequency response, somewhat like
a comb filter. Just like an airplane taking off, the phaser functions with a similar
jet effect. It is suitable for enduring signals like synth surfaces or for producing
sound designs like atmosphere or distortion effects.
Phaser parameters
Mode: The selection includes a number of filter stages. At 4 stages/8 stages,
a more plastic effect is achieved, and more complex patterns are reached at
16 stages. Please note that the more stages are involved, the more computing
time will be needed.
Rate: Speed of filter modulation. The essential effect is the same for both
chorus and flanger.
Depth: Similar to chorus/flanger, whereby it's the filter notches that are
addressed, and not the pitch modulation.
Feedback: The feedback portion produces a more drastic effect in this case.
Similarly to the chorus/flanger, co-phasal or opposite-phase feedback is
possible.
Mix: Regulates the mix ratio of the original signal and the delayed portion.
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Vandal SE
Virtual Guitar & Bass Amplification
VANDAL is a complete simulation suite for guitarists and bassists. The plug-in
is capable of simulating the entire signal chain, from input to stomp boxes,
amplifiers, microphone loudspeaker boxes and post-processing studio effects,
all in top quality.
Input level: VANDAL and the real world
Independent of the preferred software, amp modeling has to feature
impeccable integration with audio hardware and ASIO drivers. Please ensure
stable and latency-free operation and the largest possible signal-to-noise ratio
of the converter or the complete analog section when selecting appropriate
equipment. If in doubt, ask your audio equipment dealer for advice and
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consider your entire computer system. On-board sound systems are not
recommended due to their rudimentary or unsuitable driver sets and the often
below-average signal quality.
Before making any "serious" endeavors in VANDAL, please make sure that
your audio interface is supplied with a sufficiently controllable signal level from
your instrument. The input signal at the audio interface should be "saturated",
but it should not be overmodulated. Compared to the possibly desired
distortions created within the plug-in, an AD converter distortion will sound
abrupt and horribly digital, and the the worst part is that you will never be able
to remove it.
If very loud velocities sometimes reach the upper modulation limits and the
average level stays at -12 or even -20 dB, everything is normal. The less noise
your audio hardware has in the process, the better. We recommend working
with devices that feature a resolution of at least 20 or 24 bits. A simple 16-bit
sound card will stop being fun to use at the very latest when high-gain sounds
come into play.
If possible, use an interface with a high-resistance instrument input (often
labeled "HiZ"). Line or microphone inputs are not very well-suited for this; due
to the relatively high impedance values of (passive) guitars or basses, this sort
of input has a dampening effect on the instrument. The sound will seem dull
and "dead" as a result...
If the interface does not feature an instrument input, insert a separate guitar
pre-amp, a DI box, or even a simple pedal (not switched to "true bypass).
Instruments with active pickups or electronic components are less affected by
this adjustment problem.
Please take this opportunity to also check the latency or the buffer size used
by your audio system. A good ASIO driver should let you play with a latency of
only a few milliseconds between the stroke and the calculated sound output
from the software. Values under 5 ms are considered good. You may have to
experiment to find the lowest limit at which your system functions stably. If you
notice ugly crackling or even long drop-outs, then try a higher latency.
Input level reloaded: VANDAL's input level
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After you have made sure that the external levels are clean, you should take a
closer look at the input level; this controller is located at the top left of the
console. Just like with a genuine guitar or bass setup, it's important to ensure
the highest possible input level in order to be able to work optimally. This is
even more important for distorted sounds and natural high-gain playing styles.
You should make use of metering for this as well (the LED indicator next to the
input control). If needed, activate the noise gate and adjust it so that it lightly
suppresses the input signal during pauses in playing. VANDAL does not cut
the input as hard as classic gates do, but instead regulates them finely via the
signal energy, beginning with the highs, at the point where noise is most
audible.
