Manual Samplitudemusicstudio2021 en N58ewa

SAMPLITUDE
MUSIC
STUDIO
English
language
manual
2
Copyright
MAGIX is a registered trademark of MAGIX Software GmbH, Samplitude, Hybrid
Audio Engine are registered trademarks of MAGIX Software GmbH.
This product uses MAGIX patented technology (USP 6,518,492) and patent pending
technology.Licensed in part, pursuant to USP 5,801,694 and pending foreign
counterparts thereof.
VST and ASIO are registered trademarks of Steinberg Media Technologies GmbH.
Other mentioned product names may be registered trademarks of the respective

manufacturer.
This documentation is protected by law.
All rights, especially the right to duplicate, circulate, and translate, 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. Errors in and changes to the contents as well as program
modifications reserved.
Copyright © MAGIX Software GmbH, 1994-2020.
www.magix.com
Table of Contents 3
Table of Contents
Copyright 2
Customer Support 12
What's New in Samplitude Music Studio? 14
Tutorial 15
Quick Setup 15
Start Wizard 16
Record 17
Cutting 20
Integrate audio material 22
Arranging MAGIX Soundpool loops 22
Edit objects 25
Adding synthesizers 26
MIDI recordings 27
Edit MIDI 29
Effects 33
Mix 35
Mastering 36
Export 36
Program desktop overview 38

Project window (VIP) 38
Managers/Docker 39
Docking 40
Transport console 42
Track Editor 46
Track Header 49
Workspaces 50
Toolbars 50
Functional overview 55
Audio files 55
Synthesizer, VST plug-ins and MIDI 56
Playback 56
Objects 56
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Object editor 59
Ranges 66
Zooming 70
Marker 70
Mixer 72
Volume 72
Record 72
Folder tracks 75
Audio Editing in Samplitude Music Studio 76
Tips & tricks 77
Mouse Functions and Mouse Modes 79

Universal mode 79
Range mode (safe mode) 83
Curve mode 83
Object mode 84
Object/Curve mode 85
Cut mouse mode 86
Left/Right Mode 86
Pitch shift/Timestretch mode 87
Volume Draw Mode 87
Automation draw mode 87
Wave draw mode 88
Scrubbing Mode 88
Zoom Mode 88
Color mode 89
Object modes 90
Mixer 92
Operating the mixer 92
Channels 95
Master section 97
Global buttons 99
Buses and routing 100
Embedding external effects devices 101
Tips and tricks 102
Effects and effect plug-ins 103

What effects are there and how are they used? 103
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Table of Contents 5
Effect slots 104

Plug-in browser 105
Effects rack 106
Effects presets 107
Compressor 109
Equalizer (graphic) 110
Parametric EQ 111
Echo 113
Stereo Enhancer 114
Reverb 115
Vocoder 119
Orange Vocoder ME 121
MAGIX Mastering Suite 123
Analogue Modelling Suite AM-Track SE 125
Vandal SE 132
Vintage Effects Suite (track effects, mixer channels, mix master) 137
essentialFX 150
Vocal Tune 169
Resampling / Time Stretching / Pitch Shifting 172
MIDI in Samplitude Music Studio 175

What is MIDI? 175
Connect MIDI Keyboards 175
Convert MIDI objects into audio files 178
MIDI Import, record, edit 178
Keyboard 182
MIDI object editor 183
MIDI editor 185
VST plug-ins 229

Installation of VST Plug-Ins 229
Load instruments 230
Loading routing settings with software instruments 231
Route MIDI instrument inputs 233
Instruments with multi-channel outputs 233
Adjust instrument parameters 234
Play and monitor instruments live 236
Routing VST instruments using the VSTi manager 238
Preset management 239
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Freezing instruments (freeze) 239

Tips on handling virtual instruments 240
ReWire 241
Synthesizers 243
Synth objects 243
BeatBox 2 plus 244
Loop Designer 256
Robota 259
Synthesizer plug-ins 268
DN-e1 269
Vita 271
Revolta 2 273
Vita Solo instruments 276
Vita Sampler 278
Automation 280
Create automation curves 280
Automation modes 282
Track automation - Basic procedures 283
Automation lanes 285
Master automation 287
Recording automation in "Read" mode 288
Automation Draw Mode 288
Editing Automation Curves 288
Move automation curve with audio/MIDI data 289
Automation – context menu 289
Burning CDs 295

Writing 295
Burning CDs in Samplitude Music Studio 295
DSP display 297
Tools and wizards 298

Crossfade editor 298
Waveform generator 300
Remix Agent 301
Managers 308
Tempo editing 321
Synchronization 335
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Table of Contents 7
Time Stretch/Pitch Shift Patcher... 343

MAGIX Audio Remote 345
File Menu 349

New Virtual Project (VIP) 349
Open 351
Import 352
Save Project 356
Save Project as... 357
Save Object... 357
Save Session... 357
Export 357
Track Bouncing 363
Range trackbouncing 365
MIDI bouncing 366
Rename Project... 366
Clean up 366
Close Project 369
Project Properties 369
Program Preferences 373
Recent File 375
Edit Menu 376

Mouse mode 376
Object Mode 376
Undo 376
Restore 376
Undo List 377
Copy 377
Cut 378
Split 379
Insert 379
Delete 380
Silence 381
Tempo 381
Range 382
Crossfade 388
Track menu 389

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Insert new tracks 389

Cut tracks 390
Copy tracks 390
Paste Track(s) 390
Delete track(s) 391
Track Type 392
Input 392
Track size 392
Track Freeze 392
Track effect settings 393
Track Options... 394
More 397
Object menu 399

Object editor 399
MIDI editor 399
Wave Editing 399
New MIDI object 401
New MIDI object in the range 401
New synth object 401
Edit 402
Quantization 405
Object effects 406
Select objects 407
Groups 408
Move object 408
Snap point (Hotspot) 409
Object color / name 410
Tempo and beat recognition 410
Playback / Record menu 411

Play once 411
Play loop 411
Play in range 411
Play with preload 411
Play only selected objects 411
Restart playback 412
Stop 412
Stop and go to current position 412
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Table of Contents 9
Playback mode 412

Playback parameters 413
Record 415
Record mode / Punch in 415
Recording Options 417
Further Recording Options 418
Monitoring 420
Move Play Cursor 421
Marker 423
MIDI record modes 425
MIDI panic – All notes off 426
Automation menu 427

First entries in the automation context menu 427
Edit selected curve 427
(Track) Automation Mode 428
Hide Automation 428
Show Track Automation 428
Show Only Selected Curve 428
Show all curves (not selectable) 428
Show all curves (selectable) 428
Effects Menu 429

Amplitude / Normalize 429
Dynamics 431
Frequency/Filter 432
Delay / Reverb 432
Time / Pitch 433
Distortion 433
Restoration 433
Stereo / Phase 435
Modulation / Special 436
Sample manipulation 437
plug-ins 439
essentialFX 439
Waveform Generator 440
Process only left (right) stereo channel 440
Process Effects Offline 440
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CD menu 441
Load audio CD tracks 441
Make CD 441
Indices (Track markers) 441
CD track/index manager 443
CD disc options 445
CD-Text/MP3-ID-Editor 446
Set Pause Time 446
Set Start Pause Time 447
CD Arrange Mode 447
Get freeDB Title Info 447
freeDB Options 448
Show CDR Drive Information… 448
Show CDR Disc Information… 449
View Menu 450

Mixer 450
Transport control 450
Time display 452
Time Display 454
Visualization 454
Track Editor 457
Keyboard 458
Manager/Docker 458
Manager 458
Control bars 458
Autoscroll 459
Rebuild Graphic Data 459
Sections 459
Hide Submix/AUX Busses 460
Grid view 460
VIP display 461
Overview Mode 462
Zoom Into Selected Objects 462
Horizontal 462
Vertical 462
Tile 462
Untile 463
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Table of Contents 11
System Information 463
Help Menu 463

Contents and Index 463
Help Index… 463
Context Help… 463
Manual 463
About Samplitude Music Studio 464
MAGIX auto-update 464
Deactivate Program 464
Product registration 464
Download more instruments/Sounds/Soundpools 464
Restore original program settings 464
Language: 464
System options 465

System / Audio 465
Program 523
Keyboard, menu & mouse 525
Effects 528
Quick setup 532
Project options 534

Project Options - General 534
Save automatically 537
Mixer setup 538
Synchronization 538
If you still have questions 538

Tips for Program Help 538
Minimum System Requirements: 539
Uninstalling the program 540
Serial number 540
More about MAGIX 541

magix.info 541
Soundpool DVD Collection 541
Index 542
12
Customer Support
Dear MAGIX customer,
Our aim is to provide convenient, fast and solution-focused support. 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 at 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. 150,000 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 at
www.magix.info guarantee quick answers, which sometimes come within
minutes of a question being posted.
• Email support for MAGIX products:
For each new MAGIX product you will automatically receive 12 months free
customer support by email.
Please note: In order to be able to use the free product email support online, you
have to register your MAGIX product using the serial number provided. This can be
found on the CD case of your installation disc or on the inside of the DVD box.
• Additional telephone service:

As well as the large number of free customer service offers, we also offer a
fee-based telephone customer service.
Here you can find a summary of our technical support telephone numbers:
http://support.magix.net/
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
www.magix.com
Customer Support 13
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, 10:00-16:00 GMT
U.K.: 0203 3189218

Denmark: 45 699 18763
Sweden: 46 852 500713
Finland: 35 89 42419023
Norway: 47 210 35843
North America
9 am to 4 pm EST Mon-Fri
Phone: 1-305-722-5810
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What's New in Samplitude Music Studio?

• 6 new VITA Solo Instruments:
- Solo Cello
- Jazz Guitar
- Ukulele
- Steel Tongue
- Balalaika
- Soloist Collection
• 8 new Sound Pools
• Curve shapes for automation curves: Right-click an automation point to set the
shape of the curve from that point.
• WaveColor:WaveColor uses color to visualize two properties of the audio
material in the waveform display. The hue stands for the average pitch, the color
saturation for the noise component (the more saturation, the less noisy the
sound).
• Line representation in the spectroscope: The spectroscope can now be
represented as a smoothed or interpolated line. The familiar bar representation
is available as well.
• Tempo Track: This is a new track type which is used exclusively for the tempo
curve. It provides direct access to important tempo commands right in the track
header.
• Controller Editor: The display of MIDI data from mixed channels has been
improved. The controller range can be vertically zoomed by holding down Ctrl
and scrolling with the mouse wheel. Individual CC lanes can be selected and all
material in them can be marked by Ctrl+A. The copied material can be pasted
onto another lane, including pitch bend..
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Tutorial 15
Tutorial
In this chapter we will introduce the most important features of Samplitude Music
Studio. 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 Music
Studio.
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 Music Studio automatically
selects the correct settings. But you can still customize the settings here if you want
to, e. g. select an external sound card instead of the built-in sound card.
You can also set your plug-in directory for VST plug-ins (view page 229) and other
elements.
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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 Music Studio.
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".
Start Wizard
The Start Wizard appears when you open Samplitude Music Studio and allows you to
create a new project that already contains specific presets.
The presets under "Play virtual instrument" can be used to play and record one of the
twelve virtual instruments included with the program using a MIDI keyboard. What
gets recorded is not the output from the virtual instrument (i.e. the audio), but your
inputs on the keyboard in the form of MIDI data. You can find more information about
this in the MIDI recordings (view page 27) section below.
"Record instrument/vocals" contains templates for recording vocals, instruments and

entire bands. Suitable effects are preset on these tracks but not activated. In this case,
audio data is recorded.
Under "Empty project" you can create a project that doesn't contain any presets. You
can, however, set the name of the song, how many tracks you want the project to
contain and the location you want to save it to. Everything can be changed at a later
stage.
At the very top of the dialog under "Audio setup", there are shortcuts to the most
important system settings. Normally, Samplitude finds the right settings on its own,
so in most cases you won't need to change anything here. However, if you aren't
getting any playback or recording, you can check your settings here and change them
if needed. You can read more about this under Quick Setup (view page 532) in the
system options chapter.
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Tutorial 17
At the bottom of the dialog, you have access to recently saved projects. Since we
won't have any saved projects at the very beginning, we want to create a new project.
• Click on "Vocals" under the "Record instrument/vocals" tab.
Record
This creates a new project and turns on recording for the first track.
When you sing into the microphone, the peak meter in the track box should register a
peak.
The level displays what is entering the

soundcard's inputs. If it reaches the upper red
range, the input level is too high. If this happens,
you want to reduce the input loudness.
You should be able to hear the vocals in your headphones ("monitoring"). To avoid
feedback, mute your speakers.
The "Mon" button on the transport console deactivates monitoring.

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When you select a "Record vocals/instrument"

preset, the corresponding effects will be loaded
in the recording track, but they won't be active.
You should be able to hear the effects when you
activate them. For more information about this,
see the Effects (view page 33) section below in
this tutorial.
Note: In order for everything to work as described, a few settings have to be

correctly set. If something doesn't work, refer to the "troubleshooting" section.
To get (and maintain) the right tempo on your first take, you can click to activate the
metronome. You can select various speeds by using the arrow button next to "bpm".
We don't recommend trying to record an entire song at once, but recording the
different instruments and vocals 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.
If you are ready to start your first test recording, click on the red "Record"
button. Samplitude Music Studio will now start recording.
Tip: You can open the Varispeed settings by right clicking on the jogwheel in the
transport console. This allows you to reduce the tempo for the sake of practicing. It
also works for recording!
After recording, an audio object containing the recording will appear in the track.
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Tutorial 19
Now you can record on other tracks. The red button to the left of every track displays
which track is currently being recorded. In the picture above, this is track 2.
You can click to enable any track for recording as well as record on any track.
Troubleshooting
Peak meter not displaying peaks
Check to make sure the audio source (e.g. microphone, guitar) is connected to your
sound card. Have you selected the right input (view page 470)? Is the controller for
the input level on the sound card—or the gain controller on the mixing
console—turned up? Most sound cards include their own mixing program where you
can set the input sensitivity.
I can't hear myself (no monitoring)

In order for monitoring to work, you have to have an ASIO driver selected as the
sound card driver (view page 466). Samplitude includes the MAGIX Low Latency
driver, which provides ASIO functionality for all audio devices.
The monitoring sound is hollow or strange, or I hear myself twice

Most sound cards—including your computer's onboard sound—provide support for
the Windows sound card mixer in addition to support for Samplitude Music Studio
monitoring. This mixer contains a signal path that leads directly from the input signal
to the sound card output, and can also be used for monitoring.
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If the monitoring sound is hollow, strange, or you hear an echo, both monitor paths
are likely active and are interfering with each other. If this is the case, deactivate
monitoring in the Windows sound card mixer.
To deactivate monitoring via the sound card:

1. Open the control panel, go to "Sound" and select the "Recording" tab or
right-click on the speaker icon in the lower right hand corner of your screen and
select "recording device" from the context menu.
2. Double-click on the device you want to use. If your audio source is connect and
producing sound, you should see a peak in the peak meter.
3. Go to the "Listen" tab and uncheck the checkbox that says "Listen to this
device". Then click on "Apply".
I don't hear any effects in the monitoring

In order to hear effects, you must have at least "Track FX Monitoring" set as the
monitoring mode (view page 467).
Cutting
Let's assume you bump into the microphone during recording, and you've got a nasty
pop in an otherwise good recording. And now you want to remove the pop.
• 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.
• 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:
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Tutorial 21
• Click on the audio object to select it.

• Place the playback marker just in front of the pop and press the "T" key on your
keyboard.
• Now place the playback marker just after the pop and press the "T" key again.
• Click on the isolated piece containing the pop and delete it from the track.
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
remnants.
• 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.
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Integrate audio material

Now add new, already available audio material. Audio material can be added to your
virtual project (VIP) 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 various options available for loading
audio material:
• In the menu bar, click on "File > Import > Load audio file..." and select an audio
file via the import dialog.
• Activate the integrated file browser via the "Files" button at the lower edge of
the screen (or via the menu "View > Manager > File manager"). This accesses
all drives and folders on your computer. Any audio file can be dragged to the
track by pressing down the left mouse button (drag & drop).
• You can also drag audio files directly from Windows Explorer into the
Samplitude Music Studio arrangement.
• Audio tracks first have to be copied onto the hard drive separately. To do this,
click in the top menu bar of Samplitude Music Studio on "File > Import > Load
audio CD track(s)...".
Arranging MAGIX Soundpool loops

Up until now, you have only been working with your own material. Next we want to
show you how you can use the included Soundpool loops to create your own songs.
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.
• It's best to create a new, empty arrangement first. To do this, go to "File" and
select the option "New virtual project (VIP)". Then select "Empty project" in the
Start Wizard.
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Tutorial 23
• Select the "Soundpool" tab in the docker (or "View" > "Manager" > "Soundpool
Manager"), to view the included Soundpool samples.
• The "styles" are displayed on the left side of the Soundpool manager. If you have
inserted, for example, a MAGIX Soundpool DVD, you can select a style here.
Samplitude Music Studio shows "Rock" because this style is included.
• Next, choose the instrument you want to use. At the start, we recommend
choosing a drum sample to create the initial percussive structure. Open the
"Drums" directory in the "Instruments" section.
• To preview, click once on a file in the file list. To load it, drag the desired file to
the track.
• Every object can be moved around (horizontally on a single track and vertically
between tracks) in the project window by using the mouse. Drag the drum loop
onto the first track all the way to the left to the beginning of the track.
• Next, the sample is looped, and the short object is turned into a repeating loop.
To do so, click on the bottom right handle of the audio object and drag the
mouse to the right the amount that you need for your first song part. Around 8
bars should be enough at first. After doing this, the object will occupy the first 8
bars of the first track.
• Now you want to make sure that the playback range is as long as the sample (in
this case, 8 bars). 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 (spacebar is faster). The drum sample will loop for 8
bars.
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What this means is that the playback marker will begin at the very start, then move
through the playback range and then start at the beginning again once it reaches the
end. All of this happens without any interruption. You can also set the playback
marker independently of the playback range by clicking on the lower section of the bar
ruler.
Note: All additional loops can be previewed during playback and inserted. This way
you can listen to the "candidates" when testing new samples in combination with
the arrangement. If continuous playback gets on your nerves after a while, then you
can always interrupt it by pressing the spacebar again.
• Next, load a fitting bass. 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
Note: Melody-creating instruments are ordered according to pitch, meaning that

you can choose between several variations for each sample that was produced in
several pitches. 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.
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Tutorial 25
This way you can create complete songs or professional bases for own 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.
Edit 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 that the object is already selected. Individual objects
can be selected with a mouse click. Multiple objects can be selected with a
held-down Ctrl key. If you click on the track next to an object, you can draw a
rectangular frame by holding down the mouse key. All objects found inside the
frame will be selected ("rubber band selection").
• All objects in VIP can be shortened by dragging one of the lower object handles
using the mouse until it turns into a double arrow. Now, the object can be
shortened. This way, bothersome regions at the beginning or at the end of a
recording can be cut off by simply displacing the ends inward.
• If "Create looped object" is activated under "Edit" in the "Object" menu, you can
stretch the object as you wish with the right handle. Use this feature to create
entire rhythm tracks from short drum samples by simply stretching the object
apart.
• Two fade handles are found on both top corners, which can be dragged inwards
in order to fade the object in and out. The handle at the center can be used to
adjust the volume of objects.
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• 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. To do so, first
select the individual objects. Then select "Object" > "Group" > "Create group"
(or click in the tool bar on the "Group" symbol).
• All objects can be split into multiple objects. To do so, select the "Split objects"
in "Edit" menu under "Split" (or use the "T" key on your keyboard). The selected
object will be split at the position where the playback marker is.
• By right-clicking an object you can open a context menu where you can select
the object editor. The object editor is also integrated in the docker and
constantly available. It can be used to make all important settings for the
corresponding object. You can add effects to audio objects or change
quantization of MIDI objects.
The object editor is always open in the docker for easy access. It changes its settings
depending on which object is selected.
Adding synthesizers
There are two types of synthesizers in Samplitude Music Studio.
Synth objects are loaded in the "Object menu" > "New synth object”. A menu with
the available synthesizers opens. After selecting a synthesizer, the respective control
console appears where you can program the rhythms, melodies, chords, and sounds
of the synthesizer.
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Tutorial 27
After they are programmed, synthesizers become independent objects that can be
moved around as desired just like other objects on the arranger.
Generally, Track Synthesizers do not feature sequencers of their own and are
controlled via MIDI objects. To do so, they must first load the track synthesizer into a
track.
Clicking on the plus icon in the track box opens

a menu from which you can load one of the
synthesizers included with the program. By
using the presets provided in the "Play virtual
instrument" tab in the Start Wizard, you can
have a synthesizer loaded right when your
project is created.
With the keyboard connected and software monitoring (view page 467), you can
now already play and record the loaded synthesizer live. However, you can also create
a new MIDI object ("Object menu> New MIDI object”) and edit the melodies in the
MIDI editor (view page 185).
Experiment with the various synthesizers in Samplitude Music Studio to discover the
possibilities.
MIDI recordings
You can make MIDI recordings using a MIDI keyboard, virtual instruments or external
synthesizers. When you do this, the sound of the instrument isn't recorded to an
audio file; rather, the instrument is controlled remotely via the MIDI file format. The
specific elements of this remote control—every keystroke, every note, the velocity of
every note—can be retroactively edited and corrected via the MIDI Editor. For more
on this, refer to the "MIDI editing (view page 29)" section.
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What is MIDI?
MIDI is a standardized command language that helps control synthesizers. In addition
to the command to play a note (Note On, Note Off), there are control commands
(Ctrl Ch) for internal parameters of the synthesizer (volume, panorama, the pedal for
piano, filter settings and others), program change commands (Prg Ch) to activate
saved sound programs, and others. These commands are called MIDI events. An
MIDI object containts a series of events and the times at which they occur.
You can create MIDI objects by loading MIDI files, playing and recording with an
external MIDI keyboard, or by drawing notes in an empty MIDI object with the MIDI
editor.
MIDI objects do not contain audio material. They are used to control synthesizers that
then create corresponding sounds. They are comparable to notes that still have to be
brought to life by a musician.
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.
Preparing a MIDI recording

Loading a software synthesizer to a track automatically switches that track to MIDI
recording. If you activate recording for the track, you can tell that the track is set to
MIDI recording by the fact that the recording button in the track box is pink instead of
red.
The peak meter works as an indicator for incoming MIDI signals.
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Tutorial 29
In the event Samplitude isn't responding to MIDI input, check to

make sure the MIDI keyboard is correctly set as the MIDI input
device.
To do this, open the Track Editor via the "View" menu (keyboard
shortcut: Ctrl + Shift + Alt + E) and open the "MIDI" section with
the small triangle.
"In" should be set to the MIDI port of the connect keyboard.
The MIDI device that gets
used by default is the one selected in
the global MIDI settings (view page 471) in the "MIDI"
subdialog of the system dialog.
"Out" displays the loaded software instrument that will be used to play the MIDI
notes generated by the MIDI keyboard. To switch instruments, click on the small
triangle next to "Out" and select a different instrument.
MIDI recordings are started just like audio recordings—by clicking on the record
button in the transport console.
MIDI recording modes

MIDI recordings can be made in several different ways. You can choose the MIDI
recording mode you want to use in the transport console.
• Normal: This recording mode equates to audio recording (i.e. a new MIDI object
is created above the existing object each time you record). The old object
remains untouched.
• Overdub: The data is recorded into an already existing object. The newly
recorded MIDI data is mixed together with the data that is already present.
• Replace: The recording is written to an existing object, and the new MIDI
overwrites any previously existing MIDI data.
Edit MIDI
MIDI Editor
Use the MIDI Editor to edit MIDI files. You can open it by double-clicking on a MIDI
file (or via the "Object" menu > "MIDI Editor").
30
You can also use the MIDI Editor to program melodies. To do so, create an empty
new MIDI file (Object menu > New MIDI file) and then open the MIDI Editor to input
notes.
The MIDI editor displays the MIDI data of the selected MIDI object. You can click the
MIDI objects in the arranger one after the other and get direct access to the
corresponding MIDI events.
MIDI files can be displayed and edited in the MIDI Editor in five main areas.
List Editor (Event List)
Matrix Editor (Piano Roll)
Drum Editor (toggle between the Drum Editor and Piano Roll possible)
Controller Editor (for example, velocity, MIDI volume…)
Score Editor (Note display)
Ever areas offers corresponding tools: pencils or eraser-tools.
Fundamentally, changes, for example, moving or deleting notes, refer to all selected
MIDI events (red) with just a few exceptions. You can, for example, select a group of
notes in the Piano Roll and then change the attack velocity for this group of notes in
the Controller Editor, modifying all selected notes simultaneously.
Note: The MIDI Editor has a menu of its own. When it is integrated in the docker, at
first it remains invisible, but can be accessed with a right-click on the grey area
between two tools as a context menu. If the MIDI Editor is dragged and dropped
form the title bar docker, the menu will appear as usual with an own menu bar.
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Tutorial 31
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". 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.
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Using the Controller Editor

In the Controller Editor your can adjust MIDI parameters such as velocity. A simple
click on the Controller button of the MIDI Editor opens or closes the Controller Editor.
It appears below the Piano Roll.
Tip: If you can't see all buttons, you can enlarge the view by clicking on the scroll bar
between the piano Roll and the Controller area and dragging the Controller Editor.
On the left you can choose from various drawing tools as well as determine the MIDI
parameter to be controlled (such as velocity, foot pedal, vibrato, filter cutoff). By
clicking on the small arrow button you can open a context menu with further options.
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Tutorial 33
The Controller Editor can simultaneously control up to four different parameters that
can be selected using the four small arrow buttons.
Multi-object editing
You can edit several MIDI objects together in the MIDI editor. In an opened MIDI
editor, you can include additional MIDI objects by clicking on them while holding
down the "Shift" key. The MIDI events of these objects are displayed together.
In the MIDI editor, you can access the

displayed MIDI objects via the flip menu next
to the name.
The current object range can be highlighted by clicking the button behind the name.
Areas lying outside the current object will be grayed-out and the notes of other
objects will be paler, but still selectable. For more information on this, please consult
the MIDI chapter in the PDF manual.
Effects
You can considerably enhance your music productions with effects. Clever use of
effects adds depth to your song and simply sounds better. Samplitude Music Studio
has plenty of effects. Experiment with the various effects in Samplitude Music Studio
and learn how to use them.
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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.
Effects in tracks: To adjust track

effects in the mixer, open the mixer by
clicking on "Mixer" in the lower part of
Samplitude Music Studio. 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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Tutorial 35
Mix
If you got every element of your song together and at the right place, mixing is the
next step. The goal here is to adjust loudness, panning (the left and right distribution
of sound in the stereo field) and the sound of individual tracks in such a way so that
you end up with a well-balanced overall sound.
To do this, open the mixer (keyboard shortcut: M).
Each track in the arrangement corresponds to one channel in the mixer. The pan
control and the equalizer are located above the channel faders for loudness.
• Use the sliders to adjust the loudness for each individual track until you get a
balanced sound and each instrument can be sufficiently heard.
• You can also use the equalizer for this. By trimming away less important
frequency ranges (e.g. the highs on the bass guitar or the lows on the hi-hats)
you can create "space" for other instruments in these frequency ranges.
• Use the pan control to distribute the tracks in the stereo field. Vocals and bass,
however, should always be kept in the center.
The rest of the track effects are located in the "Inserts" section of the equalizer.
• You can also load track effects in the mixer by clicking on the arrow next to an
empty insert slot.
• The track compressors can be used to amplify the sound of the track while also
reducing individual instruments that feature sounds that are too loud.
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Mastering
Mastering is the final step, the one in which we optimize the overall sound of the
song.
• To do this, right-click on the "Mastering Suite" button up and to the right in the
mixer.
The Mastering Suite contains five effects which are stacked on top of one another like
in an effects rack. Which device is used for what purpose?
Auto Mastering: This lets you change the overall sound of your project to fit specific
music styles.
Equalizer: For regulating the sound characteristics. You can set four frequency bands
separately in the graphical control panel.
Enhancer: A stereo effect processor for adjusting 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 clipping.
Export
Once you've made it successfully through the above steps, you should have a perfect
song before you. It's now time to put it to good use.
There a few different options to do this:
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Tutorial 37
Burn CDs: You can burn an audio CD by going to "CD" > "Create CD". This is the
traditional approach.
Export file: You can save your song in a variety of file formats by going to "File" >
"Export". The most important of these are Wave and MP3 files. The WAV format is
the standard for audio production. It can be played back with different software and
on multiple devices and features crystal-clear sound. MP3 is the space-saving
alternative to WAV. It can be played using any MP3 player and features subtle losses
to sound quality.
Note: Don't forget to save your project! Saving it will allow you to edit it again in the
future and export new versions.
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Program desktop overview
Project window (VIP)
Menu Bar: You can find the menus in the Samplitude Music Studio main window
directly below the title bar. A keyboard shortcut can be assigned to each menu
item.
Transport Console: The transport console has buttons for controlling playback,
recording and positioning. It contains four areas that can be shown or hidden:
playback control, time display, markers and MIDI options.
Toolbar: Toolbars are made up of buttons that provide access to the most
frequently required functions. They are located above and below the project
window. They can be expanded with additional buttons.
Grid/Marker bar: The grid/marker bar is positioned above the first track in the
VIP. In the upper half, you will find the marker bar where markers and playback
marker can be positioned. The lower half displays the grid list which displays the
project time in relation to the selected unit of measurement. You can also define
various ranges.
Section: This refers to the visible section of the project window. The part of the
project that is displayed depends on the position of the section and the zoom
level.
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There are many commands for moving (scrolling) the visible section and
customizing its size (zooming). These can be opened using the menu view, the
grid/marker bar, and the shortcut keys.
Track Header: The track header is the front section of a VIP track. It contains
various control elements which range from mixer functions and monitoring
commands to other track parameters. More information about the individual
controls of the track header can be found in the Track header overview.
Track Editor: The left border of the arrangement window provides access to all
the important parameters of the selected track. Recording and monitoring status,
volume, panorama, MIDI/audio inputs and outputs, plug-ins, AUX sends and EQ
settings are displayed in well-arranged sections and can also be edited directly in
this view.
Position & Parameter Fields : The fields "Pos" for position/range start, "Len" for
range length and "End" for range end can be configured using the right mouse
button. In the context menu that opens you can also display additional
parameters in up to 5 fields, e.g. the current mouse position or the last edited
mixer setting.
Docker: Here you will find different manager windows and the visualization, time
display, keyboard, object editor, and MIDI editor windows. You can take each of
the windows from the title bar in the docker and position or dock them elsewhere.
Click on "+" (far right) to open or close the displayed windows.
Managers/Docker
In "View" menu you can open the so-called "Docker", which offers a useful
combination of various editing windows. In addition to various Manager windows
(view page 308), the docker also unites visualization, time display, transport console,
Soundpool, object editor and MIDI editor in a tab window.
The docker can be minimized by clicking on the "minimize" symbol in its top bar or
into the tab that is already open. If you click a tab again, the docker will be maximized
again.
Using the "+" key, you can open a new tab in the docker. The editing windows can be
individually turned on or off in the "View" menu.
40
To remove a listed tab window again, just drag this out of the Docker lead or
double-click on the appropriate tab window. The corresponding dialog window will
now appear in its own window.
You can return the window to the docker through repeated double clicks on the
individual window or by dragging the window onto the tab bar.
Docking
In Samplitude Music Studio you can couple certain dialog and display windows to
pre-determined areas on the VIP window or the docker, or use them as freely-floating
windows.
In an undocked state, the corresponding dialog appears with a conventional title bar.
If you move the title bar of such a window into the docker area, the docker will turn
light green, indicating that the window has been docked.
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After releasing, the window will appear integrated into the docker.
The window can also be docked in other VIP areas. Moving is always accomplished
by drag & dropping the title bar.
During moving, the arrow symbols appear on the surface, to show the area where the
window may be docked. The area above the dockable range will become light green to
indicate that the window may be docked here.
42
Transport console
Keyboard shortcut: Ctrl + Shift + T
The transport console features buttons for controlling playback, recording, and
positioning.
Transport console, left side
To Start: The playback marker jumps to the beginning of the project.
Faster return
Stop: Stops playback
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Play: Starts playback. Another click on Play stops it at the current position of the
playback marker (Pause).
Right-click on Play: This opens the window for the playback parameters (view
page 521). Here you can set the playback device as well as the autoscroll and
scrubbing options.
Faster advance
Record: Starts the recording for all activated tracks, i.e. tracks with a red "R"
button in the track header.
Right-click on Record: Opens the window with the recording parameters. Adjust
recording settings like "Play while recording" here. You can also start a mono or
stereo recording straight from this window.
Marker buttons 1...12: The current playback position can be saved to one of the
12 marker buttons by clicking on it. If one position has been saved, the marker
will appear colored. Another click on the same marker moves the playback
position to the corresponding marker. You can delete a marker by right-clicking
on it. The marker can then be reassigned.
L/E time display: Displays the length and end position of a range. The value can
be edited by double-clicking.
Area buttons: Using the "1" and "2" you can save areas. Using the arrow symbol
you can open previously used ranges.
"Marker" button: This button opens the marker manager for further marker
editing.
More information about this is provided in the chapter "Tools and assistants >
Manager > Marker manager" (view page 315).
Marker buttons 1...12: The current playback position can be saved on each 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 allocated.
in/out: Sets the start/end points for punch recording (see below). Additional
Punch In/Out markers can be set by holding down the Alt key.
44
Transport console, right side
Recording modes: Here you can set up the appropriate recording mode.
Standard mode (playback while recording): This is the typical recording mode for
multitrack productions. Here, the currently active tracks are recorded. The already
existing tracks are played back in sync.
Recording without playback (read after write): If you have selected this option,
playback of already existing audio is deactivated and the playback marker will remain
at the recording start position. Playback can be started manually, e. g. if "read after
write" is required. Set the playback marker at a different position and start playback
by pressing the "Play" button. This will not interrupt the recording. This way, changes
to previously recorded material can be made without affecting the recording process.
Punch marker mode: In this mode recording takes place only between punch start
markers and punch end markers. This mode can also be activated using the "Punch"
button (see below).
"Mon" button: This button activates the Samplitude Music Studio's record
monitoring feature, i. e. all tracks with an active "R" button display the relevant
input signals in the peak meters. Right-clicking on the "Mon" button opens a
selection of monitoring modes.
Detailed information about monitoring can be found in the chapter "System

settings > Monitoring options (view page 467)".
"Sync" button: This button opens a dialog with the Synchronization options
(view page 335).
"Punch" button: This button switches Samplitude Music Studio into Punch
Marker mode. In this mode, only the range between the punch starter marker
and the punch end marker is recorded.
If you have not previously created a punch marker, one will be set automatically when
you press the record button. If the recording is started when punch markers have
been set, the recording button will flash until the start marker has been reached and
again when the end marker has been passed. It will light continuously during the
actual recording between the markers. End the punch recording by pressing the
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record button again; playback will not be interrupted. If, however, you press the "Stop"
button, playback will stop.
Loop button: Use this to switch to Loop Mode, i. e. to play a specific range over
and over.
MIDI record modes: The following MIDI record modes are available: normal,
overdub, multi-overdub, and replace. These determine how newly recorded
MIDI files are inserted into the VIP.
MIDI/Sync I/O Displays: To assist with control, these displays blink when
Samplitude sends or receives MIDI or synchronization data.
Tempo Section: You can adjust playback speed and time signature of the entire
arrangement in the tempo section of the transport control. The objects in the VIP
are then optionally adapted using time stretching.
Use the "CLICK" button to switch on the metronome click. Right-clicking the
"CLICK" button opens the metronome options window to configure the
pre-counter and click volume.
The "Beat grid/snap" button (view page 51) activates the beat grid.
Scrub Control: Using the Scrub Control wheel you can variably set playback
speed. This is helpful when searching for specific audio passages.
The buttons beneath it can be used to start playback forwards and backwards at
a slower speed. This is very practical for locating clicks, pops and other errors in
the material.
Right-clicking on the Scrub Wheel opens the scrubbing and Varispeed options.
46
Track Editor
The track editor shows the settings options for the selected track. It can be
shown and hidden with this icon above the track header.
Track Number Display and Track Name: By

right-clicking the track name you can open the
"Track Settings" dialog.
S: Mutes all tracks except the selected track.
M: Mutes the selected track.

Record symbol: Activates the track for recording.
Lock: Prevents the objects in the track from being
accidentally moved or deleted.
Volume symbol: Enables the input signal to be
previewed.
Volume entry field and volume control
Peak Meter: Both LED rows display the input and

output signal for the track.
Panorama: Controls the positioning in the mix.
FX: Opens the track effect settings of the activated
track.
MIDI: Sets the track to MIDI recording and opens
the MIDI section in the Track Editor.
Automation: Is for the automation of MIDI
controllers, VST parameters and certain effects in
the track.
Automation
Right-clicking opens the context menu
Select the plug-in you would like to automate here.
Select the parameter you would like to automate
here.
The slider controls the selected parameter while automation is drawn.
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MIDI
Arrow: Opens and closes the respective dialog box.
In device: Opens the MIDI input device menu.

Out device: Opens the MIDI output device menu.
Channel in: Set the MIDI input channel here.
Channel out: Set the MIDI output channel here.
Program: This slot is responsible for selecting the
program for the MIDI instrument.
Bank MSB: Set the device-specific control change
messages for controlling your external instrument
here.
LSB: Set the device-specific control change messages for fine-tuning your
external instrument here.
Drum map: Select a drum map for allocating MIDI notes to the device-specific
sound here.
Transpose: Transpose the notes of the respective MIDI input or output up or
down here.
Velocity dyn: This button activates velocity dynamics as a realtime track effect.
Detailed information about this MIDI effect, which processes the MIDI velocity
dynamics, can be found in "MIDI editors -> MIDI functions -> Velocity
dynamics (view page 221)".
Input Q: In this case, the MIDI quantize settings (view page 218) are used to
quantize every recording offline. The original position can be restored by going to
"Object -> Quantize -> Reset Quantization".
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.
48
Plugins
The various track effects are activated here.
In the first slot, you can also select a MAGIX synth to be
controlled via the track. A simple click on a slot deactivates an
effect, while right clicking opens its interface. The button
beside the "plug-Ins" activates or opens the entire effect rack
(view page 106) 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 Header
The track header for each track offers a summary of all the track editor settings.
Track Icon: When included loops and software instruments are loaded, a
corresponding icon is displayed here. You can change the icon by right-clicking on
it. Left clicking opens a menu for the available software instruments and their
sound programs.
Track Name: Right-clicking the track name opens the "Track Options" dialog.
Track Number Display
S: Mutes all tracks except the selected track.
M: Mutes the selected track.
The M and S buttons above the track header of the first track can be used to
switch all solo and mute states on and off together.
Record symbol: Activates the track for recording.
Volume symbol: Enables the input signal to be previewed.
Lock: Prevents the objects in the track from being accidentally moved or deleted.
FX: Left clicking opens the effect rack of the track, while right clicking access a
menu with effect presets.
Peak Meter: Both LED rows display the input and output signal for the track.
Volume Fader: This controls the track volume. The button in front of the fader
activates a curve that can be used to automate the track volume.
Panorama Slider: This controls the position in the mix. The button in front of the
slider activates a curve that can be used to automate the panning on the track.
PL: The plug-in selector (view page 103) assigns insert effects or VST plug-ins to
a track.
50
Color selection: If you click on the right edge of a track header, a selection menu
will appear for specifying the color (view page 89) of the track and its objects.
Automation lanes: Use the small triangle to fade in or out the automatio lanes
(view page 285).
Workspaces
The purpose of workspaces is to sort menu entries and toolbars in such a manner that
you have a good overview of the functions of Samplitude Music Studio. Workspaces
bundle commands for certain tasks like mastering, editing, or recording.
Besides the option for hiding menu items ("File" > "Program Preferences" > "Edit
keyboard shortcuts and menus..." > "Hide menu item") and editing toolbars (right
mouse click on the toolbar), you can also save your settings as a preset.
You can see the selection field for the workspace in the bottom toolbar on the far left.
Some workspaces are already predefined.
To customize your workspace, open the context menu and click on "Edit workspace".
Here you can select which toolbars and menu options you want your new workspace
to display.
Toolbars
Toolbars provide quick access to important functions in Samplitude Music Studio.
Top toolbar
New virtual project

Load VIP
Load audio file
Export/Save
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Mouse mode (view page 79)

Object mode (view page 90)
Auto Crossfade On/Off
Crossfade Editor (view page 298)
Group
Ungroup
Undo
Redo
Grid On/Off
Grid menu (see below)
Quantization menu (see below)
Search for menu commands and help topics (view page 54)
Tempo tab/tempo buttons
The tempo tab is found in the tool bar. Here you can change important beat settings
(view page 534) without having to always open project options. Click the magnet
button to activate the snap grid. Below the button next to it you will find a menu for
the following beat settings:
Object grid: This option activates the object grid. This lets objects snap exactly to the
edges of other objects.
Area grid: This option activates the area grid and lets you use the current area as a
grid basis.
Time grid: This option activates a grid, which uses beat settings as its basis.
Time grid (relative): This option also activates a grid, which takes beat subdivisions
as its base. The selected object will maintain a relative distance to the snap markings
when moved.
Frame grid: This option activates a frame-based grid.
Specify the snap length (for beat snapping only). Values range from every 4 beats,
every 2 beats, every beat, musical measure and same as quantization.
52
The setting Musical measure means that, signatures based on quarter notes serve as
a quarter snap unit, and time signatures based on eighth notes serve as a eighth snap
unit. The snap therefore follows the time signature and observes any time signature
changes.
Warning: When the grid is active, the playback cursor jumps according to the set
grid value when forward and rewind buttons are used in the transport console. If you
would like to temporarily shut off the transport controls, press the "Alt" key
simultaneously.
Activate grid: Here you can globally turn the grid on or off.
Keyboard shortcut: Ctrl + #
Grid and snap settings: This option brings you to the Project options - General
(view page 534) dialog, where you can change additional grid and snap settings.
In the field labeled with Q you can set the quantization value, which will be used for
MIDI Quantization (view page 218) and can serve as the grid if the corresponding grid
setting "like quantization" is selected. Right clicking the field opens the MIDI quantize
settings.
Lower toolbar
Workspace (view page 50)

Track Editor
Open Mixer
Display transport console
Playback marker to previous object edge
Playback marker to next object edge
Playback marker to previous marker
Playback marker to next marker
Show all
Show all vertical
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Zoom to range
Section as zoom step
Zoom out of waveform
Zoom into waveform
Overview mode
Undo
Editing Toolbars
You can customize the toolbars to your requirements by adding icons, changing their
positions or removing the ones you don't need. To do this, right-click to open the
context menu and select the option "Edit Toolbar".
This opens the "Edit Toolbar" window which contains all of the available icons.
Icons that are already on the toolbar are grayed out. The others can be added by
dragging & dropping them onto one of the toolbars.
To remove an icon from a toolbar simply drag it off. To change the position of the
icons simply drag & drop them onto new positions on the toolbar.
Note: When the "Customize Toolbar" window is open, clicking on the icons has no
effect. This helps to prevent unwanted changes to the project.
Tip: The easiest way to find out the functions for each button is via the tooltips. A
tooltip is displayed when you move the mouse pointer and hold it over a button in
the dialog.
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Searching for menu commands and help topics

Samplitude Music Studio provides a search field for finding menu commands and help
topics.
Enter a character combination into the search field which is relevant to a search term.
Immediately up to five commands from the main menu will be displayed that contain
the desired character combination.
All results that are listed can be directly selected. The commands in the upper section
are listed immediately.
Shortcut: Ctrl + F
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Functional overview
Audio files
One of the main applications for Samplitude Music Studio is the import of audio files,
e.g. WAV or MP3 files, to create an audio CD or MP3 collection or to edit your own
recordings from other sources.
There are three possibilities for loading an audio file:
Option 1: The "Load Audio File" dialog

You can import audio files using the "Load Audio File" dialog. This can be opened by
going to "File" > "Import" > "Load audio file" (keyboard shortcut: W).
In this dialog you can preview each file. Multiple objects can be selected by holding
down the Ctrl key and clicking on them. Ctrl + A selects all of the files in the folder. Alt
+ Click enables you to load an entire block of files listed after each other.
The audio files appear in the selected track as new objects after the playback marker.
Option 2: Drag & Drop from Windows Explorer

For this option you first have to open Windows Explorer. Then you can arrange the
Explorer windows and the Samplitude Music Studio windows in a way that allows you
to drag and drop audio files from folders on your computer into Samplitude Music
Studio.
Option 3: Integrated File Manager

Activate the integrated File Manager in the Docker by clicking on the "Files" button on
the lower screen border or go to "View" > "Manager" > "File Manager". In the File
Manager you can access all of the folders and drives on your computer. Audio files
can be dragged and dropped into a track.
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Synthesizer, VST plug-ins and MIDI

A further main application is to use the included synthesizers or own VST plug-ins to
play music.
There are two different sorts of synthesizer in Samplitude Music Studio. Synth objects
are loaded in the "Object menu" > "New synth object”. Generally, track synthesizers
do not feature sequencers of their own and are controlled via MIDI objects.
MIDI objects serve to control track synthesizers, VST plug-ins or also external
synthesizers and samplers. All melody and control commands are entered in the
various views of the MIDI editor. You can also create a new MIDI object ("Object
menu > New MIDI object”) and enter the notes in the MIDI editor (view page 185)
with the pencil tool.
All other information about this can be found in the chapters "MIDI in Samplitude
Music Studio (view page 174), VST plug-ins (view page 229) and Synthesizer.
Playback
To play the project, click on the playback icon in the transport console with the mouse
or press the space bar on your keyboard. During the playback, a vertical line – the
playback marker – runs across the screen from left to right.
The playback settings can be accessed quickest by pressing the p key.
With "Global playback device", you can select the driver of the sound card which you
wish to use for playback. This is especially important if you have multiple sound cards
installed on your computer.
Note: You can select different recording and playback devices for the single tracks in
the "Track settings" dialog, which can be opened by right clicking on the track
header.
Objects
The object is a unit in the Samplitude Music Studio arranger window. Objects are
created when you record audio or MIDI data as well as when audio or MIDI files are
imported into Samplitude.
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Audio objects are references to underlying audio files. Typically, people say that an
audio file is being referenced by an object. These are essentially playback instructions
that determine what parts of what audio files should be played in the arrangement
and when they should be played. The starting point of an object is assigned to a
specific point in an audio file. The length of the object determines the length of the
part of the audio file.
When you edit objects (by adding transitions, loudness adjustments, effects, cuts,
etc.), new instructions are defined which then get carried out in real time during each
playback. The actual audio file is not changed ("non-destructive editing") but the
adjustments to the settings are saved permanently.
Since objects are merely playback instructions and only refer to audio material, they
can be moved, copied and deleted without affecting the audio files themselves.
The audio material being referred to by the audio object is displayed as a wave form.
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MIDI objects to do not reference MIDI files. They do get created when you import
MIDI files, but the MIDI data is saved entirely to the object and is therefore directly
linked to it.
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 handle at the top center can be used to adjust the volume of the objects. The
exact level in -dB is displayed in a tooltip window.
The handles in the top corners of the object can be used to fade in and out.
Because these adjustments are made in realtime, i.e. occur immediately during
playback, the original audio file itself is not changed. So you can easily try out the
optimum fades or volume settings, without risking data loss.
The curve types when fading in and fading out can be set in the crossfade editor (view
page 298).
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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.
Looping objects
Looping repeatedly plays an object or object range. You can change the length of
objects by dragging out the length handles.
An object is normally played back between the object start and end. A loop object
also starts from the beginning of the object, once the loop starting point has been
reached only the set loop range will be repeated until the object end.
The easiest option to loop is to open the object's context menu and choose the option
"Create looped object" (shortcut: Ctrl + L). The entire object is treated as a loop. If
you now drag the length handle at the back to the right, you will see a vertical dash at
the previous object end. For this marking onwards the object will be played back
again, it is looped and can be stretched out to the right.
An object loop may be edited in far more detail by using the object editor. In Loop
Mode you can set and customize the loop start, loop length as well as the loop end
within the object. Skilled looping omits time-consuming cutting.
Object editor
The core of the object-oriented work is the object editor where all important settings
can be made for the selected object. To open the object editor, select an object and
press "Ctrl + O" or double-click on the object. The object editor can always be left
open to edit objects - the view automatically adjusts to the selected object.
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Note: For MIDI objects, there is a separate MIDI object editor (view page 183).
The object editor is divided into three sections: "FX", "Position" and "Time/Pitch". You
can switch between the sections on the left side of the editor.
Object editor: Basic functions