Samplitude 11.5 Producer preset and scene selection
Would you like to know about everything that VANDAL can do as quickly as
possible? Just start strumming away and listen or flip through some of the
included presets. These are available via the list in the upper edge of the
console.
A preset includes all settings for the main elements of VANDAL, i.e. stomps,
amp settings, cabinet simulation, studio effects, and a series of control
parameters.
All settings for the main elements (such as the amp) are subdivided into
"scenes" within a preset. This "scene memory" is located to the right of the
preset list. You may create up to four variations of a preset using scenes.
Numerous included presets make regular use of the scene concept. We will
examine this working method more concretely later on.
Presets may be switched by clicking on the list or using the arrow symbols.
You can also use the left and right cursor keys.
Scenes may be switched by clicking on the adjoining number (1 to 4) or on the
name field of a scene. Alternatively, you can use the up/down arrow keys.
Of course, presets and scenes in VANDAL may also be controlled via MIDI.
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Presets are located in a subfolder within the VANDAL folder on the hard drive.
These may be changed however you like, sounds may be exchanged with
peers using VANDAL, and your preset library may be expanded without limits.
Chromatic tuner
The chromatic tuner in the console has an
automatic circuit which analyzes the recently
played sound and shows the note and
deviation from the idea (in cents) on the display.
Simultaneously, the point moves up (too high)
or down (too low) along the scale or stops in
the center when the tuning is exact.
The arrows indicate the direction of the tuning (up or down).
The mute button switches the output signal from VANDAL to mute for as long
as the chromatic tuner is activated (tuning fork symbol).
Stomp Boxes (pedals)
The real world has produced a series of effect devices popular with guitarists
and bassists in the "stomp box" format. We've also included a rich palette of
these devices.
Samplitude 11.5 Producer includes four "stomp slots" for use with effects
equipped from the list. The signal flow within this chain runs from left to right.
Stomps can be moved around freely, by dragging an unused area on a pedal's
surface.
When a stomp is assigned to a slot that's already occupied, the two change
their places. Dragging while holding the [CTRL] key creates a copy of the pedal
at the new location.
Each stomp box may be detached from the signal path using the "foot switch"
or the blue button next to the selection list. An inactive device does not utilize
the CPU.
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Some stomps may be familiar to you; we reproduced some real prototypes
with regard to functionality or sound, or simply got some inspiration from
others. Some, in contrast, were created from the ground up and offer original
sound ideas.
We're constantly developing the selection of existing stomps that are available.
With each plug-in update, it is our intention to constantly supply you with fresh
"food for thought" in addition to technical improvements. Look for updates to
Samplitude 11.5 Producer at http://www.vandalamps.com.
The following stomps were available at the time this manual was printed (each
in its own category):
Amplifier
Amplifier Concept
VANDAL essentially offers 2 different amplifiers; a guitar amp and a bass amp.
These may be selected from the list in the "amplifier panel" below the stomp
view.
As we mentioned, in VANDAL we found our own way and avoided modeling
specific amplifier brands and models. The amplifiers are setup variably,
allowing you to get a number of different sound characteristics out of your
VANDAL amp. Internally, these circuit designs work exactly the same as the
real versions. We improvised at some musically decisive points by just relying
on our ears.
Amp/cabinet template
The extremely variable concept for amps and cabinets within VANDAL is great
for individualists, but it would take a bit of time to imitate a band mate's
40-year old Marshall with speakers of the same vintage. If you want to use a
combination like this often, then it's nice to have a library for it, which is exactly
what the templates are for.
Our team of experienced musicians has compiled a multitude of settings for
the amp and speakers. These templates may be changed at any time, or you
may create your own if a particular combination of amp and box is especially
appealing.
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Guitar amp
Circuit philosophy
The VANDAL guitar amp offers three different pre-amp modes and two
switchable end stage models. This basic configuration may be
changed via the wrench symbol on the right side of the amp.