The selection options for the three different dialog windows of the object
editor are displayed to the left.
FX: Here you can set the gain, plug-ins, sound FX rack, EQ, panorama and
volume.
Position: Here you can set the wave position and object position.
Time/Pitch: Here you can set timestretch/pitchshift algorithms.
The section on the far right is the same for all three dialog windows:
The object name is displayed in the upper text field and this may also be edited. In the
square field to the side, you can select the object color.
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Using the arrow keys you can "jump" up or down to the object of a neighboring track.
Use the double arrow buttons to jump to the previous or next object. If multiple
objects are selected, these buttons will not be active. Clicking the Undo button
(spinning arrow) returns the selected object to its original settings.
1-4: You can save the various object editor settings in 4 snapshots. These snapshots
apply to the entire project, so that you can easily transfer the effect settings of an
object to another (or multiple) object(s).
This can be done by left clicking on the corresponding button. If a snapshot has been
saved in the respective button, you can overwrite it by holding down the "Shift" key +
left clicking. Clicking the number keys loads the snapshot. You can quickly compare
the various object editor settings by switching between the snapshots. The active
snapshot is marked by a bullet point.
Right-clicking on a snapshot number opens a context menu where snapshots can be

saved, loaded and deleted.
To all: If the "To all" option is active all selected objects are updated when the object
editor is opened. No matter in which of the three object editor windows, all recently
applied settings that have been made in a selected object, will be applied to all other
selected objects.
Note:
- Volume changes are transferred relatively in an object, i. e. they are increased or

decreased relative to the volume of other selected objects.
- The EQ settings are always completely transferred, in contrast to previous

versions where only the edited bands were transferred.
Bypass FX: This deactivates all object effects, EQ/panorama settings, and AUX sends.
Freeze: If you click on the Freeze function for an object, this will be calculated as a
new audio file with all the associated effects. The new freeze object takes the place of
the original object. This way you can bypass the realtime processing of effects and
reduce the load on the CPU.
Play/stop: This button corresponds to the normal playback function (shortcut: space
bar).
Phi: The Phi button causes a 180 degree phase rotation. By right clicking on the Phi
button you can invert the left and right channels individually.
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Lock: The activated "Lock" button corresponds to the key button's switch in the
object. The object is then protected against any inadvertent horizontal movement.
Additional locks against vertical moving, volume adjustment, fades, length
adjustments, ripples or deletion can be set in the system settings (shortcut: "Y")
under "Program > Object lock definitions". Locking can be temporarily cancelled by
pressing the "Alt" key.
Solo: This button moves the play cursor, during playback, to the start of the selected
object and plays that only. Track-dependent busses and AUX paths are also observed
at playback.
Mute: This button mutes the selected object. By right clicking you can also mute the
left and right channels individually, too.
Commentary: You can type comments relevant to the selected object in this field.
Object effects
In the "FX" area of the object editor you can apply effects to audio objects. The
available effects are the same as those in the "Effects" menu. All settings are retained
when moving or copying objects.
Plug-ins/EQ
The plug-in section provides you with quick access to installed effect plug-ins on the
object level.
Here, plug-ins and insert effects can be selected by clicking the arrow symbols on
each plug-in slot.
To remove a plug-in or an effect, select the "No effect" entry from the corresponding
plug-in slot in the menu.
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Under "EQ" you can set four frequency bands. The blue button in the header switches
the equalizer on and off. By right-clicking on the controller/blue button, you can
access the dialog window for the fully parametric 6-band equalizer.
Gain
Use gain to control the level of the object at the beginning of the processing chain,
before all other effects.
PAN
Here you can edit the panorama as well as the stereo width of the active object.
Vol
Vol.: The volume can be controlled using this fader.
Double-clicking on the fader sets it to 0 dB.
Norm.: The Norm. button normalizes the maximum level of the object to 0 dB.
Fades
Use this dialog to set object-related time positions (start, length, end) for the selected
object. In the entry field "Step size" the measurement unit can be changed on the far
right just by clicking. The following units are available: samples, milliseconds,
hours/mins/secs, SMPTE (24, 25, 29.97 non drop, 29,97 drop, 30),
SMPTE/milliseconds, CD-MSF, feet and frames 16 mm (40fpf) and feet and frames
35 mm (16fpf), noise reduction (meter).
Contents
Audio file: The referenced wave project can be exchanged, copied, and renamed
directly in the object editor. Open the file exchange dialog by clicking the folder
symbol beside the name of the audio file. If the audio file is used by multiple objects,
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you can indicate whether it should be exchanged with the currently selected object or
with all referenced objects.
Wave position: The arrow buttons do not affect the position of the object or its length
but instead move the audio material in the object left or right.
The Reverse Playback option allows an object to be played in reverse. This process
does not change the audio data.
Note: Please note that there are some limitations when using additional effects on
an object that is played in reverse. This refers to wave editing or using time
stretching effects, especially Elastic Audio. Reverse playback also requires more
resources as track speed cannot be used here.
Loop: This option allows you to create a loopable object which can be extended to any
length using the object handles. This function can be accessed through "Object" >
"Edit" > "Build Loops Object".
Position
The starting time of the object on the timeline, object length, and object end can be
set here by entering a number or using the arrow buttons.
Using the arrow buttons beside object start / position the object can be moved
forward to the start of the project or towards the end of the project.
The arrow buttons beside object length move the start of the object, they work just
like the front lower object handle.
The arrow buttons beside object end shorten or lengthen the object, they work just
like the back lower handle.
The step size shows the position/length adjustment made upon clicking on the arrow
button. The unit of measurement to the right beside the input value can be changed in
the context menu (right-mouse click to open).
The lower part of the menu features corresponding presets for each selected
measurement, e.g. for the unit of measurement "Bar/beats", the following step sizes
are used: 1/64, 1/32, 1/16, 1/8, 1/4, 1/2, 1Beat, 2Beats, 1Bar, 2Bars, 4Bars.
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Time stretch/Pitch shift
Pitch shifting and time stretching can be used in parallel independently of each other,
except in the Resampling mode.
Pitch shifting: You can shift pitch either in half tones (mouse wheel + Ctrl), in cents
(mouse wheel + Shift) or enter it as a pitch factor of the original value.
Time stretching: Speed correction can be made either as new object length/stretch
length or as stretch factor of the original value, or you can indicate the desired tempo
as BPM (Beats Per Minute).
The button "<< from loop or range" makes it possible to extract the BPM value from
one selected range or the object length and enter it as the Original BPM. Enter the
number of quarter notes in the dialog box that opens and then confirm with "OK".
This is important if the object tempo is not entered correctly and another tempo
needs to be compensated.
Adjustable modifications to the values can also be made using the knob.
If you want to change the original speed (Original BPM), you will see that the speed
of the object you want to correct adapts to that of the set stretch factor. The modes
that can be selected are Resample, élastique Pro, élastique Efficient and
Monophonic Voice.
"Edit" opens a clear display of the already named parameters. If you move through the
individual modes with the mouse, a detailed explanation window will appear for each
mode.
Note: You can learn more about individual algorithms in the menu reference under
"Menu Effects > Time/Pitch > Resampling / Time stretching / Pitch shifting (view
page 172)".
"Reset" restores all pitch shifting and time stretching settings.

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The option Vocal Tune adjusts the pitch change using the Vocal Tune (view page
169) feature.
With the Use musical tempo adjustment option active, the object follows all tempo
changes (view page 333).
Ranges
Ranges are selected parts of an arrangement which are defined for editing or
accessing later on.
Example 1: A certain section of a song is to be completely removed from the

arrangement. To do so, first define a range that contains the material to be removed.
Next, activate the defined range for all tracks by double-clicking twice in the beat bar
of the range. If you press the Del key now, the material will be deleted from the
arrangement. Parts located behind the range will be automatically moved forward,
closing the gap.
In a similar fashion you can also copy the material inside the range to the clipboard in
order to insert it at a different location. First, create a range for all tracks as described
above and press Ctrl + C ("Edit" > "Copy"). Now, set the playback cursor at the
position where the material should be inserted. Select the first track and press Ctrl +
V ("Edit" > "Insert" > "Insert from clip"). Now the material will be added to the track
as new objects.
Example 2: A selected range can be played back in a loop, in order to create loopable
sequences. Activate the "Loop" button in the transport console. During playback the
range borders can be moved in order to find the optimal loop.
Selecting a Range
Step 1: To select a range, set the mouse mode (view page 79) to "Range Mode" or
move the mouse pointer to the top half of an object and press the left mouse button.
Step 2: Move the mouse pointer within the object while holding down the mouse
button. Now you can see an inverted rectangle between the starting point and the
current mouse position.
If you have activated the grid function, the range will automatically be adjusted to the
set grid value.
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Step 3: Once you let go of the mouse button, the range will be selected.
The playback marker always automatically remains at the beginning of the range,
even if you can't currently see it.
Step 4: To expand the range onto other tracks, click on the top half of the selected
object again and drag the mouse down vertically while holding down the mouse
button.
You can also select a range by dragging in the grid bar. This will then be indicated by a
different color.
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Double-clicking this area of the grid bar selects a range in the selected track;
double-clicking again selects the range over all tracks, and double-clicking once more
restores the simple grid bar selection.
It is important to note the following when doing this:

• Playback can be started before or within the loop.
• If you start playback behind a range, the loop button in the transport console will
turn off.
• Range ends can be adjusted during playback as well.
• Click the range borders in the grid bar to position the playback marker at the
playback borders either at the beginning or end of the range.
• The current playback range can be deleted by dragging to size 0.
• The current range can be deleted by double-clicking the grid bar outside of the
range.
• The range remains in Loop Mode even if the playback marker is repositioned
• In Loop Mode the entire project is looped if you haven't marked a 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.
Reactivating a Range
To reactivate an earlier range, use the key combination "Shift- + Back arrow" (or "Edit"
> "Range" > "Reactivate last range"). By clicking on this command repeatedly you can
restore the last five ranges.
Change Range Borders

You can change range borders by placing the mouse pointer on the edge of a range in
the grid bar until it turns into a double arrow. Now you can reset the range borders by
dragging in the horizontal direction.
If the existing range stretches over several tracks and you only want to adjust one
border (start, end, upper or lower border), click in the range and hold down the mouse
button. Now drag the mouse pointer in the direction you want to change. As soon as
the edge of the existing range has been crossed, the range edge will follow the
movements of the mouse pointer. After you have redefined the range, you can release
the mouse button.
You can also adjust the range start using the left and right arrow buttons. To adjust
the range end you can use the arrow buttons while holding down the Shift key.
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Horizontal Movement of a Range

Click with the left mouse button while holding down the Shift key inside an existing
range on the grid bar. Hold the mouse button down and move the range in the
horizontal direction.
Save/recall range
Selected ranges can be saved and recalled using "Edit" > "Range" > "Remember
range" or with Alt + Function key F2-F10 and reopened with "Edit" > "Range" > "Get
range" or Ctrl + F2 to F10.
Note: Alt+ F4 is excluded since it is a Windows shortcut for closing windows.
Using Alt + F11 you can save unlimited ranges and assign them names.
Additional special functions for defining, changing and using ranges can be found in
"Edit" > "Range".
All saved ranges are displayed In the Range Manager, where they can be numerically
edited and recalled. The manager is found in the docker or can be opened via "Edit" >
"Range" > "Range editor".
Tip: All menu commands for range editing can be found in the menu reference "Edit"
> Range".
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Zooming
Use the zoom functions to adjust the sections of a virtual project. The higher the
zoom level, the more precise the display will be.
Samplitude Music Studio also supplies you with the following zoom functions:
• Buttons of the position bar

• Keyboard: The "Ctrl + right arrow" key combination zooms out of the project;
"Ctrl + left arrow" zooms into the project. "Ctrl + up arrow" zooms into in the
waveform display of the objects, "Ctrl + down arrow" zooms out of the
waveform display.
• Buttons on the scroll bar: In the lower right-hand corner of the VIP window a "+"
and "–" button can be found for precise adjustment of the horizontal and vertical
zoom levels.
• Scroll bar: You can also expand or contract the scroll bar to zoom the project. To
do so, move the mouse pointer to one of the edges until it becomes a double
arrow, then click and drag.
• Mouse wheel: The key combination "Ctrl + mouse wheel" provides simultaneous
horizontal and vertical zooming – even during playback. The keyboard shortcuts
"Ctrl + Alt" and the mouse wheel provides simultaneous horizontal and vertical
zooming. You can zoom in/out by rolling the mouse wheel upward/downward.
• Mouse: An elegant method of zooming, which does need some practice and
skill, is to left-click on the timeline, hold down the mouse button and drag the
mouse vertically. By dragging the mouse up you can zoom out of the project and
you can zoom in when you do the reverse.
• Zoom mouse mode: Selecting the magnifying glass icon in the mouse mode bar
accesses "Zoom" mode. Use the right mouse button to zoom out of the project,
and click with the left button to zoom into it.
Marker
Position marker
Position markers serve to "remember" position points. They are visible as in a special
line at the top edge of a project as named orange bars. Markers can be placed during
playback as well as during recording.
• Markers in wave projects are saved in the audio file (*.wav) as so-called audio
markers and are available in this form in other applications as well.
• Wave project markers can also be displayed in VIP objects (VIP display
options).
• A project can contain any number of markers. The first ten can be called up
directly using the number keys and are assigned names "1" to "10". You can save
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them using the "Shift + Number Key" key combination. By pressing the
corresponding number key you can jump back to the marker once again.
• By going to "Playback" > "Marker" > "Marker by the name..." you can define and
name additional markers.
• To delete a marker, click on it and press the Del key. You can move markers by
grabbing and dragging them. The mouse cursor will turn into a double arrow.
• If you right-click within a marker line, a context menu will appear from which
you have access to all important commands.
• Manage and name markers in the Maker Manager ("View" menu or in the
marker context menu).
• To stretch a range between any two markers, click on the first marker. Then,
click on the second marker while holding down the Shift key. This selects a new
range.
• To move quickly between marker positions, use the keyboard shortcut
("Playback" menu > "Move play cursor" > "Marker left/right".
CD Markers
CD markers are triangular markers for various CD burn functions. They can be set in
the "CD" menu. There are
• CD Title Markers
• CD Subindex Markers
• CD Pause Markers
You can find additional information on tempo markers in the Burning CDs" (view page
294) chapter.
Tempo markers
Tempo markers serve to change the arrangement's tempo.
• Tempo markers for tempo change at a certain position.

• Tempo markers for changing the tempo type starting from the marker position
(e.g. from 4/4 to 3/4 beat)
• Grid position markers assign a musical position to a certain position on the grid.
This way, the bar frame/grid and MIDI events can be easily synchronized with
existing audio material.
You can find out more about beat markers in the "Changing the beat" (view page
321).
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Mixer
You can use the mixer (keyboard shortcut "M") to adjust the volume and panorama
of the mixer channels. Each track corresponds to a channel on the mixer. In addition,
plug-ins, submixes and AUX buses, a four-band parametric equalizer as well as
inserts for the integration of effects and VST instruments are available not only for
each individual channel, but also for the complete stereo track.
More information about this can be found in the chapter "Mixer" (view page 91).
Volume
The volume levels of objects and tracks/channels can be changed at various stages.
Object level
You can assign each object new settings for the volume. Among other options, this is
possible for overlapping objects using fades or volume changes, virtual normalizing
("Effects" > "Amplitude" > "Normalize") and auto crossfade set by object handles.
The audio data remain unchanged. The calculation takes place in realtime 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.
Master layers
In addition, there is the option of setting the total volume of the project in the master
section of the mixer.
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
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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.
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
Balancing the signal

Optimum peak control is essential also when recording digitally via sound cards in
order to achieve the best possible sound quality.
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If the recording source is connected to the sound card, open the record dialog by
right-clicking on the record button (keyboard shortcuts: Shift key + R) and start the
recording source.
You can now adjust the peak control with the help of the LED display in the record
dialog ("Visual" option).
If it is too high, the incoming signal has to be reduced accordingly. If you have
connected the sound source through either an amplifier or tape deck to the soundcard
via line out connections, you can only reduce the signal level in your soundcard’s
mixer window. You can access it directly from within the recording dialog via the
"Info" button.
Reduce the input level here by means of slider (fader) until the signal no longer moves
into the red area. The loudest part of the material is the yardstick for an optimal level.
The loudest part should be adjusted to the maximum.
Digital transfer
With the record function, you can also transfer digital audio data to hard disk via a
digital interface (e. g. S/PDIF or ADAT).
ADAT or DAT recorders usually deliver data at a sample rate of 48 kHz. For a CD
project with 44.1 kHz, the sample rate therefore first has to be converted. Samplitude
Music Studio does this in realtime. The digital signal is imported at 48 kHz, converted
automatically and inserted into the project at 44.1 kHz. However, the sample rate of
the file to be read in has to be selected beforehand in the record dialog. Click the
"Info" button in the record dialog to get started. The sample rate of the sound card
can now be set in the sound card dialog.
Then all you have to do is connect the digital output of the recorder to the digital input
of your sound card and to record.
24-bit audio support

Not only can audio data be recorded in Samplitude Music Studio in 16-bit CD quality,
but also in higher-quality 24-bit resolution. To do this, select "24 bit" for the record
mode in the recording options (keyboard shortcuts: Shift key + R). 24-bit recording
requires a high-quality audio card with 20-bit or 24-bit conversion, plus a 24-bit
capable driver. Audio cards with SPDIF digital interfaces can also record audio
material in 24-bit quality.
The high-resolution audio data are saved and edited by Samplitude Music Studio in
32-bit floating point data format. This ensures full 24-bit quality regardless of the
level. The dynamics increase to more than 140 dB, the signal-to-noise ratio of the
recordings drops to 110 dB and more depending on the sound card. With internal
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editing, there is no fear of overshoots thanks to "Floating Point Processing". A floating

point signal first becomes saturated at approx. 1500 dB over 0; in contrast, a 16-bit
signal saturates immediately if the 0 dB line is exceeded by the smallest amount.
Even if the audio material is to be burned on a 16-bit audio CD in effect, it pays to use
a 24-bit audio resolution for the recording because all effect calculations also then run
with a higher quality and do not generate any rounding errors in the audible 16-bit
range.
Compared with 16-bit recordings, 24-bit recordings take up double the memory on
the hard drive (by saving them as 32-bit float data), but this should be a good
compromise in regard to the achievable increase in quality with today's hard drive
capacities.
High-resolution audio data can be imported and exported as 24-bit WAV files so that
the data exchange with other high-quality audio systems – e. g. MAGIX Samplitude –
is not a problem.
Further options in the recording dialog

In addition, the recording dialog offers:
• a tuner (per right-click on the open visualizatioa6
• n window > "Tuner") for string instruments, which can be used to ensure the
best tuning before recording. Deviations from the standard pitch are displayed
graphically.
• the option to set CD track markers during recording.
• the option to record directly in various audio formats, e. g. to save hard drive
memory.
For the individual options of the recording dialog, please see the "Recording options
(view page 417)" section in the "Playback menu" chapter.
Folder tracks
Multiple tracks that belong together can be combined in a folder track in order to
bring more order to your multitrack arrangement.
You can add a new folder track via "Track" > "Add new tracks" > "New folder track".
Now you can drag and drop other tracks into the folder track. The contained tracks
will be displayed inside a frame.
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A folder track can be recognized by a folder symbol in its track box.
The folder track can be opened and closed by clicking on the folder symbol.
Individual tracks can be gotten out of the opened folder track via drag & drop. A "(F)"
is attached to the folder track number in the Track Manager. If you would like to
delete a folder track, you will be asked in a dialog window whether all tracks contained
in the folder should be deleted as well.
Mute, Lock and Solo of the folder track affect all tracks contained therein.. Volume
regulation of the folder track scales the individual faders relative to each other.
Audio Editing in Samplitude Music Studio

Audio objects in the VIP reference corresponding audio files that are open in the
background. They reference solely the audio data and receive working instructions as
to what the computer is to do with these data.
All audio edits normally take place directly in the VIP and are "virtual" or
"non-destructive". This means that they are saved to the hard drive as a file only
during export. In some cases, however, it can be desirable to edit audio material
directly during the editing. For this case, the corresponding audio file for each object
can be accessed through the "Edit audio file" command in "Object".
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In this case, the data saved on the hard drive is edited directly. This type of audio
editing is called "destructive", although the editing steps can be reversed with Ctrl+Z
(or "Edit" > "Undo").
You can also load audio files without VIP and edit them in a virtual Wave Editing
Mode. To do this, the "Open wave projects in destructive mode" option must be
deactivated in the program settings (Y). Files loaded via "File" > "Load audio file" will
be opened in a new window which works virtually, similar to a VIP.
Tips & tricks

A few tricks that help make working with Samplitude Music Studio easy:
Working in projects
• The A key selects the "entire range".
• By pressing the Home key, you can set the playback marker to the beginning of
the selected range, a range marker will disappear.
• This lets you set an area precisely between two markers: Click on the first
marker; Click on Shift + 2nd marker.
• With Shift + mouse movement, a range can be moved "softly".
• With Shift+Ctrl + cursor key, a range can be folded to the left or right in order to
test out a loop at a different position, for instance.
• You can use Tab to switch between 2 types of visualization for objects in VIPs;
these types of visualization can be selected with Shift + Tab.
• The "Set Objects" function allows objects to be saved so that unintentional
movements can be restored easily. This is very useful for multi-track recording
where it is important to have correct positioning of the tracks.
• To determine the tempo of a marked area in BPM, open the grid editor with the I
key. There, enter how many beats the area contains under "Beat/BPM", and click
on "Fetch BPM from selected area". Now you can read the exact tempo on the
BPM display.
• Try out the function of the right mouse button in various regions of the VIP. A
context menu always appears with useful functions, e. g. by using the recording
and playback buttons or the scroll bar.
• The delete key (Del) deletes a marker if the playback marker (position line) is
exactly on a marker. Selected objects can also be easily removed with the delete
key. If a range is selected, this will be deleted.
• The T key can cut a selected object at the position of the playback marker. If a
range was selected within this object, two cuts are performed at the range
edges. When Auto Crossfade Mode is activated, crossfades will be inserted at
all cuts, which can be optimized later, for example, by using the Crossfade
Editor.
• Multiple objects can be selected by clicking on them while holding down the Ctrl
key.
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• All objects, which lie between the first and the second selected object, can be
selected with the Shift key and clicking on them.
• Wave, HDP, and RAP files and objects can be dragged out of Windows™
Explorer directly into virtual projects (Drag & Drop). It is best to open Explorer
and arrange the Explorer window, for example, at the right next to Samplitude
Music Studio.
• A dialog for configuring the presentation in the virtual project can be displayed
with Shift + Tab.
• The object editor which can be used to numerically edit the important settings,
e. g. position and length, can be opened by double-clicking on the object.
Mixer
• The corresponding effect dialog opens by right-clicking on the effect buttons in
the mixer window.
• The knobs or faders are set to the zero position by double-clicking on them. A
further double-click will return it to the former active position.
• Clicking in the left and right outer area of a knob/fader field increases or
decreases this value incrementally.
• With Master Normalization the mixer has a feature which allows you to quickly
set the output level to 0 dB. If the limiter in the master section is active, the
output level is also monitored, thus preventing level clipping.
Performance
If errors occur during playback, the following options are available:
• Increase the VIP and HD buffer in the "System" dialog ("Y" key).
• Zoom fully out so that the whole project is visible (keyboard shortcuts: Ctrl + Alt
+ arrow up)
• Deactivate the "Autoscroll" function in the "Playback parameters" dialog ("P"
key).
• Reduce the number of displayed image elements of the VIP window in the dialog
"Object display in virtual projects" (keyboard shortcuts: Shift + Tab).
• Bounce several tracks by mixdown and mute the original tracks.
• Reduce the real-time effects used in the object editor or mixer.
• Do not use plug-ins as they increase the CPU load.
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Mouse Functions and Mouse Modes

"Mouse modes" are your tools for working in the project window of Samplitude Music
Studio. For most tasks the default Universal Mode is sufficient but there are other
mouse modes specifically for editing objects, ranges and automation curves.
A small arrow next to the mouse pointer symbol allows different modes to be
set.
Depending on the mode, the function of mouse-clicks in the project changes. The
current mouse mode is indicated by the appearance of the mouse pointer in the track
window.
Universal mode
This is the preset mouse mode for Samplitude Music Studio. Different functions can
be used depending on the relative position within a track. Right-clicking opens a
context menu.
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The vertical mouse position within the track serves to differentiate between object
handling and area manipulation: In the upper half you can mark areas and set the
playback marker. In the lower half, objects can be selected and moved.
Clicking makes the following mouse functions available to you:
Mouse functions for the upper half of the track:

• Click and drag without existing range or outside of existing range – Stretching a
range
• Click and drag within existing range – Moving range borders
• Shift + click – Stretching a range between play cursor and click position
• Shift + click outside of existing range – Extending range to click position
• Shift + click + drag within existing range – Moving range
• Click: Set play cursor
Note. If you want to keep an existing range, move the play cursor by clicking above
on the timeline, not in the track.
Mouse functions for the lower half of the track:

Selecting objects
• Selects individual objects by clicking
• Multiple objects can be selected by holding down the Ctrl key and clicking on
them.
• All objects between two selected objects can be selected by holding down the
Shift key and clicking on them
• Stretches a rectangle by dragging the mouse pointer to the right. All objects
touched by the lasso are marked (see "Lasso function" (view page 81))
Moving objects
• Moves an object (or a group of objects) by dragging to the desired position
Holding down the Shift key means that when moving onto a different track, the
horizontal position remains the same.
Holding down the K key means that the objects behind the object are also moved
backward together with the object.
Duplicating objects
• Duplicates one or more objects by dragging while holding down the Ctrl key
Holding down the Shift key means that when duplicating the selected objects on
another track, their position remains the same.
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Lasso function
Object lasso: Stretches a rectangle by dragging the mouse pointer to the right. All
objects touched by the lasso are marked and can be moved together.
Curve point lasso: Stretches a rectangle by dragging the mouse pointer to the left
over an activated automation curve. All automation points touched by the lasso are
marked and can be moved together.
Setting object volume and length with the object handles

You can adjust the volume and length of individual objects using the five object
handles.
Middle handle (top): Changes the object volume. The exact value in dB is displayed in
the tooltips.
Side handles (top): Set a fade-in or fade-out for the object.
Lower handles: Sets the start and end position of the object.
Editing automation curves in universal mouse mode

For easy editing of automation curves, simply use universal mouse mode instead of
switching to mouse mode:
Creating and deleting handle points: Double-clicking on the automation curve

creates a new point; double-clicking it again deletes it. Selected points can also be
deleted by pressing the "Del" key.
Selecting handle points: A handle point is selected by simply clicking on it. Select
several points by holding down the Ctrl key when clicking. To select several handle
points in sequence, click the first and last points while holding down the Shift key.
Moving a handle point: Handle points can be moved simply by dragging them with
the mouse pointer.
• If you want to change the vertical positions of the curve points – that is, their
values, not their positions – hold the shift key while moving them.
• Holding the Alt key in addition to this will only move the curve points
horizontally. (So you'll be changing their positions and not their values).
Moving curve segments: If you move the mouse pointer over a curve (the mouse
pointer becomes a double arrow) and drag on the curve, both handles to the right and
left of the mouse are selected and moved together.
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Moving curves in a range: If a range has been selected and you drag on the curve, the
entire curve and all its points will be moved inside the range edges. This creates two
new curve points on the range edges.
Automation points lasso: Clicking and dragging next to the object activates the object
lasso (view page 81) for selecting multiple automation points.
Right-click on a curve point: Numerical editing of the value and definition of the curve
shape
A numerical entry field will appear where you can enter the values you want, or use
the mouse wheel to change the value in 0.1 dB increments. Holding the shift key while
doing this will adjust the value in increments of 0.01 dB. Holding down the "Ctrl" key,
in turn, will change the value 1 dB at a time.
Close the entry field by pressing the Enter key. When the input field is open, you can
jump to the next automation point using the Tab key.
Under Waveform you can define how the curve runs from the selected curve point to
the next. The possible curve shapes correspond to the curves for objects fade in and
out. Using the fader you can adjust the precise settings of the curve form of the fade.
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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.
Setting playback markers

In range mode the start position of the playback marker is set by clicking in the
arranger.
Zoom
Clicking in the arranger and holding down the Z key increases the horizontal zoom
step while right-clicking and holding down the Z key reduces the horizontal zoom
level.
Temporary switch to other mouse modes

Period key "." - Press this button to temporarily switch Samplitude Music Studio to
"Object" mode. You can select and move objects by holding down the key.
Hyphen key "-" - Press this button to switch Samplitude Music Studio temporarily to
"Curve" mode. You can edit volume or panorama curves by holding down the key.
These two special functions ensure you can reach basic editing functions quickly.
Curve mode
This mode is strictly for editing automation curves. It can be opened temporarily from
"Universal/Range" mode by pressing and holding down the hyphen ("-") key.
Set a new curve point on an existing automation curve by clicking. Curve points that
have already been set can be moved easily using drag & drop.
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If you want to simultaneously select several curve points for editing, simply span a
range in the desired length. This is similar to using the object lasso, but for curve
points. You can also select curve points vertically over multiple tracks.
Left mouse button:

Dragging to the right or left: Activates the curve point lasso function for selecting
multiple automation points.
Clicking once on a curve point: Creates a new point; a double-click deletes it again.
Another option for deleting curve points is to select them and press the "Del" key.
Clicking on a point: Selects a point.
Click on a point + "Ctrl": Allows selection of multiple points.
Click on a point + "Shift": Multiple selection of start and end points including all curve
events in between.
Dragging a selected point: Moves the point.
Dragging a selected point + Ctrl: Moves multiple selected points.
Right mouse button: Context menu
Object mode
This mode moves objects and edits the end and start positions, fade in and out
phases, and object volume.
Object mode is especially useful together with range mode which can be accessed
temporarily from within it. Press and hold the period key (.) while using range mode.
When you let it go, Samplitude Music Studio switches back to range mode.
Left mouse button:
Click: Selects objects.

Click + Shift: Selects two objects, including all objects in between the two objects.
Click + Ctrl: Selects multiple objects.
Dragging objects: Moves objects in the set grid steps.
Drag + Shift: Moves an object (or a group of objects) onto a different track; the
Drag + Ctrl: Duplicates one or more objects
Drag + Shift + Ctrl: Duplicates one or more objects while allowing the objects to be
moved up or down the track list without changing the time position.
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Double-click on an object: Opens the object editor.

Lasso function: Clicking next to an object while dragging to the right or left across
multiple objects selects the object's lasso.
Object handles
Mid handles (top): Changes the object volume. The exact value in dB is displayed in
the tooltips.
Side handles (top): Fade in or fade out of the object can be set here.
Object/Curve mode
This mode is a combination of Object mode and Curve mode. In this mode, you can
move objects and edit curves using the left mouse button. The playback marker and
ranges are set in the bar ruler above the first track.
Left mouse button:

Click + Shift: Selects two objects, including all objects in between the two objects.
Click + Ctrl: Selects multiple objects.
Drag + Shift: Moves an object (or a group of objects) onto a different track; the
Drag + Ctrl: Duplicates one or several objects.
Drag + Shift + Ctrl: Duplicates one or more objects onto a different track without
changing the time position.
Double-click on object: This opens the object editor.
Lasso function: Clicking between objects and dragging to the right activates the
object lasso for selecting several objects. Clicking between objects and dragging to
the left activates the point lasso for selecting several volume or panorama points.
Object handles
Mid handles (top): Changes the object volume. The exact value in dB is displayed in
the tooltips.
Side handles (top object edges): Fade in or fade out of the object can be set here.
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Clicking on the curve: Creates a new point; a double-click deletes it. Another option
for deleting curve points is to select them and press the "Del" key.
Clicking on a point: Selects a point.
Clicking on a point + Ctrl: Allows the selection of multiple points.
Dragging a point: Moves the selected point.
Dragging a point + Ctrl: Moves several selected points.
Cut mouse mode

Left mouse button: Click on the object to separate it at the corresponding position. If
the grid is switched on, the scissors tool which appears will move according to the
grid settings.
Left/Right Mode
Use this function to switch to the Left/Right Mode. The right mouse button then
controls object functions and the left mouse button controls range manipulations.
Left mouse button:

Double-click on automation curves: Creates a new curve point; another double-click
on the same curve point deletes it again.
Right mouse button:

Click+Shift: Selects multiple objects.
Drag + Shift: Moves objects onto a different track, the horizontal position remains the
same.
Duplicating objects: Dragging + Ctrl duplicates one or more objects.
Dragging + Shift + Ctrl: Duplicates one or more selected objects on a different track;
the horizontal position remains the same.
Clicking on an automation point: An automation point is selected
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Clicking on an automation point + Shift: Allows multiple selection of automation

points
Dragging selected automation points: Moves selected automation points
Pitch shift/Timestretch mode

In this mode you can quickly and effectively carry out pitch and time adjustments on
the object. The function of the object handles differs from that of the other mouse
modes:
Mid handles – Pitch factor: The object pitch can be changed in the range by +/- 6
semitones. The process used can be selected in the object editor.
Lower right handle – time stretch factor: This handle controls the change in length of
an object through time stretching. The same duration (starting length of the object in
the audio file) can be extended or shortened by time stretching. Select the stretching
mode used in the object editor.
This means that the object handles on the lower right and those in the object center
can be used for directly setting the playback speed and pitch.
The time stretch mouse mode simplifies working with tempo markers in the timeline.
Create BPM markers (tempo changes) by directly clicking the desired playback
position and holding down the Shift key. You can adapt the tempo "in one go" by
moving the mouse vertically.
You can create grid position markers in "Time stretch" mouse mode by clicking the
desired playback position and holding down the "Alt" key. You can move the grid with
a horizontal mouse movement to manipulate the snap grid and adjust it to existing
MIDI or audio objects.
Volume Draw Mode

This mode allows volume automation curves to be drawn with the left mouse button.
Automation draw mode

In order to draw an automation curve or a MIDI controller curve, select "Draw
automation curve" mode. Selected curve points can be deleted using the "Del" key. If
you move individual points using the "Alt" key, the bounds can be lifted using the
neighboring points to the right.
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This mode allows automation curves to be drawn for the selected track (view page
283) using the left mouse button. Activate the automated parameters of the
embedded plug-in beforehand with the keyboard shortcut "Ctrl + Alt" + movement of
the corresponding control element of your plug-in. Now you can draw in the curve of
the selected parameter in the track in Automation Draw mode.
The selected parameter's curve can be seen in the track in the foreground; all other
curves may be displayed as thin lines by selecting this option in the context menu.
This mode also enables panorama curves etc. to be drawn with the left mouse
button. The panorama curve on the respective track can be activated and deactivated
again at any time with the "Pan" button to the left in the track head.
Wave draw mode

If you are in audio editing mode, you can edit the waveform of a file using the pencil
tool. The waveform display shows a suitable zoom level and the mouse pointer
becomes a pencil. Changing the waveform in the wave window is useful if you want to
remove very short impulse disturbances manually.
Scrubbing Mode
This mouse mode enables you to monitor and control the playback speed. In this
case, the project can be played back in a forward or reverse scrubbing direction.
Left mouse button: Clicking the project activates monitoring with control of the
playback speed.
Zoom Mode
Use the right mouse button to zoom out of the project and the left button to zoom
into it.
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Color mode
In Color Mode you can color objects or entire tracks. Click on the arrow next to the
brush symbol first. Next, select the desired color. Now move the mouse over the
objects and tracks in the arranger: the pointer turns into to a paint bucket. Click on the
object or track box you would like to color.
• You may also apply color to multiple objects across different tracks by dragging
the lasso over the desired objects (the lasso appears when you drag the paint
bucket). Release to color all selected objects.
• If you hold down the "Shift" key while doing this, you will color the wave form
instead of the object.
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• If you hold down the "Ctrl" key while doing this, you will color the object
background instead of the object itself.
• If the preset color selection is not sufficient, you can also select your own color
or even create your own personal color palette.
• You also have the option of accessing the color palette for each track by clicking
the color selector on the right edge of the track header. This also allows a new
color to be assigned to a track. If multiple tracks are selected beforehand, the
color selection will apply to all of these.
Left mouse button: Changes the background color of the object
Right mouse button: Changes the wave form color of the object.
Object modes
The object mode determines the behavior of objects while moving.
The various object modes can also be accessed through "Edit" > "Object mode".
Normal Object Mode

In this mode you can move objects and edit the end and start positions, fade in and
out phases, and object volume.
Lock All Audio in Time

This mode locks all objects to stop them from being moved accidentally. Object mode
"Lock all audio in time": Holding down the "Alt" key at the same time temporarily
deactivates the mode for the selected objects.
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Link Curves to Objects

In this mode when you move an object you also move all track automation data
together with the object. If you delete an object, also all automation data will be
deleted.
Link Objects until Pause

The means that the chosen object is selected and moved together with all subsequent
objects on this track. This ensures that the pauses between the objects remain intact
when moving a particular project range.
This function also applies to multiple selected objects arranged along various tracks.
Link One Track (Link Objects on Active Track)

In this mode, all objects on the current track are selected and moved together.
Link All Tracks (Link Objects on All Tracks)

In this mode, all objects appearing in the arrangement are selected and moved
together from the mouse position.
Note: By using the object modes "Connect objects until pause" and "Connect
objects on a track" together, the markers in the top arranger track may also be
moved when objects are moved. Moving objects in the object mode "Group objects"
simultaneously moves the marker independent of the selected track.
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Mixer
You can open the Samplitude Music Studio mixer by going to "Window >
Mixer"(shortcut: "M"). This is largely equivalent to a hardware mixing console. The
integration of the Samplitude Music Studio mixer into the digital environment is still
much more flexible than an analog mixer.
All settings that you make in the mixer are calculated and edited in realtime. This
includes track and master effects, panorama and volume settings, initial assignments
for single tracks/busses as well as initial assignments for the master section.
Operating the mixer

Every VIP track has its corresponding mixer track. However, you can hide any VIP or
mixer track in the track manager.
Mixer - keyboard shortcuts

• Arrow keys: The arrow keys on your keyboard can be used to navigate through
the individual mixer elements and to select the active mixer element (fader,
knob or switch).
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Mixer 93
• Page up/Page down: Changes the value of the active mixer element. Hold the
"Ctrl" button at the same time to change the value in large increments and hold
down the Shift key for smaller increments.
• Home: Sets the mixer element to its preset value. If you press "Home" again, the
element is reset to the last value, providing a simple comparison between the
edited and preset states.
• End: Opens the assigned sub dialog of an element, e. g. the EQ window for one
of the EQ knobs. This function corresponds to clicking on a knob with the right
mouse button.
• Enter: Opens the numeric entry field for a controller. Switches are turned using
the "Enter" key and "Page up/Page down" keys.
• Del: An activated plug-in slot can be reset with the "Del" key.
Mixer operation with mouse and keyboard

Left-click: Selects a control element.
Right-click: Accesses either a context menu for the corresponding control element or
a dialog with additional settings options.
Ctrl + left-click: You can use this shortcut for multi selection.
Shift + left-click: You can select all similar control elements between the previously
selected and the current control element (multi selection).
Ctrl + Shift + left-click on knobs and faders: This keyboard shortcut switches the
behavior of corresponding faders or knobs within a linked group (inverse selection).
Some mouse movements create, for example, opposing movements of two grouped
faders or move panorama faders of two tracks in the opposite direction.
Alt + Left-click: A single control element can be temporarily positioned within a group
by pressing the “Alt” key and operating the element.
Double-click on numbers: Opens the data entry field to allow manual entry of
numeric values.
Double-click on knobs: Resets the control element to its preset (initial) value.
Double-clicking again sets the value back to the altered value again.
Clicking on value range: Clicking on the area below the faders or on the left of knobs
decreases the values. If the mouse button is held down, the value is automatically
reduced until the button is again released or the end of the scale has been reached.
(Keyboard shortcut: Page down).
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Clicking on the area above the faders or on the right of the buttons increases the
value. If the mouse button is held down, the value is automatically increased until the
button is again released or the end of the scale has been reached. (Keyboard shortcut:
Page up).
The level faders can be adjusted very precisely. If you click on them while keeping the
left mouse button pressed and moving the mouse pointer left or right from the fader
and moving the mouse in a vertical plane, you can fine tune the settings. The step size
of the settings become smaller as the mouse pointer is moved further away from the
selected fader.
The step size of the fader movement also becomes smaller if you hold down the
"Shift" key while moving a fader.
Knobs (potentiometers) can be set in two different ways. After clicking on a

potentiometer you can move the mouse around the knob or move the mouse up and
down as for the faders. This makes it possible to reduce the step size value by holding
down the Shift key. The way in which the knobs are controlled can be set in the
"System Options" dialog (keyboard shortcut: Y) under "Keyboard, menu & mouse >
Mouse".
New AUX bus in mixer: A newly added AUX bus is always displayed in the arranger
at the bottom and in the mixer to the right with the highest channel.
Drag & drop in the mixer: You can rearrange individual channel strips in the track
number field or name field via drag & drop. The mouse pointer turns into a hand. The
overall settings of a channel can be transferred to another channel via dragging &
dropping the "FX" button. The equalizer settings can be transferred by dragging &
dropping the "EQ" button.
The plug-in slots offer drag & drop functionality to copy effects to a different track or
between tracks and the master. The effects sequence for VST and DX plug-ins can be
changed within the track via drag & drop.
If all you want to do is move effects between the channels in the mixer instead of
copying them, simply keep the Shift key pressed while dragging & dropping.
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Mixer 95
Channels
Each track in the VIP is sent through a specific mixer channel, i.e. the sound settings
of the respective mixer channel are applied to the objects on the track.
Each channel strip provides the following settings options. Each individual section can
be opened and closed by clicking the corresponding arrow symbol on the left edge of
the mixer:
In (Input): Specifies the audio input for the recording.

Track name: Shows the name of the VIP track. This name can
be edited by double-clicking.
Gain: The mixer adjust the input amplification for the
respective channel.
AUX sends: In this section you can activate and set up the
AUX components for a maximum of 4 different AUX buses
using the slider. The "AUX" buttons 1-4 serve as AUX bypass
buttons, all AUX sliders can be reset by right-clicking.
Inserts: Here you can add effects to the channel strip.
Equalizer: This area makes it possible to influence the
frequency response of the track with a parametric equalizer.
The knobs change the volume of the corresponding frequency
range.
You can numerically edit the gain and frequency of the
corresponding filters.
For fine-tuning, right-click one of the knobs. Samplitude
Music Studio shows the equalizer dialog for you to specify
more exact settings.
Panorama: This adjusts the signal alignment in the stereo
panorama. The settings of the knob have a different effect on
mono and stereo tracks. In a mono track, depending on the
control setting you can place the signal more left or right in
the stereo panorama. In contrast, in stereo tracks, this lets
you control the balance between the left and right channel.
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Track number: Right-clicking a track opens a context menu to

make adjustments to the track settings or to insert a new
track or aux/submix bus.
Link: This button connects the corresponding channel with
the one to the right of it. All level, panorama, gain, AUX send
and equalizer adjustments now affect both channels. The two
panorama controllers are inversely linked, i.e. the more the left
fader is turned to the left, the more the right one moves to the
right. With the keyboard shortcut Ctrl + Shift + left-click on
knobs you can invert the behavior of corresponding panorama
knobs within a linked group.
Automation: This button gives you access to the channel's
automation functions. Detailed information about automation
is available in the chapter "Automation (view page 280)".
"S" (Solo): The solo button mutes all tracks with the
exception of the selected one. Right-clicking enables the
selection of the output device for the track.
"M" (Mute): The mute button mutes the track. Right-clicking
enables the selection of the output device for the track.
Recording: This button activates the track. Right-click to determine the record
mode for your input signal, audio (mono/stereo) or MIDI and to select the
corresponding recording device.
Volume fader: Controls the levels of the tracks.
Monitoring: Clicking the button activates the track's monitoring function, i.e.
transmission of the input signal on the input of the sound card to the output. The
button has priority over the preset "Tape device monitoring” monitoring switch
behavior (view page 469) (automatic monitoring in the stop status and during
the recording). In "manual monitoring”, the monitoring behavior of the tracks is
specified only with these buttons.
More details on monitoring can be found in the chapter "System settings > audio
settings > monitoring settings (view page 467)".
Peak Meter:
FX menu: Here you can open the Track Effects menu. In it you will find presets for
track effects sorted according to the instrument type. You can copy track effect
settings (i.e. the entire combination of equalizers, SoundFX and any plug-ins) as a
whole, and insert them in other tracks. You can save such effect "chains” in their
own preset files in order to use them again in other projects.
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Mixer 97
Track name: Shows the name of the VIP track. Clicking opens the track settings
dialog where you can change the track name, among other things.
Out: Sets the audio line-out for the channel. This can either be a submix bus in the
mixer or a wave out device.
Master section
The master section can be found to the right of the channel strips.
Plug-ins: Here you can use included (essentialFX,

Vintage effects (view page 137) ...) and external
plug-in effects for the master output signal.
Master Effects: "Sound FX" opens an effect rack with

a variety of standard effects.
The MAGIX Mastering Suite is a special effect rack
for use with the mixer master channel. The effects in
the Mastering Suite are used as part of the mastering
process, in which the mixed music piece is given a
final polishing.
Dynamics (Limiter) and Vocoder can be activated as
other master effects.
Master equalizer: Provides access to the 4-band

equalizer for the master signal.
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Stereo enhancer: Edits the stereo image of the

total signal. The slider controls the stereo base width
between mono (0%) unchanged base width (100%,
normal stereo) and sets the maximum base width
("Wide", 200%). StEn opens the stereo enhancer
interface.
Link: This button couples them via the two master
faders and is active as standard. Deactivate it if you
want to change the right and left channel
independent of one another.
Normalize (N): This is the master normalization.

Clicking this button adjusts the output level so that
the loudest parts of the signal reach 0 dB. The
maximum level reached during the last playback
process will serve as the basis during this process
and will be displayed on the peak meter.
Note: If the level display is clicked in the stopped

state, the play cursor will jump to the position
indicated by the level.
Fader: These two faders adjust the master signal.