The pre-amp has three modes of operation:
Classic (think Fender, early Marshalls, or the first Mesa/Boogie amps)
British (oriented on Marshall Super Lead / "Plexi")
Modern High Gain (design similar to "souped-up" amps like Rectifier, Soldano
or Peavey 6505)
More about pre-amp modes and their properties resulting from channel
selection can be found in the chapter "Pre-amp Channels" (view page 127).
The last stage has two modes:
Class A, low power: A simple, low-performance, but musically pleasant
distortion. In "A" mode, only a half-wave of the signal is amplified. To do this,
the signal is brought to approximately half of the amplification range of the end
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tube(s) through bias voltage, because tubes always amplify only a half-wave of
an alternating circuit. A class-A circuit may be put together using only a few
components and sounds very "warm" because of its constantly asymmetrical
characteristic curve shape (some even harmonics appear). This amplifier,
however has the disadvantage of low efficiency or low output performance
and a comparatively high liability of erosion. The latter has been left out of the
modeling, of course...
Class A/B, high power: In this case, each half-wave has its own tube, which
(almost) doubles the efficiency. Class A/B router amps are more complicated
to implement (and calibrate). Compared to Class A, the sound characteristics
include descriptions such as "sovereign" and "powerful", but somewhat
"colder", because they result in almost exclusively odd harmonics. Using
positive and negative feedback via the output transformer, an additional
"sound design" is often added here. For this reason, VANDAL's A/B power
amp features more juice in its lows and more bite in its highs.
Presence: On many amplifiers, this pot is located next to the EQ section,
although a presence boost actually takes place inside the power amp circuit.
Most push-pull amps use negative feedback (from the output transformer
back to the power amp's input) to linearize the amplification process.
Lowpass-filtering this feedback signal and mixing it (anti-phased) with the input
results in boosting the mid and treble region. Using presence, the sound takes
on a livelier and more up-front character.
SAG control: Many older tube amps use rectifier tubes to transform AC
current to DC (instead of conventional semiconductor diodes used today).
However, a tube is a high-resistance component, and can't produce an even
current flow during steep load changes. This "sagging" feature of a
cranked-up tube amp is the acoustical result of these short-lived interruptions.
Moderate sagging is initially perceived in the attack; it sounds somewhat
compressed, but in a "lively" way. If the effect is even stronger, it changes the
entire signal. Besides the dynamics, the harmonics spectrum also changes,
because operating point of the tubes is shifted.
Sagging occurs in this form only in push-pull end phases; in principle, Class A
amps always draw constant (maximum) current from the mains.
Intensive sagging will result in creating less "presence", as the overall signal
gain in the power amplifier decreases, thereby generating only small voltage
excursions to feed back on the power amp's input.
Preamp channels
The guitar amp is set up with three channels in all preamp
configurations (Classic, British, Modern High Gain).
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Clean: This channel should create no distortions. If the incoming channel is
"hot enough", then it will be distorted in a typical tube fashion. The model will
use only half of a double triode; in principle, a simple amplification takes place
at the "working level".
Crunch: Amplification stage number, circuit and, last but not least, the
resulting sound all vary:
- Two amplification stages are used in the "Classic" preamp setting. This
model uses a long-established design that is similar to the classic
Fender amps or the first Marshalls. The "classic" preamp delivers
saturated lows that are only slightly dampened by the second stage.
As a result, this circuit delivers the typical "brown" sounds of older
vintage amps.
- The "British" switch is inspired by dual input stages, such as Marshall
"Plexi" variants (JTM, "Super Lead", etc.). The signal is sent to half of
each triode circuit, and these favor different frequency ranges ("warm",
"bright", etc). The "British" circuit in the VANDAL amp uses a set
mixing ratio for both tube portions. In contrast to the "Classic" version,
this preamp setting sounds more "alive" and reacts much more
sensitively to dynamics, pick-up selection, and gain settings/guitar
volume.
- "Modern High Gain" delivers the typical fat sound that is rich in highs,
similar to American amps like the Mesa/Boogie & Co. in 3 cascading
amplification stages. Before the second and the third stages, the
proportion of lows and highs is regulated, so that low tunings and
quick passages are amplified without any "mud" and the signal always
remains clear and assertive.
Lead: In all preamp modes, the lead channel consists of an additionally
cascaded tube circuit. In the "Classic" and "British" preamp setting, the lead
channel may be viewed as more of a modification of "tuning" of vintage
aspects. The "Modern High Gain" variant really gets going here. In this setting,
VANDAL playfully takes on even drop-C or -D tunings.
Tip: Even if you don't want to use up all your gain in the crunch & lead
channels, you can still try to go "a level higher" and take the (pre) gain level
down a little for a slightly distorted sound. This increases the sound's
complexity, and it will also seem more lively.
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Pre & post gain
You can set up the desired amplification factor with
the pre and post gain controllers. The pre-gain
controller corresponds to the normal "gain" controller
on most amps.
Using the post-gain controller, the currently active channel's overall volume
may be adjusted to another channel, or a certain channel may be raised (e.g.
for a solo).
Don't worry about switching settings around in the middle of things; the
amplifier will remember the gain settings when channels are changed.
Voicing
There are a number of more or less open secrets with
regard to the different signature sounds of guitar
amps. This one might sound "bluesy", but doesn't
sound so great with more gain, and the other is
contoured for grindcore metal and fat sounds, but
maybe it's a little anemic otherwise... How does this
work?
Most amps in the real world use more or less the same or similar circuitry
designs. The important thing is the number of amplification stages involved.
Each new stage not only increases the level of audio complexity, it also has a
large influence on how the way the signal is treated before and after that stage.
Filtering is the key:
In addition to preset filtering circuits between the amplification stages, we gave
VANDAL a little something we call "curve EQ". Assuming that you are using an
EQ pedal before the amp, you can change the distorted sound drastically,
because instead on the overall sound, you can favor certain frequencies. Curve
EQ does something similar: it's located (in some cases in multiple instances) at
strategic points between individual amplifier stages, and it filters the signal
before it is distorted by the next stage. This is known as "voicing". For fun, turn
a curve in both directions and move around a bit with the frequency controller
in the spectrum. This will give the amp a completely different character. By
combining channels, pre-amp modes and voicing, you can create a completely
individual amp sound and even imitate other amps.
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Equalization
The actual sound control (the "tone stack")
functions rather conventionally: VANDAL
offers low, mid & high settings.
Everything functions like the passive sound regulation network in genuine amps
so that the controllers influence each other to produce numerous variations.
Depending on the preamp mode, the activation frequencies are slightly
different.
Reverb
Genuine studio reverb devices are great, and VANDAL has two of
them included in both multi-effect units. However, styles such as
surf, twang, sixties, and others require a spring reverb. We've
drawn on famous reverb spirals for our modelling.
Everything sounds natural with complete authenticity. This means that it has an
old-school style rattle and typical rippling on the attack.
Master
The master control may be used to determine more than just the
total amp volume. Since this is located before the end tubes in real
amps, you can also use it to control the end stage distortion level.
This is very easily perceived in the class A mode; it doesn't just get louder, it
also becomes more compressed and distorted.
If you are used to amps without a master volume, simply leave this at the
maximum setting and control gain via a pre-stage and the final volume and the
cabinet simulation or at the console output.
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Bass amplifier
During development of the VANDAL bass amp, it was our main goal to create
a recipe consisting of the best amp designs in a single amp featuring an
all-tube design that would be simple and easy to use.
The core features of the VANDAL bass amp are:
Multi-stage tube preamp (with extra distortion stage)
Contour control for extra-fat bass and glittering highs
Controllable optical-electrical compressor
4-band sound control
Class A/B tube end stage
Gain control
The input level of the first amplification stage is set in the bass amp
via the gain controller. Low to medium values leave the signal
relatively neutral, and high values softly increase saturation.