Reset them to the 0 dB position by double-clicking.
Mix to File/On: The "Mix to File" and "On" buttons make it possible to conduct
a mixdown quickly in realtime and to change your mix during the playback. Just
like it was mixed in the analog studio: The mix is played back and the necessary
controller dragged live onto the mixer.
1. You can specify the name and the storage location of the WAV file with a click
on the "Mix to File" button. As soon as you click on "On", the master output of
the mixer can be written to a wave file during the following playback.
2. Now start playback of the VIP.
3. On playback, any parameter can be changed in order to record any live
adjustments that are made.
4. At the end, stop the playback of the VIP.
Important: Make sure that the "On" button is deactivated if the master signal should
not be mixed into a new file. Otherwise, in each playback process, the WAV file is
written again (thus overwriting the previous mix).
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Mixer 99
The "Mix to File" function does not necessarily need to be used to record mixer
movements during playback. Effect automations can be controlled by the automation
functions, along with AUX buses and volume and panorama curves.
Device/Master Out: Enter the playback device for the entire signal here; this can
also be set in the system/options dialog under "Audio devices".
Global buttons
Some additional buttons for adjusting the global settings of the mixer window and
mixer handling can be found to the right side of the mixer window.
Start Track: If the VIP has many tracks, only a section of the corresponding
mixer channels are generally displayed in the mixer window. The visible
section can be moved using the scroll bar at the bottom of the mixer. Hold
the Shift key down and click on one of the “Start Track” buttons to save the
current section (a left-click is sufficient the first time). You can recall the
previously saved section by clicking again on “Start Track”.
Setup: The mixer setup dialog can be opened by clicking the "Setup" button.
You can select various mixer setups in the preset menu underneath.
Please read the section "Project properties > Mixer Setup" in the "Menu
options" chapter.
MIDI Learn: Opens the hardware controller settings dialog in order to quickly assign
control elements of the mixer.
Resets
Reset (Mono): Resets the entire mixer to its standard settings for mono tracks. This
means that the panorama setting of the tracks are set alternately to the left or to the
right.
Reset (Stereo): Resets the entire mixer to its standard settings for stereo tracks. The
panorama controllers are brought in the mid position in all tracks.
Reset EQ/AUX/Peaks/FX: Various individual functions of the mixer can also be

separately reset.
Snapshots: The snapshot function is particularly useful for comparing various setups.
Thus you can switch between settings without any problem. Hold the “Shift” key
down and click on one of the snapshot buttons to save the complete mixer settings (a
left-click is sufficient the first time). You can recall the previously saved settings by
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clicking again. The naming of snapshots is possible by double-clicking the name field.
The two buttons on the bottom enable you to save and load snapshots. A right-click
on a snapshot opens a context menu where snapshots can be saved, loaded and
deleted.
Solo/Mute: All solo/mute functions can be activated and deactivated globally using
these buttons (S or M).
Bypass: This button switches off all mixer effects globally for comparing settings.
AutoRec: This display indicates recording of automation data such as volume and
panorama on at least one track.
Play/stop: Playback of the VIP can be started and stopped with this button.
Right-clicking opens the transport console.
Hide Tracks/Hide Master: Right of the master volume control, individual sections of
the mixer window can be switched on and off globally.
Phones: Here, you control the volume of the monitoring.
Buses and routing

AUX buses
An AUX bus is a collecting bus combining all signals of the corresponding "AUX
sends" of the individual channels. AUX buses are usually used for controlling
real-time effects via the volume curve. For this purpose, part of the signal of the
desired mixer channel is sent to the AUX bus ("AUX send") and effects are added.
The AUX bus fader represents the "AUX return". This means that the higher the
volume of the AUX bus, the more effects in the mix will be audible.
Hint: The AUX tracks contained in the VIP tracks are usually not objects. They only
provide dynamic effects to other tracks.
Submix buses
A submix bus combines several tracks. It controls the volume, panorama, and effects
settings of all tracks that are “routed” to the submix bus. For example, all drum tracks
(hi-hat track, bass drum track, etc.) can be combined to one submix bus so that the
entire drum kit can be controlled via the volume controller of the submix bus.
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Mixer 101
Working method
• An AUX/a submix bus can be created in the mixer at any time. To insert a
submix bus after all channels, right click on the number of the last channel
shown in the mixer. In the appearing context menu, select "Insert Tracks -> New
submix bus". If the output of several previous channels is now routed through
this bus, the volume of all of these can be controlled centrally through the new
bus. If you have created an AUX bus with "Insert Tracks -> New AUX bus", you
can channel the signals of the previously created AUX sections into the the
newly created AUX bus. AUX buses are also the target for AUX sends with a
lower channel number.
• Right clicking the number of a channel allows the option to select between the
properties "AUX bus", "Submix bus", or even both for the according channel
strip.
• Submix or AUX buses are always stereo buses.
• Submix buses can be fed from tracks with a lower channel number just as a
physical output device.
• Submix and AUX buses can be used for all channel effects, including volume,
panorama automation, and AUX send. You can align your output to output
devices or submix buses with a higher channel number the same way as any
other channel.
• Automation of volume and panning for AUX and submix buses are the same as
for all other channels.
Embedding external effects devices

In order to include external effects devices you require an audio interface with several
in- and outputs, whereas one input/output pair is reserved for the external effects
device.
Routing the signal

• You can loop the signal either as an effect or insert.
• Insert send: Route the channel output directly to the physical output of the card
that is to feed your external device.
• Insert return: Select a mixer channel (insert return channel) which the effects
signal should be sent back to. In the input section of the channel, select the
sound card input connected to the output of the device you want to loop in.
• External send effect: Create an AUX bus that is fed from the corresponding AUX
send from different channels. The output of the AUX bus has to be routed to a
physical output of the sound card. Connect the output of the effects device to
the desired input of the sound card. The sound card input is connected to the
mixer channel by selecting the corresponding input section of the sound card in
the dialog window of the input section of the AUX return channel.
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Tips and tricks

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

Samplitude Music Studio 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?

Effects in Samplitude Music Studio differ in terms of their application and the location
where they are used.
Real-time effects / Virtual effects / Non-destructive effects
(accessible in track editor plug-ins, object editor plug-ins, the track, the "Effects"
menu - in which case a check cannot be placed next to "Process Effects Offline" - or in
the "Insert" section of the mixer)
These effects are calculated during playback or export. The effect settings can be
changed at any time to optimize the sound. Real-time effects differ according to
where they are applied:
Object effects (access via the object editor or via the "effects"): Object effects do not
affect the arranger track, but rather only the individual objects. The advantage to this
is that effects which are only required at a specific point in the project only use up
processing power at that particular point.
Track effects/mixer channel effects (access via the track editor, track header FX
button, or the insert section of the mixer): Track effects always affect the entire audio
output of a track. They are used when software synthesizers serve as audio source,
instead of audio objects.
AUX effects (accessed via the track editor, track header FX button, or the insert
section of the mixer): Aux effects are also track effects, but they are loaded especially
into aux tracks. You receive the audio signal of multiple tracks via the aux controller of
the tracks, which also affects multiple tracks simultaneously.
Master effects (accessed via the master-section in the mixer): Master effects affect
the sum of all audio tracks mixed together.
Internal offline effects/destructive effects
(accessible in the "Effects" menu. A check must be placed next to "Process effects
offline")
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These effects are calculated into the original wave file or a new wave file once. After
this initial calculation, the settings cannot be changed. In contrast to real-time effects,
no additional CPU resources are required during playback of the effect.
Plug-in effects
Along with internal effects, additional effects can also be applied as plug-ins.
Samplitude Music Studio supports plug-ins in the following formats:

• MAGIX Plug-ins: A selection of integrated VST effect plug-ins including
essentialFX (eFX), Vandal SE and am-track SE.
• VST effects (VST FX): These include all external VST effects.
These effects can be accessed through the track editor plug-ins, object editor plug-ins
or in the insert section of the mixer.
Effect slots
Effects are loaded to their location via the effect slots.
Effect slots in the object editor, track editor, mixer and track header
Clicking on the empty insert slot opens the plug-in browser (view page 105), where
you can load a plug-in to the slot. Click on an occupied slot to activate/deactivate the
plug-in. Right-clicking on the slot opens the interface of the plug-in. The arrow next to
the respective insert slot opens a menu with various functions. You can ope the
plug-in browser again to switch out the plug-in or remove it ("No effect"). The
"Plug-ins" button activates or deactivates all effects in the channel. A visual indicator
(*) is displayed for plug-ins that were previously active and are active the next time
"Plug-ins" button is pressed.
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Plug-in browser
The plug-in browser or FX browser allows all real-time effects and plug-ins to be
loaded to the slot at object, track and master levels. It offers centralized access to all
available plug-ins and instruments.
Full text search: After opening the FX browser, the input field is selected for the
full text search. Simply start typing and enter the name or part of the name of the
plug-in you're looking for. The search function filters the plug-in list below and
selects the first search result. You can use the enter key to load the selected
plug-in to the track slot.
Plug-in list: All plug-ins in the list are listed in a tree structure according to
setting under 4. Using the arrow keys you can move through the list to select a
plug-in. Ctrl + Arrow left collapses the entire tree and Ctrl + Arrow right opens
up the entire tree.
Instruments/Effects: The display can switch between instruments and effects.
Instruments are only used at track level and can therefore only appear there.
Path/Manufacturer/Category: The tree structure can be sorted according to
storage location, plug-in manufacturer or plug-in category.
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Last used: This view lists the previously used plug-ins.

Favorites: You can mark your favorite plug-ins with a star. If the "Favorites"
button is activated above, only your favorite plug-ins will display in the list.
Double-click on "New folder" to create folders and double-click on the name of
the folder to rename it. Drag & drop to sort your favorites into folders – you can
also move a folder within another folder. Favorites are accessible via the plug-in
slot menu and the folders are displayed there as sub-menus.
Here you can see whether a plug-in is VST2 or VST3, and whether it's a 32-bit or
64-bit version.
Remove/Replace: These buttons are only active if you open the FX browser by
clicking an arrow button on an occupied slot. With "Remove" you can remove a
loaded plug-in, with "Replace" the plug-in is replaced by the plug-in selected in
the list.
Add: Loads the selected plug-in and closes the plug-in browser.
Effects rack
One or multiple Samplitude effects may be loaded in the effect rack. Open the rack via
the FX buttons in the track editor or track header of a VIP track, in the object editor, or
in the mixer by clicking the inserts buttons in the channels or the master effects in
the master. Even when inserting new effects via the slots (mixer, object editor, track
header, etc.) or the effects menu, the rack will also open.
Clicking this button lets you insert effects. A menu opens that display the
available effects at this position (view page 103). After selection of the effect, it
is immediately active, and the associated interface is displayed on the right.
You can tell an effect is active if the on/off button is lit. You can also use this
button to temporarily bypass effects without losing their settings. The
corresponding button at the top deactivates the entire rack.
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This button removes effects from the rack. Since deactivated effects don't use up
any computing power, this option is used mostly for maintaining an overview.
The effects unit interfaces are controlled by using slider controls, knobs and buttons.
The individual effect descriptions provide more detailed information. Several effects
contain two special features:
Sensor fields: Sensor fields allow you to control two

parameters at the same time by moving a circle
around on a flat surface. The horizontal and vertical
positions correspond to the parameters.
A/B: If you have selected a preset for the effect and

make manual changes to it, you can compare the
original preset sound with the new settings using the
A/B button.
Effects presets
Presets are useful because they prevent you from having to change effects settings
every time you use an effect. If you need to find fitting setting quickly, presets can be
very helpful.
Presets for individual effects

Each rack effect has a range of presets that can be easily loaded by clicking on them.
You can scroll through the list with the mouse wheel. Some lists also contain
subfolders. Each list contains the “Reset” subfolder, which in turn contains the entries
“Standard setting” and “Settings before opening the dialog.” You can use these to
completely reset the effect or reset it to its last value.
The list can be hidden using the arrow to the right.
Tip: Presets often contain more effect parameters than are normally accessible
through the control elements of each effect. It's worth spending some time turning
the knobs and trying out the available presets.
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Track effect settings

The context menu opens by right clicking the FX button in the track editor, header, or
mixer. You can copy, reset, save, or load current track effect settings here. There are
also a wide range of presets available, which offer you possible effect combinations
and instruments for various applications.
The track effect settings are .TRK files.
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Compressor
The compressor is an automated dynamic volume control. It limits overall dynamics,

maintains the volume of loud passages so they stay loud, and increases the volume of
low passages.
Processing is carried out using a "look-ahead" method, similar to high-quality studio

appliances. There are no peak overmodulations or other artifacts as the algorithm can
never be 'surprised' by sudden level peaks.
Threshold: Sets the volume threshold. Compression will be applied above and below
the threshold.
Ratio: This parameter controls the amount of compression.
Attack: Sets the algorithm's reaction speed to increasing sound levels. Short attack
times can create an undesirable "pumping" sound, as the volume is quickly reduced or
increased correspondingly.
Release: Sets the algorithm's reaction speed to falling sound levels.
Gain: The gain controller amplifies the compressed signal.
A/B: If you have selected a preset for the effect and make manual changes to it, you
can compare the original preset sound with the new settings using the A/B button.
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Equalizer (graphic)
The 10-band equalizer subdivides the frequency spectrum into ten areas (bands) and
equips them with separate volume controls. This way it is possible to create many
impressive effects, from a simple boosting of the bass to complete distortion. If low
frequencies are boosted too much, the overall sound level is heavily increased, which
may lead to distortion. In this event, adjust the overall volume downward by using the
"master volume" control situated at the bottom center of the effects rack.
Bullets 1-10: Each of the 10 frequency ranges can be separately made louder or softer
with the 10 volume controllers.
A/B: If you have selected a preset for the effect and make manual changes to it later,
you can compare the original preset sound with the new settings by using the A/B
button.
Link: Using this feature randomly combines the frequency ranges with each other in
order to avoid artificial-sounding overemphasis of an individual frequency range.
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Parametric EQ
The parametric equalizer has six filter bands that you can use to shape 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 boosting or cutting specific frequency
ranges (low Q value) to give it more "depth" (lower mids 200-600 Hz) or more "air"
(Highs 10 Khz). You can also decrease very specific frequencies (high Q-value) to
remove unwanted noise.
Sensor field: The sensor field displays the resulting frequency response of the
equalizer. The frequency is displayed horizontally and the increase or decrease
of the respective frequency is displayed vertically.
Bullets 1-6 symbolize the six frequency bands. You can move them around with
the mouse until you find the frequency response you want. The bandwidth (Q
value) can be adjusted using the mouse wheel.
The faders under the filter graphic display the parameters of the currently
selected band. You can use the knobs to set the values for each band more
precisely:
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Frequency: The center frequency of the individual bands can be set between 10
Hz and 24 kHz with the frequency controller. Freely choosing the frequency
enables multiple filters to be set to the same frequency in order to have a greater
effect.
Gain: This controller allows you to raise or lower the filter. Setting the controller
to 0 deactivates the frequency band so it does not use any processing time.
Q factor: Here the Q factor (bandwidth) of the individual filters can be set.
Band 1 and 6 are special in that they can be operated using three different filter
curves.
Peaking: This is the same bell shape used for the center bands.
Shelving (basic setting): Starting from the set frequency, there is a

gentle increase or decrease in the frequencies.
High-pass and low-pass: Starting from the set frequency, all higher and
lower frequencies are filtered out.
It is possible to control the output level of the equalizer with the Peak Meter, and
with the output amplification beside it, you can balance level changes resulting
from EQ adjustments.
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Echo
This effect creates an echo. This results in the signal being played back with a delay.
Since the output signal is sent back to the input of the effect line, the echo repetitions
are more or less long.
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 strength of the echo. This determines how long the echoes
are. If you turn the dial completely to the left, there is no echo at all; if you turn it
completely to the right, there are seemingly endless repetitions.
Mix: This fader determines how much of the unprocessed original sound (dry signal)
is subjected to the echo (wet signal).
Presets: Presets serve different purposes. In the upper part of the list there are presets
that allow the delay time to be set using musical units. This is very useful for adding
beat-synced echo to rhythmic material such as drum loops or arpeggios. The other
settings can be used for special effects involving very short or very long delay times,
e.g. "metallic" or "robotic" sounds. "Simple Echo" can be used to set the echo
repetitions between 0 and 4 using the feedback slider.
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Stereo Enhancer
With the stereo processor, you can determine the positioning of the audio material in
the stereo panorama. If the stereo recordings sound unfocused and undifferentiated,
an extension of the stereo base-width can often provide better transparency.
Use the maximize feature to move the echo (e.g. into the foreground) and improve
the stereo picture.
Volume controller: Adjusts the volume of every single channel, thereby adjusting
the entire panorama. The reduction of left and right levels is displayed under the
control buttons.
Panorama: 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.
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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 the
mono compatibility. This means that recordings edited this way sound 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.
Multiband: This can be used to switch Stereo FX to Multiband mode. Stereo
editing only applies to the middle frequency, the bass and highs remain
unchanged.
Stereo meter (correlation gauge): This provides a graphical display of the phasing
of the audio signal. You can use it to check the alignment of the signal in the
stereo panorama and the effect of the stereo enhancer. To maintain
mono-compatibility, the "cloud" shown should always be higher than it is wide.
Reverb
The reverb effect device offers realistic reverb algorithms to add more room depth to
your recording. You can control the sound of the reverb effect using the following
parameters:
Room size: Defines the size of the room (or the system for the plate and spring). The
larger a room, the longer the sound travels between walls or objects. With some low
"size" settings you can also reduce the distance between the individual reflections.
This allows resonance to develop (accentuated frequency ranges), which can sound
oppressive if the reverb sustain is too long.
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Tone quality: You may influence the sound characteristics of the effect within certain
limits. The effect of this controller depends on the used preset. In rooms, "tone
quality" controls the dampening of the highs in the reverb (from dark to bright) as
well as pre-filtering of the signal. With plate and spring presets, this fader determines
the dampening of the basses as well.
Reverberation time: With this knob you can adjust the reverberation time and
determine how much of it will be absorbed and, simultaneously, the reverb's decay.
Pre-delay: The reverb portion ("Mix") and the early reflections play a big role in the
spatial perception of the sound. Here the time required for the perception of the early
reflection is know as "Pre-delay". For sound sources that are close, the reverb portion
is usually low and the early reflections reach the ear noticeably later than the direct
sound. In contrast, sound sources that are far away usually have a high reverb portion
and the early reflections reach the ear almost simultaneously with the direct sound.
The length of the pre-delay can be used to influence the perceived "distance" between
the sound source and the listener.
Mix: This controller sets the mix ratio between the original and the edited signal. For
rooms you can move a signal further into the room by increasing the effect share.
Presets: The presets contain basic settings for different room algorithms which can be
varied with the parameters above. The presets need to be used in order to achieve all
the reverb effect variations.
Fundamentals
Our everyday experience shows that not every room matches every instrument. Thus
we have designed “virtual” rooms. However, it still remains important to find the
correct parameters. Here are some examples of parameters that are decisive for the
sound impression in real and virtual rooms:
• Size of room: The larger a room, the longer the sound travels between walls or
objects. Our brain “calculates” the size from the time difference. The size
impression is mainly determined from so-called first reflections and the discreet
echo. We don’t notice a (diffused) reverb.
• The reverberation time is mainly influenced by the composition of the walls,
ceilings and floors. This reverb time is highly frequency-dependent. For instance,
the highs and mids are dampened more in rooms with curtains, carpets,
furniture and some corners than in an empty and tiled room.
• The density of the reflection: The sequence of the first reflection is particularly
important. A room with many individually recognizable echoes feels alive,
especially if they are quite far apart.
• The Diffusion: Simple reverb machines do not take into account that reflections
become more and more complex as they develop. They blur the first echoes at
the beginning, which sounds artificial and “two-dimensional” for many signals.
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Our reverb effect works like a real room instead where individual echoes can still
be heard at the beginning of the reverb but then reflect amongst each other
more and more until they disappear in the signal sustain as a so-called “diffused
hiss.”
The 24 presets include many rooms that were designed for certain instruments and
applications and whose internal parameters have been optimized for these
applications. However, you can influence most of the characteristics of the room
using the provided sliders.
In addition to the rooms we have modeled two device types in the reverb effect that
allow you to create an artificial reverb for a longer time: Plate Reverb and Spring
Reverb.
Plate Reverb: A plate reverb consists of a large metal plate (often 0.5 to 1m2 thick or
more), that is put into motion by a magnet and coil system (similar to a loudspeaker).
On the reverb plate so-called “taps” are positioned at different locations. These are
pick-ups comparable to those on a guitar. Reverb plates have a very dense sound
(high diffusion); no direct echo can be heard. They are therefore ideal for percussive
metal. With vocals a plate reverb generates a smooth “wellness effect.”
Spring Reverb: You probably remember Spring Reverb from guitar and keyboard
amps, particularly older ones. At the bottom of these amps a unit consisting of two to
four spirals is mounted on a vibration-free carriage. As with the reverb plate it uses
systems for transforming the electric signal into a mechanical one. There are different
designs and sizes of spring reverb; however, they all have the same quite peculiar
sound: the typical “bloing” sound when the springs are moved, similar to splashing.
When the reverb dies away the basic pitch of the spring(s) can usually be heard quite
clearly. Furthermore, the frequency range is considerably limited due to the losses in
the spirals and in the used pick-up/transmitter. Despite this, the sound is special and
some of the latest music styles (e.g. dub & reggae) would hardly be possible without
spring reverb.
Presets
The presets are primarily sorted by instruments; however, you can (and should)
choose which preset you want to use for which instrument. The rooms in particular
have completely different characteristics which are noticeable for some and more
subtle for others. Generally we recommend reverb with many individually audible
reflections and slight diffusions for dense projects. On the other hand you can use
Plate Reverb for minimally arranged songs in order to create a dense atmosphere.
However, you should avoid adding reverb to too many instruments. Sometimes some
extra mixing is sufficient to move an instrument slightly away from the total sound. It
is often recommendable to adjust the sustain to the song tempo, i.e. the faster the
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track, the shorter the reverb. Otherwise the sound easily sounds washed-out and
indifferent.
Here is a list of the presets and their characteristics:
Drums and percussion

Drums: Studio A: small room, high diffusion, e.g. for percussion instruments
Drums: Studio B: slightly larger & more lively than A, medium diffusion, distinct first
reflections, signals seem closer than A
Drums: Medium-sized room: medium-sized room, moderate reverb, medium
diffusion, relatively few first reflections
Drums: empty hall: medium-sized empty hall, medium diffusion
Drums: Snare reverb plate A: plate reverb, high diffusion, relatively bright sound
character, typical hissing of a reverb plate.
Drums: Snare reverb plate B: reverb plate, high diffusion, slight dampening of highs &
basses, sound moves more to mids with time, stereo panorama narrower than for A
Vocals
Voice: main hall A: standard hall, e.g. for monitoring/recording, medium-sized room,
medium diffusion, minimum sustain time
Voice: main hall B: like A, but as a small hall (longer delay times than A), distinct
reflection pattern, longer reverb time
Voice: early reflections: medium-sized room, low reverberation share, very distinct
early reflection pattern, e.g. for spreading vocals
Voice: warmer room: small, intimate room, dark character
Voice: studio reverb plate A: reverb plate with medium diffusion, slight dark
adjustment, comprehensive sound characteristics
Voice: studio reverb plate B: Like A, but more diffusion and bright to medium sound
adjustment, slight vintage character
Voice: large hall: large hall, medium diffusion, relatively long reverb time
Voice: cathedral: delayed attack, slight diffusion, complex echo pattern, some hard
reflections, dark voice adjustment, long reverb sustain
Guitar
Guitar: Spring reverb mono A: spring reverb simulation, typical oscillating sound of
the springs, limited frequency range
Guitar: Spring reverb mono B: Like A, slightly broader frequency range, greater
diffusion
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Guitar: Spring hall stereo A: similar to spring hall mono A, but one
spring/transmission system per channel (L/R)As a result of the mechanical
interlinking of the systems, the reverberations meet at the middle of the stereo field
Guitar: Spring reverb stereo B: Like stereo A, slightly broader frequency range,
greater diffusion
Keys (Piano, Synthesizer)

Keys: Stage reverb: Larger room with stage, high amount of complex first reflections,
slightly delayed attack, medium reverberation
Keys: piano reverb: concert hall, long reverberation, medium diffusion, minimum dark
adjustment
Aux (to be used as a send effect in a mixer FX track)

Aux: Room: Standard room for the aux path, mix 100%, medium-sized, medium
diffusion, some distinct first reflections, low reverberation
Aux: Hall: Medium-sized hall (100% wet), medium diffusion, short reverberation
Aux: Reverb plate: Reverb plate (100% wet), high diffusion, light bright adjustment
Aux: Spring reverb: Reverb spring (100% wet), stereo, high diffusion, slightly medium
sound characteristics
Vocoder
The vocoder works as follows: Carrier material (e.g. a string instrument pad or synth
chord) is affected by a modulator (e.g. language or singing) to give the impression
that the pad sound is “speaking” or “singing”. In addition, rhythmic pads can be
created by modulating an area with a drum loop.
This works by transmitting the modulator's frequency characteristics (language) to

the carrier (chord).
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Select the carrier signal for the vocoder here. Click the arrow button to select one
of the predefined carrier samples in the list field. The carrier sample can be
previewed via the small "Play" button. Another carrier sample can be loaded via
the folder icon.
By clicking the double-arrow button you can swap carrier and modulator signal.
The object's audio signal will then be modulated by the selected sample or track
signal.
Set carrier signal volume with the "Carrier input" in the middle.
Material containing all frequencies in equal amounts, such as strings, orchestra

chords, broad synthesizer pads, hissing or wind noise, are particularly suitable for
carrier samples. If this is not enough, additional white noise can be mixed into the
carrier signal with the "Carrier Noise" fader to improve speech clarity.
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Filter graphic: Here you can draw any frequency progression you want with the
red line in order to optimize the vocoder output. For example, you can get rid of
disruptive bass frequencies by adjusting the curve downward in the left area. Or
you can boost weak highs by adjusting the curve upward in the right area. The
yellow line shows the frequency curve without filters, the blue line the frequency
curve with filters.
Dynamic Reduction: Influences the dynamics of the modulator signal to reduce

the modulation depth of the vocoder. This prevents two often undesired side
effects of modulation. On the one hand the volume change of the modulator
signal is added to the output signal in a slightly more moderate form, which may
improve the power of the Vocoder voice. On the other hand, the low-level
portions of the modulator signal are ignored in order to prevent modulation of the
carrier by breathing or noise.
Dynamic Release: Influences the speed of adjusting the vocoder to the modulator
spectrum. As this value increases the vocoder starts to follow the modulator more
slowly resulting in softer, reverberated sound changes in the carriers.
In the Mixer you can also mix parts of the carrier and modulator signal to the
vocoder output signal. If the output signal of a track is used as a carrier in the
vocoder, this track will first be muted. In the vocoder mixer you can then make it
audible again.
Orange Vocoder ME
The Orange Vocoder MAGIX Edition from zynaptiq is a resurrected form of the
legendary Prosoniq Orange Vocoder and is available exclusively for MAGIX as a
limited ME version for PC. What you get is the best-sounding software emulation of
an analog vocoder available on the market.
A vocoder analyzes the frequency components of an input signal (modulator) and

uses this to modulate a carrier signal. What this means is that the sound of the carrier
signal is filtered using a number of bandpass filters so that the frequencies are either
strengthened or weakened according to the frequency distribution in the modulator.
For example, you could use a human voice as a modulator signal in order to make a
synthesizer (the carrier signal) talk. Additionally, rhythmic pads can be created by
modulating an area with a drum loop.
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In the Orange Vocoder, the carrier signal is generated with a synthesizer. You can set
the notes for the carrier signal via the keyboard (1). The x to the left (2) deactivates all
the keys. +12 (3) makes the synthesizer sound an octave higher.
The drop-down menu in the center (4) can be used to select a preset for the sound of
the vocoder. Eight presets come included. You can purchase an additional two sets
containing 25 presets each in the MAGIX Shop.
The sound of the vocoder can be further refined using chorus (5) and reverb (6).
Tip: You can play different chords with the Orange Vocoder ME by loading it as an
object effect on your vocal sample. Then, split the object at the chord changes and
use the vocoder keyboard to set the chords you want in each object.
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MAGIX Mastering Suite

MAGIX Mastering Suite is a special effects rack for use with the mixer master
channel. The effects in the Mastering Suite are used as part of the mastering process,
in which the mixed music piece is given a final polishing.
The On/Off switches switch the effects on and off individually or the Mastering
Suite as a whole.
Automastering
The Auto Mastering feature enables you to automatically apply the sound of typical
musical styles from the past and present (e.g. 70s disco, 90s club, jazz etc.). The
sound of the source material is analyzed and appropriate equalizer and dynamic
effects are applied.
Now choose the musical style.
Samplitude Music Studio will analyze the audio material in the project.
The Auto Mastering results will be played back immediately. You can now click
through the different styles to compare them.
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Selecting "Original" allows you to compare the edited version with the original.
You can also create your own styles. Select any type of audio file as a template in
"Load & Analyze" if you want to emulate its sound. Formats such as MP3 or OGG are
converted beforehand into WAV format. After the analysis, your new style is
available in the selection list.
Stereo processor / parametric EQ

The stereo processor (view page 113) and the parametric EQ (view page 110) in the
Mastering Suite are identical to those in the FX rack for objects, tracks and the
master.
MultiMax
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MultiMax is a compressor with three independent frequency bands. The dynamics

editing is carried out separately for each band.
The advantage of a multi-band compressor in comparison to a “normal” compressor

is that the “damping” tendency and other disturbing side effects are dramatically
reduced during dynamics editing. For instance, it can prevent a bass level peak from
“dragging down” the entire signal.
Multiband technology also lets you specifically edit individual frequency ranges.
Setting the frequency bands: The settings of the frequency bands are changed
directly via the graphic. Simply click on the separator lines and move them.
Bass/mid/high: These knob controllers define the level of compression for each
frequency band.
Link bands: When this button 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.
Presets: In MultiMax, you can use the presets to open 2 further special functions:
• Cassette NR-B decoder: Samplitude Music Studio simulates decoding of Dolby B
+ C noise reduction if a Dolby player is not available. Cassettes recorded with
Dolby B or C sound more muffled and slurry if played back without
corresponding Dolby.
• De-Esser: These special presets help to remove overstressed hissing sounds
from speech recordings.
Analogue Modelling Suite AM-Track SE
AM-Track SE is a purely analog compressor simulation. The tape simulation

contained in the full version (Analog Modeling Suite AM-Track) is not included. This
is used primarily for so-called “tracking,” i.e. editing individual channel strips or
subgroup signals. The compression takes place in the “vintage” setting, whereas an
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additional “vca” setting is available in the full version. The plug-in recognizes the
number of incoming signals and, if necessary, edits the signal in mono.
Am-Track SE limitations compared to the full version:

• No tape simulation
• No “VCA” mode in the compressor, only “Vintage” operation can be
implemented along with the presets.
• Some expert compression settings (view page 131) are integrated in the
interface, parameters: “ahead” (pre-delay) and “adapt release” (switchable
release automation) are missing.
(Release automation is always activated in the SE version which corresponds to the

set value of the mid position of the 'capacity' controller.)
Below, the full version of AM-Track is explained and its features compared to
“normal” software compressors and the available parameters.
Compressor Section
Two completely different compressors work in AM-Track, each with their own
independent control and sound methods.
You may be wondering why we mention sound when talking about a compressor,
since compressors merely relate to control actions. This isn't as simple as the idea of
“making loud quiet.”
Various designs, algorithms, and topologies for solving the actual problem (dynamic
reduction), which all have their own unique character, have come from the history of
analog and digital signal processing. For example, pre-filtering in the detector circle
and the type of detection have a large influence on the audio results. Plenty of
hardware compressors have the same established VCAs (voltage controlled
amplifier), but they all sound different and influence a signal, an entire production (or
even a genre) with their “signature sound.” We intend to provide you with acoustic
variation via these dynamic tools in the digital world.
The two operating modes of the AM-Track may be selected using the switch
“vca/vintage":
VINTAGE mode
This mode appears as a preset on start-up of the AM-track. It has fewer
parameters than the VCA mode and has audibly less of a “surgical” quality,
but more of a trimmed sound character.
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"Vintage” mode simulates a circuit design from the time when VCAs were not yet or
could not be fully implemented. Instead, a FET (field effect transistor) was often used
as a controllable resistor. Together with constant resistance at the circuit's gate, this
forms a so-called voltage splitter, which is to say it forms a resistance change at the
FET (caused by a change in voltage at its gate) which results in a damping of the input
signal. A very simple detector circuit is used to activate the FET which obtains its
signal from the output of the compressor (behind the whole control circuit). For older
designs, this feedback loop provides a stabilization of the work parameters and is one
of the decisive factors for the often quoted soft and musical compression of
exponents of this design, e.g. the Urei 1176 or 1178. The control circuit sees the layout
of its previous work and oscillates to the signal.
The disadvantage is that the set time parameters for attack and release depend
somewhat on the program. In some cases, it's actually advantageous for vocals,
bass, or even drums (e.g. subgroup, ambience, mics). You should rely completely on
your ear for this.
Because of the feedback topology, the maximum gain reduction is usually lower
than VCA devices with forwards detection, usually 20 dB. This way, there is
almost always a level matching amplifier in the feedback loop. The “drive” controller
of the AM-Track regulates the feedback amplification here. This can be so high that
the detector may become saturated by a loud input signal, resulting in signal peaks
being swallowed up. Simultaneously, the setting becomes more intense as quieter
signals also start reaching the threshold. You can creatively implement this according
to the situation to create complex signal compression which doesn't much sound like
dynamic compression due to the transients that slip through and release at high
“drive” levels.
The stated release of the signal, technically known as a ratio reduction, is also caused
by the centerpiece of the circuitry: the FET. Level reduction works entirely as a
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function of its characteristic curve, resulting from the non-linear behavior of this
element. The FET virtually comprises part of the input resistance of the compressor
circuit. As a result, the input/output response curve does not create a plateau when
“drive” is high, which would be the case for a reference line featuring a high ratio or
even limiting. A saturated FET may no longer complete the job it was marked out to
do, i.e. to keep its output at low Ohmic values. Once again, signal peaks pass through
the entire circuit unaffected, but the average level could be severely compressed.
From a technical point of view, the control process appears incomplete, but sounds
pleasantly open and airy depending on its application.
The entire detection is dependent on the spectral balance in the virtual AM-track
circuit, the highs are automatically compressed less so that even extreme settings
sound less flat and more lively.
It's the same story with deep bass. On closer listening, you'll find that with strong
compression the signal still retains its power which would otherwise be lost if the
envelope were to follow shortly afterwards.
"Vintage” mode has another feature to offer: At the output of the compressor in the
signal path, an emulation of a transformer-coupled matching-level amplifier can be
found. This contributes to some subtle, non-linear distortions at high levels, but is
very much frequency-dependent.
VCA Mode
In VCA mode, the parameter selection and the circuitry design
correspond to a modern compressor with a VCA element as the control
circuit and a forward automatic gain control in the detector section
("feed-forward design,” i.e. the controlling signal for level reduction is
taken from the input signal).
The typical basic sound for this category is accurate, largely neutral and, in relation to
the adjustable parameters, easily predictable.
In VCA mode, the control signal is accessed at the input where it firstly executes a
controllable low-cut (which may be set up via “detector hp freq” in “Expert” mode).
The filter makes sure that deep-frequency signals have less influence on the
adjustment settings; this is a popular trick for more power, e.g., when using drums in a
sub-group.
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The filtered signal then arrives at the detector. With the forward gain control,
previously set parameters apply fully and affect the adjustment settings immediately.
In contrast to this, there is a “feedback” method which provides a second compressor

mode.
Compression Parameters
Vintage Mode
In this mode, you can intuitively (by ear) use the dynamic editing features with just
three knobs. Do whatever you want, but keep in mind: less is sometimes more...
• Drive: You can use the “drive” potentiometer to control the amplification factor
in the feedback loop, i.e. the signal strength which the detection circuit
calculates. Furthermore, the internal “ratio” changes within a limit, the more
“drive” there is, the higher the compression ratio.
• Attack and release: The same basic conditions as VCA mode apply here.
However, not only do you change the actual control response time after
detection, but the “temporal window” in the detector must be adjusted as well.
Additionally, the feedback method does cause a certain amount of
unpredictability. You should expect less control over the device in this mode, but
more leniency on its part.
VCA Mode
The regular set of parameters of dynamic compressors is available in this mode:
• Threshold: The threshold above which dynamic reduction begins.
• Check the threshold display if necessary (thr): If the input signal reaches the set
threshold, the blue dash will move around the arrow symbols. If this dash moves
upwards, the threshold is below the average level and compression is active.
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Inversely, if the dash moves below the marking, the input signal becomes too
quiet to be able to reach the threshold; compression will be applied.
• Ratio: This ratio (1:n) specifies by which factor the signal should be reduced
once the threshold has been reached. For example, if the threshold is set to -20
dB and the ratio to 1:4, an input signal of -10 dB will only be amplified by 2.5 dB
(10 dB : 4 = 2.5 dB).
• Attack: This is the response time, e.g. how long the project takes to execute the
required level reduction. Short attack times intercept level peaks, and longer
ones let them through unimpeded (compression only starts past this value).
• Release: This is the time allocated to the circuit to reach the normal
amplification factor.
Note on attack & release: In general, short attacks are used for moderate
compression and making the transient response softer; longer times retain the “bite”
of a specific instrument at larger compression rates or make the sound a bit
snappier. With more difficult sources, like a very dynamic vocal track (ballads), for
example, you can use a longer attack so that the project runs more smoothly and
quietly; the release time may be trimmed audibly to match the pauses or the song
speed.
Shorter release time may be used for modern, aggressive “close up” vocals, e.g.
when breathing sounds are an important stylistic device and the voice should sound
very full and compact.
• Knee: Use this parameter to specify the shape of the characteristic around the
threshold. A “hard knee” means that the transition of 1:1 amplification for level
reduction occurs abruptly; a “soft knee” on the other hand starts much lower
than the threshold and moves the characteristic softly into the reduction. A
“hard” setting is useful for effect-filled, acoustic compression, e.g. individual
drum tracks. A softer setting is useful for complex and sensitive sources like
guitars, pianos, or vocals. The more complex the signal, the easier it will be to
notice a difference. For less sensitive sources, this parameter is usually less
important. Note that for “soft knee” settings, the “threshold” value will need to
be re-adjusted, since the compression starts at a much lower level.
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Compression Expert Settings

Of course, you can efficiently compress a lot of data with AM-Track without having to
press the “Expert” button or try out additional options. However, we have added a few
“handy” parameters behind the front panel. This applies equally to both compression
modes.
• Look ahead: AM-Track is always ahead of the signal. You can specify how many
milliseconds you want to “look ahead.” The audio signal path is delayed
according to the signal route so that the detection circuit is fed first with the
input signal (so-called “Look-ahead delay"). You can increase the attack time
and still avoid fast peaks. The latency compensation in the host program ensures
that other tracks in the project are adjusted and that no time delay occurs. For
percussive signals, you can even set the delay all the way to “0.”
• Detector hp filter: This high-cut filter is positioned before the two compressors'
detection circuit. You can use it to specifically exclude basses and mids from
these rules. Complex signals with bass and hi information like a subgroup or
complete mixdown produce fewer “Pumping” artifacts. This is because
low-frequency signals feature the most power and therefore always trigger
regulation and modulate other frequency ranges in the volume
• Auto makeup gain: Normally, you have to continuously adjust level reduction to
generate “compression” at the same maximum level. This is done by activating
auto makeup gain. The volume difference expected from the set working
parameters is determined and applied as an output factor after master
regulation. If you prefer to adjust the “classic” level reduction and amplification
manually, you can deactivate this function.
• Adaptive release: This is “semi-automatic,” i.e. you can roughly adjust the
release time, and AM-Track reduces it according to the current signal power
from “a little (1%)” to “Considerably slower (100%).” In “Vintage” mode, this
regulation method is particularly intense, since it affects the feedback loop
process. For instance, if you are editing vocal tracks or dense, complex material,
it can sound “calmer” or more “musical” if adaptive release is activated.
• Capacity: Adjusting the “capacity” controller sets the time response of the
“adaptive release.” The greater the capacity, the more sluggish the release
adjustment. You can therefore influence larger parts of the compensation
response. For instance, if you want to use vocals that have been “moved
forward,” you should use a short release time (maybe 80-100 ms) and a greater
value for semi-automatic (e.g. 80). Vice versa, you can reduce automatic feed
by switching the relation (smaller capacity, generally greater release time).
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• Comp mix: Parallel compression is a popular “studio trick,” particularly with

complex material. Adding the original signal retains the transients and spectral
balance of the source. You can add compression by turning the mix controller. A
mixed signal is particularly discreet, more transparent, and less “squishy” with
vocals, whereby the compressed portion usually has a higher level reduction
than without adding the original.
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.
Quick start via preset selection

Would you like to know about everything that's possible with Vandal SE? Play it for
yourself or use some of the presets. These are available via the list in the upper edge
of the interface.
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A preset includes all settings for the main elements of Vandal SE: Stomps, amp
settings, cabinet simulation, and studio effects.
Tuner
The best amp or the best simulation is useless if the guitar is out of tune. VANDAL
offers its own chromatic tuning device for this. You can use it like any analog device: It
automatically displays the note that has been struck (in octave) and the display
visualizes deviations (in cents).
The following describes the major components of VANDAL. The stations are
described according to their position in the signal chain.
Input
The station that you will most likely want to activate first is the input controller. Just
like with a genuine guitar or bass setup, it's important to ensure the highest possible
input level, in order to work optimally. This is even more important for distorted
sounds and natural high-gain playing styles. Use metering for this, too.
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As required, 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 on classic gates too
hard, but rather regulates them finely via the signal energy beginning at the highs
(where noise is most audible).
Stomp boxes
The real world has produced a series of effect devices popular with guitarists and
bassists in the "stomp box" format. We've also included a rich palette of these
devices. Vandal SE includes four "stomp slots" that can be equipped with effects from
the list. The signal flow within this chain runs from left to right. Since all of the
controls are self-explanatory, we won't describe them here.
Vandal - Amplifier
Vandal SE basically offers 2 different amplifiers: Guitar Amp and Bass Amp. The
amplifier type depends on the selected preset.
During development, a large selection of famous amplifier brands and models were
not included. To guarantee that you are nevertheless able to get a number of different
sound characteristics out of your Vandal SE amp, the amplifiers are set up variably.
Internally, circuit designs work absolutely the same as the real devices. In several
ways, however, Vandal SE goes in its own direction in terms of the sound it offers.
Guitar amp
The Vandal SE guitar amp offers three different pre-amp modes and two switchable
end stage models. These basic configurations differ according to the selected preset.
The guitar amp is set up with three channels. These may be set up with the pre and
post gain controllers per channel (Clean, Crunch, and Lead) for the desired mix ratio.
Don't worry about switching things around: The amplifier will remember the gain
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settings when channels are changed. These are the gain presets for the different
playing styles within a song.
Voicing: We have provided Vandal SE pre-amps with something that we call Curve
EQ. For example, if you take a simple EQ pedal and shape the signal a little before the
amp, then this may change the sound quite drastically. Curve EQ does something
similar: It's located (in some cases multiply) at strategically important points between
individual amplifier stages and filters the signal, before it is distorted by the next
stage. Move the curve in both directions and navigate through the spectrum using the
"Freq" controller. This will give the amp a completely different character...
Equalization: The actual sound control (the "tone stack") functions rather
conventionally: Vandal SE offers low, mid & high settings. Everything functions like
the passive sound regulation network in genuine amps, so that the controllers
influence each other to produce numerous variations.
Reverb: Surf and twang simply need on-board spring reverb. We relied on well-known
reverb springs for modeling. Everything sounds natural with complete authenticity.
Bass amp
After roughly setting the Gain controller, the bass signal will first be treated with the
Contour circuit. This filtering stage works similarly to the "Loudness" function by
cutting the (lower) mids and lifting the deep bass and highs. It's sort of like an "instant
slap".
Next, the signal passes through the compressor stage (Comp). This is a simple but
extremely musical, visual design: The bass triggers a light source that is coupled with
a photo resistor which dampens the signal. This may already be familiar to you from
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the most famous studio compressor for bassists, i.e. Urei LA2A, which functions
according to the same principle.
After any possible compression, Drive provides the option to take the bass sound to
the next level. Saturating the signal takes place depending on the frequency: In spite
of a possibly high level of distortion, the basses remain relatively clean and contoured.
The equalization stage offers 4 frequency ranges, whereby the two mid bands are
variable. The final master volume controller specifies the volume of the final stage. As
with the guitar amp, the end tubes are also engaged in this case as much as remains
sensible.
Rack effects (FX1/FX2)

There are effects that don't always work well before the amp, e.g. reverb or delay,
especially when they are distorted. Normally, these effects are better placed at the
end of the signal chain.
For final processing and enriching, we offer two separate studio-quality effects units
just like real 19" rack devices.
Many algorithms create a stereo signal. Take care that the sequencer track operates
the duct in "stereo" mode.
Effects units may be selectively operated one behind the other (serial) or parallel.
Switching may be changed via the mode switch.
The following algorithms & effects are available:

• Mono delay (msec & tempo sync): Possibly a simple delay with free selection of
delay time or synched to the sequencer tempo with a musical raster. In case of
high feedback values, a reduction of the damping frequency is required to
provide naturalness to echoes.
• Stereo delay (msec & tempo sync): Like mono delay; features two models.
Repetitions may take place on separate channels (feedback controller to the
right: dual delay) or in ping-pong mode (controller to the left), whereby the
signal alternates between the sides.
• Chorus: Produces a typical "floating/shimmering sound" by modulated detuning
of a signal to "thicken up" its sound or spread it across the stereo field. Detuning
is achieved by a short delay, the length of which can be varied by the
modulation. This produces the so-called "Doppler" effect and broadens the
signal.
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• Flanger: Algorithmically similar to chorus, but different in that the delay time is
significantly lower and delay works with repetitions (feedback). A flanger
sounds more "cutting" and up-front than a chorus.
• Phaser: A modulation effect just like chorus & flanger, but in this case no
detuning takes place. Filter components periodically alter the signal's "phase
response" (principle of the "phase shifter"). Characteristic notches are produced
in the frequency spectrum response (comb filter effects).
• Room reverb/hall reverb: Reverb offers realistic simulation of realistic
reverberation. Room creates the impression of a small to mid-sized recording
room, while Hall produces the sound impression of a concert hall. A particular is
that both effects algorithms provide a modulation parameter, which may remove
possible resonance at low dosages and can produce a soft chorus effect at
higher values.
• LoFi: This algorithm gives the sound a little bit of "grit", or a certain measure of
signal destruction depending on its setting. Turn down the internal sample rate
as much as you like to steal a few bits from the sound's resolution. This is
definitely unconventional...
• Vintage compressor: Ideal for thickening up the signal a little. The algorithm
emulates an older popular circuit design that is similar to studio legends like the
Urei 1176 or simple compressor pedals. A so-called "FET building block" controls
the volume via the input level simply, effectively, and quite musically, as well as
the set compression ratio and the attack and release.
• 3-band EQ: This sound controller works like a conventional mixer with controller
for bass, highs, and two controllers for the (variable) mids. This adds the final
polish to your sound.
Vintage Effects Suite (track effects, mixer

channels, mix master)
The following options are available for launching the "Vintage Effects Suite":
• "Effects” menu
• "Track" menu > "More" > "Track effects"
• Track Editor (plug-in section)
• Mixer (insert section of the channels and in the master section)
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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 project.
A peculiarity of the final position of the controller:

Tempo synchronization stops and modulation is controlled via the signal level.
Freq: This is the base frequency for modulating the filter, and 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
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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 Two parallel filters (–36 dB) with linked base frequencies
elimination create two ‘notches’ in the frequency spectrum. This allows
(”Notch-Filter") 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).
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.
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"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 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
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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.
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.”
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,
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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 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 Music Studio.
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.
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Furthermore, the effect has a modulation section with which you can control
individual parameters using an oscillator (LFO) or the input signal.
We have designed a range of “typical” presets to demonstrate the time travel abilities
of the BitMachine. These can be opened at the top right of the interface
The following section describes the details of BitMachine:
"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 “modulation
tension”; a so-called “envelope follower” continuously scans the volume of the input
signal.
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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.
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.
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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.
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".
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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 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.
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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.
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
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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.
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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essentialFX
The essentialFX Plug-in Suite offers high-quality audio tools for all-round tasks. Each
plug-in has a number of important properties for producing quick and accurate results
in daily use:
• DSP functions with low CPU resource consumption despite extremely
high-quality algorithms
• Low space requirements for interfaces
• Easy operation thanks to reduction of functional elements featuring only the
most important parameters
• Consistent operation of all interfaces
• Simple, straightforward preset management on a file/folder basis; simple
upgrades for users
The following essentialFX are available: eFX_StereoDelay (view page 157),

eFX_ChorusFlanger (view page 152), eFX_Phaser (view page 154), eFX_Compressor
(view page 158), eFX_VocalStrip (view page 168).
All effect modules have the same preset manager (at the top of the effect graphic).
Behind the display for the current preset there is a menu which contains all of the
available preset options. To the right is a prev/next button which lets you leaf through
presets.
This button is used for saving presets. MAGIX plug-ins have their own
preset save format (*.fxml)
You can return the presets to their initial settings by clicking on the
"Reset" button.
Bypass switch: Routes the signal directly to the output instead of

through the processing. Internally, processing is continued so that you
can switch between processed and unprocessed material anytime.
A/B comparison: Very useful for trying out settings. The status of the
controller settings is normally assigned to the "A" memory when the
screen is opened.
As this is the initial status, "B" also contains the same settings. If you would like to
experiment without losing the current setting, press the "B" buttons and try other
settings. To transfer the values to "A", press the copy button between the two letters.
"?" button: This opens the online help for the plug-in.
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Console
Some MAGIX plug-ins show a so-called “Console” at the top edge when they are
opened – a display bar for managing presets with expanded settings options.
A menu containing available presets is located behind the display. To the right is a
prev/next button, which lets you leaf through presets.
This button is used for saving presets. MAGIX plug-ins use a proprietary
preset save format (*.fxml)
You can return the presets to their initial settings by clicking on the
“Reset” button.
Bypass switch: Routes the signal directly to the output instead and
bypasses processing. Internally, processing is continued so that you can
toggle between processed and unprocessed material anytime.
A/B comparison: Very useful for trying out settings. The controller
setting “A” memory is normally activated when the interface is opened.
As this is the initial status, “B” also contains the same settings. If you would like to
experiment without losing the current setting, press the “B” buttons and try other
settings. To transfer the values to “A,” press the copy button between the two letters.
"?” button: This opens the online help for the plug-in.
Parameter smoothing/ Controller knobs

Each plug-in offers soft controlling. Pot settings are softly faded internally from the old
value to the new one. This is particularly noticeable when playing in “Live” mode. Due
to performance reasons, switches (e.g. on/off) and some settings of VariVerb II that
change delay times directly or indirectly are excluded from this action.
Use the mouse wheel to move the knobs (pots). A combination of the mouse wheel
and “Shift” key slows down the increase or decrease by a factor of ten.
Double-clicking resets the knob to the original value.
essentialFX Settings
By clicking on the tool symbol in the graphic display, you can open the presets.
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Under “Tweak” you can find specific settings options for each effects device.
Under “eFX Globals” you can find settings options for graphic level display as well as
mouse control.
eFX Globals
These settings apply to all Essential FX.
Metering: Here you can set the meter display.