Contour
The contour circuit is a filter stage that works similarly to the
"Loudness" function. This control lets you give the bass sound an
underlying character without additional EQ measures.
Turned all the way left, no effect will be present. However, the more the control
is turned to the right, the more the mids will be thinned out and lows and highs
raised. It's sort of like an "instant slap".
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Comp (opto compressor)
After the contour circuit, the signal passes through the
compressor stage (Comp). This is a simple but extremely musical
"optical-electrical" design: the bass triggers a light source (e.g. an
LED or a luminescent film) that is coupled with a photo resistor.
The louder you play, the more light falls on the photo resistor, which in turn
dampens the signal. This may already be familiar to you from the most famous
studio compressor for bassists, i.e. Urei LA2A, which functions according to
the same principle.
There aren't that many settings to change in such a simple compressor. The
control times are mostly determined by the sluggishness of the photo resistors.
The comp control only sets the signal strength, which is routed to the light
source.
Drive
After any possible compression, "Drive" provides the option to
take the bass sound to the next level. The drive circuit is an
additional amplification stage, which is proportionally mixed to the
main signal. Signal distortion takes place depending on the
frequency:
In spite of a level of distortion, the basses remain relatively clean and
contoured. This guarantees complete "traction" of the signal when the
controller is set all the way to the right.
Equalization
The following equalization
stage offers 4 frequency
ranges, in which case the
two mid bands are variable.
Some bass amps allow their EQ circuits to have a drastic effect on the signal.
We decided on a softer filtering with an edge slope of 6 dB/octave to avoid
fully counterfeiting the essential character of the instrument in spite of the four
bands.
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Master
The final master volume controller sets the volume at the final
stage. Similar to the guitar amp, the end tubes are also engaged
in this case as much as remains sensible.
Through the interaction of gain, drive & master, countless saturations and
distortion textures may be modeled as needed.
Cabinet simulation
As was mentioned at the start, we went our own way in simulating the
speakers and cabinets. In place of impulse responses from microphoned
cabinets, we've calculated the individual components of this sort system:
Loud speakers
Housing
Recording space
Microphone
True to our "custom amplification" philosophy, this process provides total
freedom and a certain measure of personal dynamics, which is the final
deciding factor at the end concerning whether the system feels "lively".
VANDAL also takes subtle effects into account, such as the reaction of the
speaker's housing, the effect of this on the end stage that is applied, and so
on.
Speaker selection
The speaker selection list allows you to choose from a selection of speakers of
various sizes and sound characteristics. These are organized according to
guitar and bass types:
Guitar
10“ UK Vintage 12“ UK Vintage 12“ UK Modern 12“ UK Blue 10“ US Alnico
15“ US Alnico 15“ US Fat
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Bass
10“ Custom Rock 10“ Custom Alu 15“ Custom Rock 15“ Custom Alu
Housing selection
Various housing types may be combined with the available speakers in the
housing list. This selection list is also organized according to guitar and bass
types.
Guitar
1x12“ US Combo Open 1x12“ US Combo Closed 2x12“ UK 4x12“ UK 4x10“
US Tweed
Bass
4x10“ Ported (Bassreflex) 1x15“ Ported (Bassreflex)
The housing has a significant effect on the resulting sound with a selected
speaker. In general, open housing types are somewhat weaker on the lows,
but go lower and sound somewhat more neutral than closed types. Larger
housings also sound "bigger" and maybe "fatter". However, this is not always
desired; for a guitar solo or for certain styles like blues, a small combo housing
may be much more assertive or simply more "charming".
It's up to your creativity whether you would like model the cabinets on realistic
role models (e.g. 12" vintage speakers in a 4 x 12 housing) or place a 10-inch
design in a 15-inch box. Refer to the "Advanced settings" a little further on for
all other variations to help you create your own "personalised" speaker.