• Decay Time controls reaction speed.
• Peak Hold controls the hold of the highest peak.
• Brightness controls the display brightness.
Mouse: Here you can set the display reaction to mouse movements in the essentialFX
graphic display.
• Linear mode lets the faders move in response to vertical and horizontal mouse
movements.
• Circular mode lets the faders be controlled by circular mouse movements.
• Mode As Host lets the faders move in response to the mouse exactly how
mouse settings in the host program specify it.
• [Shift] Factor specifies the factor for fine adjustment of individual faders with
the mouse with simultaneously held Shift key.
Chorus/Flanger
This plug-in offers a simple way to make signals sound more interesting, “spacier,”
thicker, etc. by modulating or delaying the pitch - the classical domain of application
is for guitars, Hammond organs, electric pianos, or synths.
Chorus and flanger are two closely related effects, which are combined into a single
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

IN / OUT: Here you can set the input and output level.
mode:
- Stereo chorus: Compared to mono chorus, two copies of the original are created,
modulated against each other in pitch, and then fed accordingly to the set mix ratio to
the left and right output channel.
- Mono Flanger & Stereo Flanger In contrast to the Chorus Effects the lower delay
periods and a slightly changed modulation are processed.
- Ensemble: This creates a denser chorus, similar to Boss/Roland CE-1: Instead of two
voices, six are generated. Two internal sine LFOs for de-tuning, whereby for both
LFOs the second and third voice phase length by 120°. This results in a
denser-sounding effect that is also less warped.
• 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.
• phase: This fader moves the right channel's oscillator phasing relative to the left,
wave is put back to the right. So that the Tremolo effect drifts apart in the stereo
field with ever increasing values. At 180° both oscillators work in reverse,
therefore the stereo effect is at its strongest.
• 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
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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.
Tweak
• Low Cut: This knob sets the filter frequency of a high-pass filter. Signal
components below this frequency will be filtered out.
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 to
create 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.
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• phase: This fader moves the right channel's oscillator phasing relative to the left,
wave is put back to the right. So that the Tremolo effect drifts apart in the stereo
field with ever increasing values. At 180° both oscillators work in reverse,
therefore the stereo effect is at its strongest.
• 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.
Tweak
• Center Freq: Sets the mid-frequencies of the phaser. The filter modulation acts
on these frequencies.
Reverb
This involves a completely algorithmic reverb plug-in. Selectable algorithms produce
thick and extremely transparent reverberation for all kinds of signals. Processing is
therefore "true stereo", i. e. the selected algorithm includes the original localization of
instruments in a stereo signal in the calculation of reverberation so that the original
image will not be distorted.
"Reverb" features algorithms that are set up for natural quality and transparency. A
signal treated with this reverb retains power at correct dosage in the overall context
of the audio without perception of a conspicuous effect. The CPU load is also
relatively low.
Reverb parameters
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Mode: Select the desired algorithm here. The following options are available:
- Plate: Simulates a reverb plate. Very dense reflection pattern, penetrating but
musically open "metallic" appeal. Very well suited to Drums and Vintage/special
effects.
- Room: Small room reverb. Middle to high signal diffusion, low to middle reverb time.
Well suited for adding a "dry", natural sound to instrumental, spoken, or vocal
recordings.
- Hall: Mid to large hall. Low to mid diffusion, later response than a "Room". Ideal for
simulating concert halls and larger soundscapes.
- Plate II Classic: Classic stereo plate reverb. The design is based on an algorithm that
was frequently used in the 80's. This mode produces the typical "Cloud reverb",
which is not very transparent, a bit sticky. Plate II Classic is a good fit for lead
instruments and vocals.
• Size: The size of the room being simulated or of the reverb plate. This setting
has a direct effect on the distance of the reflection and indirectly on the
resonance behavior: smaller rooms/reverb plates possess a larger inclination for
natural resonance than larger ones.
• Time: Length of reverberation time (in seconds). This value refers to the RT60
time, i. e. how long the reverberation requires for the level to fall 60 dB.
• Damping: Real rooms and reverb plates dampen certain frequencies according
to their construction. This is most often audible in upper frequencies. Using this
parameter you can set the cut-off frequency, above which the reverb will be
particularly strong. In some cases, the "Time" parameter should be adjusted,
since sometimes the subjectively perceived reverberation time will also be
affected.
• Modulation: For several critical signals, the reverberation may produce
disturbing resonance. This can be scattered by temporal modulation of the delay
signal used in an algorithm. Excessive application may create an effect similar to
chorus in tonal signals. The liveliness of the reverberations will be emphasized
with lower values. In this case, the modulation applies a random pattern, the
intensity of which may be visualized via the "MOD" display.
• Mix: This regulates the ratio of the unprocessed signal to the portion including
reverberation.
Tweak
• Pre-delay: This knob sets time in milliseconds between the direct signal and the
appearance of early reflections. The late delay comes only following this time
span.
• Diffusion: This knob simulates scatter on irregular walls in percent. Increasing
values make the reverb sound denser.
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• Low Cut: This knob sets the filter frequency of a high-pass filter. Signal
components below this frequency will be filtered out.
Stereo Delay
The stereo delay is a simple too for typical bread and butter delay effects. The stereo
delay offers the “analog algorithm,” which features the sound of echo devices of
yesteryear.
Stereo delay parameters

Mode: This selects between the essential algorithms.
Digital: Normal, transparent delay
Analog tape: Analog tape delay simulation. In this mode, a band echo is simulated
with a typical compression and saturation behavior, including phase shifts with high
feedback settings.
Analog BBD: Simulation of a bucket brigade delay (BBD, bucket brigade delay). 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.
BBDs create different delay times by varying the system beat (clock), meaning that
for short delays the beat is faster, and for longer it is slower.
• 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).
• Delay L/Delay R: Specify the delay period for the left and right channels here.
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• Damping: This specifies the cut-off frequency at which the highs are dampened
during the delay. This is 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).
Tweak
• Feedback Low Cut: This control sets the filter frequency of a high-pass filter for
the “Feedback.” Signal components below this frequency will be filtered out.
• Tape / BBD Noise: Here you can control system noise for both analog modes.
Especially if you work with high feedback rates, noise can create quick or stable
oscillation, making the effect even more authentic.
• BBD Stages: Here you can determine the count of memory cells. For very long
delays, chips with many memory cells are used. This explains why bucket
brigade echoes with long delays sound so muffled and dirty. Please keep in mind
that the shorter the delay, the faster is the “Virtual” system beat. For
performance reasons, the system beat is limited. The limit is displayed below the
delay control (with deactivated “tempo sync") as soon as it is reached, e. g. 46
ms (min).
• BBD Compander: Here you can simulate Compander settings. Due to per-cell
loss, BBDs have low system dynamics. For this reason, some have an integrated
compander (compression at the input, counter-expansion at the output). Strong
compander settings interact noticeably with the input signal, especially with
high feedback, because the input effects the expansion ration at the output, even
when there is no signal at the input.
• BBD Clock Drift: This parameter can add drift (during audible jitter effects) by
slightly varying the system beat of BBD cells. It works similarly to an LFO, but is
randomized.
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Compressor
This plug-in is a simple but effective tool for reducing the dynamics of a signal. Drums
tracks can be modeled more compactly and with more pumping, vocals can be
integrated into the mix better or the entire sum or group signals can be made denser.
In contrast to some other plug-ins, this type works the compressor with a
comparatively soft curve and an adaptable regulation process, it therefore
compresses completely musically.
soft clip: Soft clip circuit is switched on directly at the output in order to catch any
overshoots.
• SC filter: This fader determines the application/middle frequencies, that are
filtered with the control signal for level detection. The filter works selectively as
a high-pass, band-pass or low-pass filter. In many cases, weighting of the
detection is good for optimizing the leveling process. Thus, for example,
"high-pass" filtering enables complex sources (drums or sum signals) to achieve
consistent regulation without typical pumping artifacts since the process is
mainly activated by mids and highs.
• The properties of the detector circuit can be drastically changed by means of the
filter type switch. The speaker symbol is there to pre-listen to changes.
• Threshold: This sets the response threshold for regulation. For example, -20 dB
means that the input signal is only compressed once it reaches -20 dB; below
this level, no change or hardly any change will take place. Note that this plug-in
deals with the threshold window independent of the program. It can be the case
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that a small regularization has already taken place at -25 dB. This so-called
soft-knee characteristic ensures a soft, musical compression process.
• Ratio: This parameter regulates the compression ratio. For example , a value of
10:1 means that when the threshold level is reached, the input level is increased
by 10dB, while the output is only 1dB louder. A lower compression, e. g. 2:1, is
recommended for subtle compression of group or sum signals, while 50:1
produces a very hard limiting that cannot be made inaudible by even the most
transparent compressor.
• Attack & release: This parameter specifies how quickly the compressor
responds when the threshold is reached (attack) or how quickly the signal
applies normal amplitude once the signal drops below this level (release). The
transient time settings can be defined in a wide range. Note that due to the
adaptable plug-in leveling, actual times may differ. This semi-automatic process
favors quick adjustment, without leading to the often dreaded artifacts (rough
sound image with rushed regulation, overly low/inefficient compression with
long time constants).
Tweak
• Adaptive Release: With increasing values, the limiter works increasingly with
"Adaptive Release". This means that the longer and harder the compressor
intercedes upstream in the signal path, the longer is the resulting release phase.
• Auto makeup gain: Normally, you have to continuously adjust level reduction
to generate "compression" at the same maximum level. This is done by
activating auto makeup gain. The volume difference expected from the set
working parameters is determined and applied as an output factor after master
regulation. If you prefer to adjust the "classic" level reduction and amplification
manually, you can deactivate this function.
• Mix: The addition of the original signal is to get transients and spectral balance
of the source. The "mixed" signal is particularly discreet, more transparent and
less "squishy", whereby the compressed part usually has a higher level reduction
than without adding the original.
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Gate
The Gate is operated in much the same way as the eFX_Compressor. In particular, the
side-chain function, and selecting various filter types can be also be applied here.
The operation is similar to a classic analog gate. Here emphasis was placed on a fast
and accurate response, where the typical artifacts from digital gates such as rough,
"fluttering" sounds are avoided. The essential FX Gate continuously scans the signal
and automatically selects optimal settings according to the current values.
Gate parameter
sidechain int/ext: As with eFX_Compressor an external control input can be used for
triggering.
Note: Sidechaining is not available in some host programs.
soft knee: Normally the Gate has a hard characteristic i. e. below the threshold this
signal is markedly, in addition it is transmitted in an unchanged form. "Hard Knee"
deals with abrupt transitions. "Soft Knee", however, allows the signal to be modified
by "Gating" in the pass and, so that transitions can be made to be more soft and
undetectable. This is particularly recommendable for work with acoustic instruments
such as drums where the signal levels can fluctuate a lot.
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hold: This three-way switch controls how long the gate process waits after passing
through the attack phase before subsequently passing through the Release phase. The
Hold Function is useful for signals that need a rather short release time, but shouldn't
be flattened out.
• sc filter: The control corresponds to the essentialFX Compressor.
• threshold: This fader defines the threshold beneath which the gate should be
initiated.
• range: Here you can set the Gating strength. Right extreme means that the
signal beneath the threshold is cut out completely. Subtly attenuating the signal
can remove background noises or breathing from vocal tracks. Where
necessary the process can be attenuated even further by switching on the soft
knee mode.
• attack: Regulates the attack time from the closed gate to the point at which
signal is let through again.
• release: Sets the time, that the gate requires to go from a normal state to gating.
Tweak
Look Ahead: This control sets how long ahead the gate previews the signal. The audio
signal will be delayed by this time.
Limiter
This plug-in is a simple yet effective tool for increasing the loudness of your audio
signal. This creates a compressed but loud signal without allowing the defined output
volume to be exceeded.
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The limiter operates with a soft curve and an adaptive regulator that ensures that the
sound remains absolutely musical. You can also use a separate input (external
sidechain signal) to define the source for the regulation.
Limiter Parameters
• Threshold: This sets the threshold; the effect will be applied above this level.
• Release: This sets the time frame between the point when the signal drops
below the threshold and the complete reduction of the effect.
• Clip Gain: This sets the amplification factor.
Tweak
• Attack: This sets the time frame between the point when the signal exceeds the
threshold and the maximum extent of the effect.
• Adaptive Release: With increasing values, the limiter works increasingly with
"Adaptive Release". This means that the release phase gets longer according to
how long and hard the limiter has been applied to the signal processing.
• Peak vs. RMS: Here you can choose whether to display the eFX_Limiter peak
levels (slider completely to the left) or the RMS levels (slider completely to the
right). You can also set the display between peak level and RMS values to any
ratio you like.
• Auto Makeup Gain: Here you can set the automatic tracking of the output
amplification during level reduction in order to maintain compression at the
same maximum level. The volume difference expected from the set working
parameters is determined and applied as an output factor after master
regulation. If you prefer to adjust the level reduction and amplification manually,
you can deactivate this function.
• Input Low-Cut: You can use the fader to set the filter frequency of a high-pass
filter for the input signal. Signal components below this frequency will be filtered
out.
• SC Low-Cut: This sets the filter frequency of a high-pass filter for the sidechain
signal. Signal components below this frequency will be filtered out.
• Clip Shape: The left velocity of the fader (soft) corresponds to the oscillator sine
wave. The oscillator signal is gradually morphed to the right in the direction of
the rectangular wave. This makes the effect more intense, i.e. "harder".
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Tube Stage
Preamplifier are still used today, if the signal needs a warm, flattering sound. This is
often not only about saturation or distortion artifacts, but rather more about getting a
compact and more vivid sound picture. A tube stage makes things a little more
dynamic, this is not due to the tubes itself, but rather the entire circuit, which interacts
with the tube in a way that amplification levels don't do on a semiconducter basis. As
with guitar amplifiers, the complexity increases with the number of stages.
Optionally inside the essentialFX_TubeStage plug-in, either one or two tube stages
work.
Tube circuits, especially if they work in the border area and saturate/distort the signal
with the gain control, react very sensitively to the input signal's spectral composition.
Two independent filter circuits accompany this plug-in's tube stage (s). The first
(pre-eq) acts directly on the input signal. With this you can determine which
frequency range should be principally edited. The second filter circuit (post-eq) is
located behind the tube stage (or after the second) and determines the tonal balance
of the output signal.
This enables you to create various sound nuances. For example, you can accentuate
the high frequency range on the input side, for example, to create Exciter-/Enhancer
effects, so that the signal appears more "tangible". To avoid overemphasizing this
amplified range, a reverse process with the post-EQ can be subsequently made.
Both of the available tube stages can be globally switched in the A or AB operation. In
the A-circuit the entire signal runs through, as is common with simple tube preamps,
through a tube. However, since these can only edit a half-wave, the working point of
the circuit is set approximately in the middle of the reference line. However neither
halve will ever be treated equally, so that positive displacements are amplified
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differently to negative displacements. (so-called Class A operation). Thereby odd and

even harmonics are created. The typical 'warm' tube sound to a large extent dates
back to the characteristic overtone spectrum.
For each half-wave in class-AB operation, a separate tube is used, so that in principle
there is a symmetrical reinforcement. The signal contains predominantly uneven
harmonics. The sound image appears thinner but more transparent and solid. This is
comparable to the sound, that tape machines create when they are slightly
overmodulated.
Tube Stage Parameter

stages: In signal section 1 the signal only passes through the tube stages. In setting 2,
two stages are cascaded. This divides up the gain so that both stages are driven less
'hotly'. This increases the signal complexity and any tube artifacts.
class A / AB Optionally, a simple gain stage with asymmetric reference line (Class A)
or symmetric AB mode. In the A-mode odd and even harmonics emerge, the sound
image is similar to a 'warm' tube guitar amp. In the AB section only uneven harmonics
are created. The sound image is somewhat 'colder', but more transparent with
complex materials and can also be driven louder.
oversampling: If this switch is active, the virtual tube stages are controlled with
one-to four-times the project sampling rate, i.e with an internal sampling rate of 176 -
192 kHz.
• pre-eq: This knob (called "Tilt" or "Level" on some devices) controls the effect of
a soft, passive 6 dB filter for prefiltering signals before the (first) tube stage. If
turned to the left the bass is emphasized and the highs are dampened. To the
right the inverted filtering happens. With this filter the signal can be
correspondingly processed before "Warming up" by selecting the prominent of
desired section. Compared to a standard EQ the effect of this filter is more
subtle, but it does possess a high 'musicality', by the internal circuitry and also
because of the slightly different phase response.
• gain: This set the entire amplification factor. If two two tube stages are selected
using 'stages', the available Gain is divided by two and is distributed equally over
both stages.
• post-eq: Operation and function is like pre-eq, however, this filter is placed
behind the (second) stage tube.
Tweak
• Tube Bias: With this parameter you can control "Bias", or electric current voltage
inside a tube.
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DeEsser
This plug-in filters/attenuates sibilants in vocal recordings in a simple yet effective
way. Since the underlying process operates on the basis of a dynamic filter, other
signals are weakened such as cymbals in drum recordings or other signals in a similar
frequency range.
In contrast to other devices of this type, the eFX_DeEsser works without adjustable
thresholds. The plug-in constantly evaluates the input signal and recognizes signal
peaks that are high above in the frequency range of the average levels. Through this
comparative analysis with the wanted signal, a constant reduction of noisy sections
can be adhered to, so a traditional threshold often requires adjustments for changing
levels.
DeEsser Parameters
• freq: Determines the frequency of the filter used for detection, and filter blocking
in the signal route. Typically the sibilants in speech or singing voices are in the 6
- 8 kHz range.
• Speaker symbol (pre-listen): This allows you to hear the "solo" filter frequency
so you can locate noisy sections quickly and easily.
• reduction: Regulates the filter attenuation in the signal route.
Tweak Filter Q: Set the bandwidth of the individual filters between 0.10 (very wide
bandwidth) and 2 (extremely narrow bandwidth).
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Tremolo Pan
This plug-in is on one hand a Tremolo, that creates typical textures for synths or
vintage guitars. On the other hand you can create interesting, rhythmic stereo effects
with auto panning.
Tremolo Pan Parameter

rate: Sets the speed of the internal oscillator in Hz or note value (see "tempo sync").
shape: The left velocity of the fader corresponds to an oscillator's sine wave. The
oscillator signal is gradually morphed to the right in the direction of the rectangular
wave. This makes the effect sound intense, "harder".
phase: This fader moves the right channel's oscillator phasing relative to the left, wave
is put back to the right. So that the Tremolo effect drifts apart in the stereo field with
ever increasing values. At 180° both oscillators work in reverse, therefore the stereo
effect is at its strongest.
depth: This determines the strength that the oscillator signal has on the
Tremolo/Panning effects.
tempo sync: when the switch is activated the "rate" fader snaps to values on the
musical grid.
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Vocal Strip
This plug-in combines several components in one special tool which is ideal for
working with speech or vocal tracks. Virtually all recurring voice signal edits are
integrated in a compact, simple interface.
The signal flow is set by the e_FX_VocalStrip and is directly represented by the
position of the fader.
Vocal Strip Parameter

• highpass: This fader determines the cut-off frequency for a steeply sloped
highpass filter (24dB/octave) to remove part with low frequencies, such as
rumbling or noises created when touching the microphone.
• gate: With gate you can attenuate the signals that fall below the threshold. Here,
a smooth curve and a maximum 'softening' of up to 24dB is used to avoid hard
transitions.
• DeEsser: The effect is very similar to that of the eFX_DeEsser. Here, however,
the application frequency is set. The filter used in eFX_VocalStrip works in
another range. The fader determines the degree of reduction.
• compression: For the most part, an eFX_Compressor component contributes to
working parameters for optimizing voice recordings. The further the fader is
turned the lower the threshold and higher the compression ratio. The Attack and
Release times are selected according to the program.
• tone: This EQ corresponds principally to the filter network, which is also used in
the eFX_TubeStage plug-in. With this you can simply and effectively calibrate
the sonic balance of the voice signal, e. g. for better integration into the mix.
Tweak
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• DeEss DetFreq: Determines the frequency of the filter used for detection, and
filter blocking in the signal route. Typically the sibilants in speech or singing
voices are in the 6 - 8 kHz range.
• CompAutoMakeup: The maximum level is retained while overall level is
reduced.
• Comp Attack: Here you can determine how fast the compressor responds after
reaching the threshold.
• Comp Adapt.Rel.: Rising values cause the compressor to work increasingly with
“Adaptive Release.” This means that the longer and harder the compressor
intercedes upstream in the signal path, the longer is the resulting release phase.
Note: Detailed information about compressor-specific settings can be found under