Microphones
Cabinet simulation offers two separate microphones for the recording of the
virtual speaker in a modeled recording space (MIC 1 & MIC 2). Similar to a
real-life situation, you may position a virtual microphone stand in a space to
achieve interesting mixing ratios and stereo effects.
For each of the two available microphones, you may select from a list which
includes several popular studio types featuring characteristic sound models:
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Condenser, Dynamic 1, Dynamic 2
For each selected microphone, a range of sound design parameters is
available:
Axis: The "on axis" (controller to the left) setting
corresponds positioning of the microphone directly in the
middle of the speaker cone. In this position, the sound will
have many highs, but may sound piercing. For this reason,
the microphone will often be positioned a bit "off axis" in
order to achieve a softer sound.
Distance: This control allows you to remove the
microphone from the speaker and position it further away
in the recording studio. This way you can make the sound
more alive and loosen it up acoustically. Using two
microphones with different panoramas (see below) enables
you to create extremely realistic stereo images (note that
the axis parameter has a decreasing effect in relation to
the increasing distance).
Pan: This parameter distributes the microphone signal in
the stereo sum at the output of the cabinet simulation.
Level: This adjusts the microphone volume.
Rack effects (FX1/FX2)
There are effects that don't always work well when placed before the amp, e.g.
reverb or delay, especially when they are distorted. Normally, these effects are
better placed at the end of the signal chain.
For final processing and enrichment or whatever else you need, we offer two
separate studio-quality effects units that behave just like real 19" rack devices.
Many of these algorithms create a stereo signal. As required, make sure that
the channel strip is being calculated as stereo in the audio sequencer track.
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Effects units may be selectively operated one behind the
other (serial) or parallel. Switching may be changed via the
mode switch.
The following algorithms & effects are available:
Mono Delay (msec & tempo sync): Selectable as a simple delay with freely
adjustable delay time or synched to the sequencer tempo with a musical
raster. In case of higher feedback values, a reduction of the damping
frequency is required to provide natural echo sound.
Stereo Delay (msec & tempo sync): Features two models, just like mono
delay. Repetitions may take place on separate channels (feedback controller
to the right: dual delay) or in ping-pong mode (controller to the left), in which
case the signal alternates between the sides.
Chorus: Produces a typical "floating/shimmering sound" via modulated
detuning of a signal to "thicken" the sound or spread it across the stereo field.
Detuning is achieved via a short delay, the length of which may be varied via
the modulation. This produces the so-called "Doppler" effect and broadens
the signal.
Flanger: Similar in terms of the algorithm that is applied to chorus, but
different in that the delay time is significantly lower and delay works via
repetitions (feedback). The flanger sounds more cutting and up-front than
chorus.
Phaser: A modulation effect just like chorus & flanger, but in this case no
detuning takes place. Filter components periodically alter the signal's "phase
response" (principle of the "phase shifter"). When mixed into the original,
characteristic notches are produced in the frequency spectrum response
(comb filter effects).
Room Reverb/Hall Reverb: Reverb offers realistic simulation of realistic
reverberation. Room creates the impression of a small to mid-sized recording
room, while reverb produces the impression of a concert hall. A particular is
that both effects algorithms provide a modulation parameter, which may
remove possible resonance at low dosages and can produce a soft chorus
effect at higher values.
Vintage Plate Reverb: The algorithms used in this type of reverb are quite
similar to the ones that popular hardware effects units back in the 80s used to
emulate that certain dense space of reverb plates. The resulting sound is
correspondingly "wide", spacial and responds very directly, with immediate
dispersion and no single echoes. Modulation of the reverb tail is also possible
here, to minimize the typical ringing of the underlying metal-plate model.
LoFi: Depending on its setting, this algorithm adds grit to the sound or a
certain measure of signal destruction. Turn down the internal sample rate as
much as you like to steal a few bits from the sound's resolution. Definitely an
unconventional method...
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Vintage Compressor: Ideal for thickening up the signal a little. The algorithm
emulates an older popular circuit design that is similar to studio legends like
the Urei 1176 or simple compressor pedals. A so-called "FET building block"
simply, effectively, and quite musically controls the volume via the input level,
the set compression level, the compression ratio, and the response responses
(attack and release).
3-Band EQ: This sound controller works like a conventional mixer with a
controller for the bass, the highs, and two controllers for the variable mids.
This adds the final polish to your sound.
VANDAL SE vs. VANDAL
This version of the Plugin VANDAL SE has a restricted functionality compared
to the full version of VANDAL.
The following additional functions are available in the full version of VANDAL:
A lot more stomp boxes: 6 (instead of 2) Overdrive/Distorsion Effects, 4
(instead of 2) Modulation Effects and additionally 4 Delay/Reverb Effects, 5
Volume/Dynamics Effects, 4 EQ/Filter/Wah-Wah Effects and Octaver. We're
constantly developing the selection of existing stomps that are available, so
more effects will show up later.
Scene Memory: Each preset can have up to four variations, called Scenes.
MIDI Remote Control: Each sound parameter can be remotely controlled via
MIDI or VST parameter automation. You can step through presets or scenes
via MIDI commands. In combination with a MIDI footstep controller or a
pedal,VANDAL will become a complete, live-playable effect device.
Patch Lists: You can manage lists of presets and switch presets via MIDI
program change commands.
Advanced settings for the cabinet simulation and the default behavior when
loading the plugin, presets and when switching presets or scenes.
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Track dynamics
Samplitude 11.5 Producer provides two different dynamics modules: one that
can be opened via the "Offline effects" menu (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 real time.
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 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
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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, but 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 as 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) 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: 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
Samplitude 11.5 Producer 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,
i.e. the sample data should not be allowed to reach the maximum/minimum.
This can be accessed using the normalization function (some 70%), if required.
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 in slower sounding
echoes, a value under 40% has quick sounding delays.
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Elastic Audio Easy
General information on the Elastic Audio editor
Elastic Audio is a specialized editor for changing the pitch of audio material.
Resampling and pitchshifting algorithms can be automated, and a basic
frequency recognition enables the user to change around considerably the
pitches of monophonic audio material.
Pitch-shifting algorithms are able to change a melody in the pitch without
influencing the tempo. Samplitude 11.5 Producer provides various pitchshifting
algorithms that can be used based on existing material.
Elastic Audio has the following capabilities
Recognition of the basic frequency in monophonic audio material.
Automatic and manual correction of the basic frequency process in
monophonic audio material.
Manual correction of the pitch of notes from monophonic audio material.
Changing melodies in monophonic audio material.
Harmonizer for creating additional voices
Note on timestretching: Timestretching cannot be automated, but can
continue to be used statically when using Elastic Audio.
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Edit window
The pitch characteristic is shown in the editing window. To customize the pitch
correspondingly, the original pitch of the audio material must, of course, be
known. Fundamental to the functionality is therefore a preliminary pitch analysis
of the material. This is basically only for tonal, monophonic material like solo
vocals, solo instruments, and speech.
The analysis function starts automatically when the editor is opened. The
analysis requires more time with longer objects. After the analysis is complete,
the objects are split up into individual "slices" according to the recognized
pitches. The medium pitches of a slice determine its position in the graphic,
independent of the set progression of the pitch curve inside the slice. On the
borders of the slice objects, two handles are created on the pitch curve. These
handles can be moved in order to produce an increasing or decreasing pitch
characteristic, but still keep the small changes in the basic frequency (vibrato).
The “Tune” function for automatic pitch correction can be found beside the
"Draw pitch" function.
Axes labelling and legends
Y axis: Pitches in notes. The notes can be deselected on the keyboard. They
won’t be used in the automatic pitch correction or in quantized drawing. The
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corresponding guidelines for scales can be used by selecting the basic tone
and scales in the box “Edit slice object”.
Orange line: New pitch characteristic (editable)
Grey line: Original pitch characteristic (result of the analysis)
Red line: Harmonizer voices.
Fundamentals of the Elastic Audio editor
Opening the Elastic Audio editor
Select the object that should be edited in the editor. The Elastic Audio editor
for a selected object is opened via "Menu effects -> Audio".
Interaction between Elastic Audio editor and objects
Temporal corrections to notes are not run in the editor itself, but rather by
splitting and moving the objects in the VIP.
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Description of all control elements
Edit PROJECT OBJECT box
These options and parameters always effect the whole object loaded into the
editor, and therefore all of the slices.
Algorithm: You can choose between the modes: monophonic voice (preset),
standard, smooth, and beat marker slicing.
For more information on the algorithms, read the corresponding paragraph on
the time processor!
Curve smoothing: This parameter brings about the smoothing of the given
pitch curve using a time constant (in ms). When smoothing to a large extent,
jumpy pitch-shifts change from a “kick” to a glissando.
Formant control: Selecting the "Monophonic voice" algorithm may result in
so-called formants. Formants are sound components typical for the character
of instruments or the human voice. With instruments they mainly result from
the geometry of the resonance body. Human formants are created by the
anatomy of the vocal tract.
With most algorithms the formants are also influenced by changing the pitch.
Using the monophonic voice algorithm you can change the position of the
formants independent of the pitch. Acoustically, this corresponds with
stretching or compressing the above mentioned geometry, and this can lead to
interesting effects...
HARMONIZER box
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Chord: Here you can set the chord that makes up the parallel voices of the
harmonizer, and a distinction is made between major and minor. The settings
of the keyboard are taken into account, unless the option "Lead voice" has
been activated.
Humanize: At a low setting this causes high quantization of the parallel voices
and makes the effect sound very artificial. If you select a very high humanize
value, the pitches of the individual voices will vary and the cue will be shifted so
that you get the impression of an amateur ensemble.
Create voices: This button generates voices.
Harmonic adjustment: Parallel voices are usually generated by taking the
keyboard and humanize settings into account. However, if this option is
deactivated, then the voices are always kept exactly parallel to the orange
curve.
Edit SLICE OBJECT box
Options for automatic pitch correction
Basic tone: Basic tone of the scale. In the chromatic scale this setting is still
not taken into account.
Scale: Type of scale. Major/minor or modes
Pitch characteristic tune!: This button quantizes (“levels out”) the pitch
characteristic of selected slices.
With quantization smoothing you can determine the “Strength” of
quantization, and lower values are quantized the most. Consequently, small
pitch fluctuations always occur in natural sound sources, e.g. vibrato,
disappear (“Cher effect”).
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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: Recalculates and resets the pitch curves of the loaded material.
Stop/Play: Stops/Starts the playback of the arrangement.
Play solo: Only the object loaded into the editor is played.
Bypass: Switches the effect on or off.
Tools in the Elastic Audio easy editor
You can use various tools to edit slices and the pitch curve. The two tools can
be freely assigned to each mouse button. The tool assigned to the left mouse
button is displayed in blue and the right mouse button in red. Click with the
corresponding mouse button on the desired console button. An exception is
the zoom tool with which can be assigned to both mouse keys.
Selection tool (arrow)
You can now move the slice objects up and down.
This modifies the pitch of slice objects as a whole, and slice objects and curve
handles can also be selected. Multiple selection is possible with "Ctrl" or
"Shift".
Freehand draw function
You can freely draw the pitch curve using the draw tool.
If you press "Shift" as well, a straight line will be drawn between the start
position on drawing and the current mouse position. When "Ctrl" is pressed,
the slice objects are combined when drawing.