“EssentialFX > Compressor > Compressor Parameter.”
Vocal Tune
The Vocal Tune effect can be used to edit the pitch progression of an audio object. On
the one hand, it is possible to rebalance “distorted” vocal passages. Depending on
what you want, this can be as inaudible as possible or even drastically distorted (see
Automatic pitch correction (view page 172)). On the other hand, however, the
melodic line like in a piano roll can also be completely changed (see MIDI Editor (view
page 185)).
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 audio material
like solo vocals, solo instruments, and speech. Polyphonic material, effects such as
reverb or chorus and background noises do not provide good analysis results.
The analysis function starts automatically when the vocal tuner is opened. For larger
objects, the analysis can take longer. After the analysis the audio object is divided into
individual slice objects according to the detected pitches; a slice object corresponds
more or less to a sung note. If the pitch deviations within a note are too large or the
audio material contains noisy components that interfere with the analysis, this also
results in two or three slice objects per note.
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Slice Object: The mid pitch of a slice object determines its position in the
graphic independent of the set progression of the pitch inside the slice object.
Pitch Curves: The resulting pitch progression is displayed with a yellow pitch
curve. The original pitch progression is displayed as a blue curve.
Selected Slice Objects can be edited with the Move Tool. (see below)
The vertical axis is the pitch, the corresponding notes are displayed as a piano
keyboard on the left border. Individual keys can be removed from the pitch grid
(see below) by clicking on them (displayed in gray).
Similar to the arranger, the displayed time section or the pitch range can be
controlled with the +/- buttons and the scroll bar.
The play and stop buttons at the bottom left can be used to start and stop the
playback of the project. S causes the audio object to play solo in the Vocal Tuner.
Tools for editing pitch (see below)
“Auto” Automatic pitch correction
“Reset” removes all edits and returns all settings to their original status.
Activates the pitch grid for automatic pitch correction.
The Naturalness slider sets the intensity of the automatic pitch correction
“Bypass” temporarily deactivates the effect
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Editing Pitch
There are three tools available for editing pitch:
Move tool: You can use this tool to select slice objects for the
editing by simply clicking on them.
Ctrl+click enables the multiple selection of individual slices. Clicking on an empty area
of the editing window and dragging a selection frame is another method for selecting
several slice objects simultaneously. Selected slices can then be moved vertically, i.e.
moving the pitch.
If “pitch grid” is active, the slice objects always snap precisely

to the semitones of the chromatic scale.
To limit the snap function to specific keys (e.g. G minor) individual notes on the piano
keyboard can be deactivated by clicking on them. The slice objects will then snap to
the next “Allowed” semitone.
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 while retaining the small changes in the basic frequency (vibrato).
The handle at the end has been moved up to create a rising pitch progression. The small pitch
fluctuations remain intact.
Double-clicking on an individual pitch slice makes it possible to enter the pitch more
precisely in a +/- cent deviation from the corresponding semitone.
Cut Tool: You can use this tool to cut slice objects and create
two slice objects that can be edited separately. This does not
affect the pitch of the slice object.
It is possible, however, that a slice moves when cutting because the pitch of a slice
displayed is only ever an average value across the total pitch progression within the
slice.
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Draw Tool: This tool can be used to directly draw the pitch
curve. If you hold the Shift key while drawing, a straight line will
be drawn between the start position of the drawn curve and the
current mouse position.
If a pitch curve extends beyond the borders of a slice object, the two slice objects will
be joined together.
Automatic Pitch Correction

The “Auto” function for automatic pitch correction can be found beside the draw pitch
function. The “Auto” button moves all selected slice objects to the next semitone.
Single notes can be deactivated by clicking on their respective keys on the piano
keyboard. This will result in the note being moved to the next available semitone
during the correction process. This makes it possible to limit the automatic correction
to specific notes in a key.
The “Naturalness” slider determines how much the original pitch progression is
retained. With small values, the natural vibrato of the voice is radically “flattened” and
the famous “Cher effect” results.
Resampling / Time Stretching / Pitch Shifting
All algorithms in this dialog use the "time factor" and "pitch (semitones)" as input
parameters.
Open the "Time factor calculation" section to determine the required time factor from
the original length and original tempo as well as the desired new length/desired new
tempo.
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Tip: To change an audio file's sample rate, e.g. from 48 kHz to 44.1 kHz, use the
function "Effects -> Sample manipulation -> Adjust sample rate".
Resample
Samplers and PCM Synthesizers transpose samples using this procedure. Time factor
and pitch are dependent upon each other: the shorter the audio material, the higher
the pitch and vice versa. The effect is comparable with changing the playback speed
on record players or tape recorders.
Resample is a relatively lossless process. If a pitch change resulting from the change
in speed is wanted or acceptable, you can use this algorithm.
Timestretching/Pitchshifting
With all other algorithms, time factor and pitch variation are independently
adjustable. These algorithms create, under circumstances, artifacts which you can
balance using the Anti-aliasing feature. The preset timestretching/pitchshifting
algorithm can be saved via Timestretch/Pitchshift Patcher in Wave project (view
page 343) ("Object" menu).
élastique Pro
With this algorithm licensed from zPlane you can achieve impressive results with
minimal additional information such as "Time Factor" and "Pitch". As with the
„Monophonic Voice“ (view page 174) algorithm, this mode can also be used to
preserve or shape formants.
Use stereo M/S mode: This option enables M/S processing. This means that the
algorithm internally interprets the adjacent stereo signal as a mid signal in the left
channel and a side signal in the right channel.
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élastique Efficient
When real-time application of élastique Pro threatens to overload the CPU this
algorithm offers a less CPU-intensive alternative. However, if you choose this option,
be prepared to make some compromises regarding sound quality.
Monophonic voice
This is a special Time Stretching and Pitch Shifting function for vocal solos, speech, or
solo instruments. The audio material should not contain background noise – strong
reverb may also this method's effectiveness. With suitable audio material, the audio
quality will remain high.
The "Use formant correction" option preserves formants during Pitch Shifting, i.e. the
"Mickey Mouse effect" does not occur. This allows realistic-sounding background
choirs to be compiled using one solo voice. The formants, however, may also be
moved by +/- 12 semitones in order to achieve desired vocal distortions.
Typical uses of this algorithm include:

• Intonation correction: The note with the imprecise pitch should be cut out as an
object so that it may be manipulated independent of the other notes.
• Harmonizer effects: Copy the object containing the singing. If the pitch is altered
now, a second voice will be generated.
• Creating background vocals from existing vocal samples
• Time Stretch distortion of a spoken sample, e.g. grandfather's voice.
The "Monophonic voice" algorithm is especially useful for: Speech, single-voice

singing, single instruments without overlaps/with low levels of reverb and
background noises.
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MIDI in Samplitude Music Studio
What is MIDI?
MIDI is a standardized command language that helps control synthesizers. In addition
to the command to play a note (Note On, Note Off), there are control commands
(Ctrl Ch) for internal parameters of the synthesizer (volume, panorama, the pedal for
piano, filter settings and others), program change commands (Prg Ch) to activate
saved sound programs, and others. These commands are called MIDI events. An
MIDI object containts a series of events and the times at which they occur.
You can create MIDI objects by loading MIDI files, playing and recording with an
external MIDI keyboard, or by drawing notes in an empty MIDI object with the MIDI
editor.
MIDI objects do not contain audio material. They are used to control synthesizers that
then create corresponding sounds. They are comparable to notes that still have to be
brought to life by a musician.
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.
Connect MIDI Keyboards

You can use Samplitude Music Studio in conjunction with a MIDI keyboard to play
and record the included synthesizer plug-ins or VST plug-ins. You can also control
sound generation from external devices using MIDI objects in the project of
Samplitude.
Basics of MIDI interfaces and cabling

MIDI interfaces are system devices that enable communication between the
computer and an external MIDI device. They provide music programs one or more
so-called MIDI ports. The music software (in our case Samplitude Music Studio)
sends and receives MIDI data via this port, everything else is handled by the drivers
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and operating system. You can set the ports for MIDI input and output in Samplitude
in the MIDI Settings (view page 471) of the System Options dialog (keyboard
shortcut: y).
A MIDI interface can be integrated into the computer system in different ways. It can
be part of the sound card built into the computer or externally connected via USB or
Firewire.
In this case, two MIDI jacks (MIDI IN and MIDI OUT) are
located on the sound card. With older sound cards an
additional adapter cable must be connected, which
provides the typical 5-pin DIN jacks.
MIDI connectors
MIDI connection cable
Connect your MIDI keyboard to your computer by running a MIDI cable from the
keyboard MIDI output jack (MIDI Out) to the MIDI input jack (MIDI In) on the MIDI
interface. If your MIDI keyboard can generate its own sounds and you would like to
use them, connect the computer's MIDI Out jack to the keyboard's MIDI In jack.
With USB MIDI keyboards the MIDI interface is part of the external hardware. USB
MIDI keyboards are a separate class of devices designed to control software
synthesizers. They usually no longer produce any of their own sound, but only consist
of a keyboard, various controllers and a USB MIDI interface. They are connected via
USB to the computer, in this case, no MIDI connection cables are required.
Note: Even on "proper" keyboards and other synthesizers you can now find a USB
MIDI interface alongside traditional MIDI connectors.
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Normally for these keyboards no special drivers are needed. All you have to do is
connect them. Make sure that the device is switched on and is able to be detected
prior to starting <Program Name>, since the available MIDI ports are only able to be
discovered during program launch!
Under some circumstances, you may have to select the port for the device as the
MIDI input device via the Program settings ("Audio" tab). This is usually called "USB
audio device"
Note: Some older devices do not function in some cases in Windows XP. Even
though the device has been detected, the corresponding MIDI drivers do not appear
in the list. In this case, please contact MAGIX customer support!
In the event that your external device does not have a USB port and the sound card
does not have MIDI connectors, you will need to purchase an additional USB to MIDI
interface.
MIDI Local Off: If the MIDI keyboard has an internal sound source, it must be shut off
when you use its keyboard for recording. This enables you to play the software
instruments without hearing the sound of your keyboard at the same time. This
function is referred to as "Local OFF" and can be directly set on your keyboard. If
necessary, refer to the user manual for your keyboard to find out exactly how to do
this.
External synthesizers
MIDI objects can also be played back over a MIDI interface onto external
synthesizers, sound modules, etc. Set as default, the “pure” MIDI output (i.e. without
using software synthesizer plug-ins) is sent to the system software synthesizers
(Microsoft GS Wavetable SW Synth). This is required to preview MIDI files.
If you set the MIDI port of an external synthesizer as the MIDI output device (see
previous section), the content of each MIDI object will be output in this manner.
Note: If the MIDI object is in a track containing a software synthesizer, the object
will control this synthesizer. To output MIDI via an external sound synthesizer,
select “no VSTi” from the list of software synthesizers.
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Convert MIDI objects into audio files

If you use VST instruments, then you won't have to convert these MIDI objects into
audio data before exporting your entire arrangement, since the sound is created on
your computer and can be processed there.
If you still wish to do so (to free up processing power on your PC, for example), then
switch the desired MIDI track to “Solo” and export the arrangement. Then add the
exported file back into your arrangement and delete the MIDI objects in the exported
track.
All MIDI objects which open external synthesizers via a MIDI interface (view page
177) will have to be converted into audio objects if you want them to be exported as
well. They only contain control information for sound reproduction.
For this to happen, the output of the MIDI synthesizer (e.g. the sound card) must be
connected to the input of the sound card. The MIDI data can then be played and
recorded simultaneously via the record function. The result is an audio file that can be
edited and exported together with the multimedia files.
MIDI Import, record, edit

Recording MIDI tracks
To conduct MIDI recordings, proceed as follows:
• Select the track you wish to use for the MIDI recording.
• Click on "MIDI" in the Track Editor of this track.
The MIDI recording is therefore activated and the MIDI section of the Track Editor
unfolds at the same time where further settings are made.
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• Select the MIDI input device which you want to use for
your recording (e.g. your MIDI keyboard) under "In".
• Select the instrument that you want to play (e.g. a
software synthesizer or an external sampler) under "Out".
• Select the sound that the instrument should create under
"Program".
Note: With the included Vita instruments, the program

selection is already specified with the choice of instruments
in "Out".
The other options of the MIDI section are intended for special
applications. More information about this can be found in the
chapter "Track Editor" (view page 45).
The track is now ready for the MIDI recording.
Tip: Alternatively, you can also make the MIDI recording settings in the track
settings (menu track or right-click on the track names).
Set in which recording mode you want to record in the transport console. You can
choose from: Normal, overdub and replace.
Tip: Alternatively, you can also select the MIDI recording modes from "MIDI record"
mode in the "MIDI menu > MIDI record mode".
Normal: This record mode corresponds to that of the audio recording, i.e. for each
recording process, a new MIDI object is created over the existing object. The area of
the existing object, where the new recording takes place, is replaced by the new
object; but otherwise the old object is retained. Thus you can also correct specific
parts of existing recordings in a subsequent recording without having to make the
complete recording again.
Overdub: The data are recorded into already existing objects, and existing and newly
recorded MIDI data are mixed together. If you record over several objects, they are
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combined into a single new object. Thus, for example, you can record complicated
polyphonic sets of notes consecutively.
Replace: The data are recorded into an existing object, any MIDI data are overwritten.
Several existing objects are combined into a single object. This discards previously
made recordings.
After selecting the mode, make sure that the recording is activated for the track. The
color of the actively switched record button in the track header changes to purple.
• Now you can now start the MIDI recording using the keyboard shortcut "R".
After recording, you will be asked whether you want to keep or delete the recording.
At the same time, and within this dialog, you have the chance to change the record
mode for the recorded MIDI data. After confirming this with "OK", your newly
recorded material will appear as a "MIDI take" in the VIP.
Importing MIDI data

Existing MIDI files can be imported into a Samplitude Music Studio project as objects.
However, you can also load a MIDI file as a separate object the same way as a wave,
HDP, or RAP project.
Menu: File/Open/MIDI (*.MID) …

Shortcut: Shift + M
Mouse: Drag & drop from file browser or Windows Explorer.
If you import MIDI files, please note that only type 0 or 1 MIDI data is compatible with
the import function. Each file should end with *.MID so that it can be recognized as a
valid format.
MIDI files are generally imported like a wave file, irrespective of whether they are
imported in a VIP window or a MIDI project window. For a VIP you can specify at
which position you want to insert the new MIDI object. Set the play cursor at this
position, select a range in the desired track or drag the file from the internal explorer
or Windows Explorer directly into the track position via drag & drop.
Hint: The following dialog is automatically displayed if a VIP is already open as an

active window. If you want to open the MIDI file in a separate MIDI project window
without inserting the content into a VIP, please ensure that no VIP project window is
active. Samplitude Music Studio will also display the MIDI import dialog if only one
range of a MIDI project window is dragged into a VIP track.
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The import dialog contains status information on the MIDI file you want to load:
Each standard MIDI file also contains temp information. Samplitude Music Studio
displays this information in a separate section of the dialog. At this position of the
import you can decide whether you want to adjust the VIP tempo to the tempo of the
imported MIDI file. If necessary, a tempo marker is displayed in the VIP.
If you select the option "All MIDI channels into one track", Samplitude Music Studio
inserts the MIDI object into the currently selected VIP track. The created MIDI object
then contains all MIDI channels of the MIDI file.
Editing MIDI objects

Editing MIDI objects in Samplitude Music Studio follows the same principle as editing
audio objects: MIDI objects can be copied, split, and trimmed, have fade handles for
fading in or out, and a volume handle that scales the MIDI velocity. MIDI objects refer
to the MIDI data you have recorded while playing or importing, but are not saved on
the hard drive as a MIDI file but are saved as a project file instead.
You can edit MIDI object in the MIDI object editor as well as in the different MIDI
editors, i.e. piano roll, drum editor, controller editor, listen editor and score editor.
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Keyboard
The keyboard enables software synthesizers to be played and recorded directly via
the on-screen keyboard.
You can click the keyboard with the mouse to play the instrument. The closer to the
bottom edge you click on the "virtual keys", the louder the sound will play. Of course,
you can't seriously play music by clicking with the mouse (this function is more
suitable for testing out sounds quickly). That's why you can also play the keyboard
with the keys on your computer's own keyboard.
Note: This works only after you first click once on the keyboard using your mouse.
Otherwise, pressing the computer keys will function as keyboard shortcuts for the
different functions in Samplitude. If the computer keys control the program's
keyboard, then the piano keys will display the corresponding keyboard characters.
Use the vertical arrow buttons to shift the octave range so

that the keyboard may be played using the computer keys.
You can use the horizontal arrow keys to select the
next/previous sound of the synthesizer, or they may be
selected directly in the list field on the side.
This button opens the editor window for the synthesizer
for fine tuning the sound.
Use the slider to the right to drag the graphic display of the
keyboard buttons wider. This is especially useful if you
want to operate the keyboard using a touchscreen.
Arpeggiator
The arpeggiator is a special function that can be used to create full chords
or broken chords (arpeggios, i.e. the notes of a chord played in quick
succession) by pressing a single key.
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C note C minor chord C minor arpeggio with 1/16 notes
This button activates the arpeggiator.

This switch determines whether the played note will generate no chord, a minor
chord or a major chord.
This switch determines the type of arpeggio. When set to the far right, a normal
chord is played. The other positions are up, down or up and down. The figures
are repeated as long as the note is played.
The tempo of the arpeggio is set here and can range from 1/4 notes (slow) up to
32nd notes (very fast).
MIDI object editor

Menu: Object/Object editor
Keyboard shortcuts: Ctrl + O
Mouse: Shift + double-click
MIDI object parameters may be easily edited using the MIDI object editor which is
structured similarly to the audio object editor. Among other options, you can
set sound, length, volume, and program swapping for each MIDI object.
A Samplitude Music Studio MIDI object can contain events in up to 16 channels. For
example, it is possible to control a multi-output VST instrument using a single object
on several MIDI channels.
Or select a specific MIDI channel for all events in the MIDI object editor.
You can also use the MIDI object editor to quantize MIDI files into MIDI objects.
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Note: These settings influence the MIDI object in realtime and not destructively,
making the changes invisible in the MIDI matrix or drum editor.
Important functions and settings in the MIDI object editor:

Velocity: Normally, every MIDI note contains a velocity value which determines how
"hard" the note will be played back. Changing the velocity value in the object editor
scales the velocity of the notes in the MIDI object to its physical maximum or
minimum values (1 or 127). Changing the fader is identical to changing the top-mid
handle of the MIDI object in the VIP track.
MIDI real-time effects: The settings for a MIDI channel can be found here:
OUT channel: Here you can redirect the MIDI data of a channel to another channel.
Program: The values preset here will always be sent if the object is played back again.
Bank High/Low: This sets the MIDI bank change bytes.
Transp.: This button transports all MIDI notes.
Quantization: While the quantization conducted in the MIDI editor has an immediate
effect on the start position of the notes, a virtual quick quantization takes place.
Absolute refers to the absolute resolution of the VIP project while Relative refers to
the relative resolution of the object itself.
Options:
Mute MIDI Controller: Switches the MIDI controller off.
Mute SysEx: Prevents the sending of SysEx data.
Position: Define the object start/position, object length, object end and step size here.
The setting is equivalent to moving the object in the VIP track or changing the length
using the lower length handles right and left in the object.
Loop: If you set a check here, then you will set the MIDI object to "Loop" mode. Now
drag the bottom right object handle to the right and you will see that the events of the
MIDI object are arranged in a row, according to the new length of the MIDI object.
The object name is displayed in the upper text field and can also be edited.
In the square field to the side, you can select the object color.
Use the up/down arrow keys to "jump" up or down to the object of a neighboring
track.
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Use the double arrow buttons to jump to the previous or next object on the same
track. If multiple objects are selected, these buttons will not be active.
If the "To all" option is active, all selected objects are updated when the object editor
is opened. All recently applied settings that have been made in a selected object will
be applied to all other selected objects.
Note: In a MIDI object - velocity changes are transferred relatively, i. e. they are
increased or decreased relative to the velocity of other selected objects.
Bypass FX: Here you can deactivate all effects.
Freeze: If you click on the freeze function for an object, this will be calculated as a new
wave file with all the associated effects. The new freeze object takes the place of the
original object.
Play/Stop: This button corresponds to the normal playback function (spacebar).
Lock: The "Lock" button has the same function as the key button in an object. The
object is then protected against any inadvertent horizontal movement. Additional
locks against vertical moving, volume adjustment, fades, length adjustments, ripples
or deletion can be set in the system options (shortcut: "Y") under "Program" >
"Object lock definitions". Locking can be temporarily cancelled by pressing the "Alt"
key.
Solo: During playback this button moves the playback marker to the start of the
selected object and plays that object only.
Mute: This button mutes the selected object. By right-clicking you can also mute the
left and right channels individually.
Comments: You can type comments relevant to the selected object in this field.
MIDI editor
Notation display, movement, zoom
MIDI files can be edited in five main areas of the MIDI Editor:
• Matrix Editor (Piano Roll) (view page 190)
• Drum Editor (Possible to switch between Drum Editor and Piano-Roll)
• Controller Editor (view page 200) (e. g. velocity , MIDI volume …)
• Listen editor (view page 195) (Event List)
• Score editor (view page 204)
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Here various tools are available, for example, pencil or eraser. Exact values for each
MIDI event can also be set in the edit fields via the Piano Roll.
With few exceptions, changes such as moving or deleting of notes always apply to all
selected MIDI events, displayed in red. Changes made to a specific note always also
apply to all other selected notes. You can, for example, select a group of notes in the
Piano Roll and then change the velocity of these note groups which modifies all
selected notes simultaneously.
Selecting MIDI events

Selection of MIDI events is generally the same in all three editing areas (Piano Roll,
Controller Editor, List Editor). The differences are visible in the table:
Selection Mouse action
Select event Left-click on event

Add/Remove event from selection Ctrl + left-click on event
Select current event, deselect all Double-click on event
other events
Marquee selection Left-click on a free space and click and drag
selection. (Selection tool in Piano Roll and
Controller Editor)
Clear selection Left-click on a free space (only in selection
mode, not in the List Editor)
Set or change current events within Left-click on selected event
multiple selection.
Selection of section of events Left-click on first event, Shift + left-click on
last event (only in list editor)
Selection of all notes of a pitch Double-click on a free space with this pitch
or press the appropriate key on the
keyboard (only Piano Roll)
Selection of all events Ctrl + A, depending on the editing section,
includes the selection of notes (Piano Roll),
Controller events (Controller Editor), or all
events (List Editor).
Select next or preceding note Arrow left/right (only Piano Roll)
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Notation display in piano roll and controller editor (with velocity

curves)
Notes which are not selected within the editor are displayed in blue. The intensity of
the color symbolizes the velocity, and the velocity increases as the color gets
darker/stronger.
Selected notes: Multiple selected notes are displayed in red, and a more intense color
symbolizes increased velocity.
Current event: Appears in bright red with a red border. The properties of the currently
selected events are displayed in the edit fields above the piano roll. If an event is
selected with the mouse, it turns into the current event.
Display of filtered events: You can filter specific events for the display to get a better
overview of the events of a MIDI object.
Example: The MIDI object as notes in the MIDI channels 1, 2, and 5. You can now
make all notes in channels 2 and 5 accessible for the selection and editing tools via
the selection of the MIDI channels in the channel filter by selecting the two channels
from the menu. All unselected filtered notes in channel 1 are displayed in gray in the
piano roll and the list editor.
Events in the filtered channels can be completely hidden using "Hide filtered MIDI
data" option in the menu.
The list editor provides additional display filters that only function within the list. The
display filters are initiated with the settings of the playback filters (mute settings), but
the filters can be set independently of one another.
Display of muted events: MIDI object settings (in the MIDI object editor, "Ctrl + O")
can be used to mute notes and filter other MIDI events. This type of "muted" event is
displayed lighter or paler in the piano roll and list editor.
Events in front of or behind the beginning/end of the object (recognizable by the blue
lines in the editor or when the display is active and transparent as grayed-out ranges)
appear similarly pale as non-muted events within the object borders.
Events above and below the current picture section: Two small red displays above
and below the vertical scroll bar to the right-hand side of the MIDI editor screen show
in red if there are notes outside the screen's display.
MIDI channel filter

You can control multiple instruments with one MIDI output via the MIDI channels. A
MIDI object can contain events in up to 16 channels.
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Events in one object from all channels or only from selected channels can be played
back with the MIDI channel filter in the MIDI editor. To play back or edit events only
from certain channels, select the appropriate channels in the “Options” menu > MIDI
channel filter.” Events in channels that are not selected will be filtered out. “Play back
all” deactivates the channel filter.
Events that have been filtered out appear in gray and can be edited using the selection
tool. They can be hidden with the command “Hide filtered MIDI data” in the “Options”
menu.
Note: The list editor provides additional filters (such as filter by event type,
controller number, Note Off events) that only function within the list.
Synchronized MIDI editor and VIP screen view

If you change the horizontal display or zoom using the scroll bars, holding "Shift"
changes the corresponding VIP window.
Play/Play solo
“Play solo” only plays the MIDI object that is currently opened in the MIDI editor
(corresponding with the filter settings in the “Options” menu). “Play” plays the entire
arrangement.
Multi object editing (MO-Editing)

You can also load several MIDI objects simultaneously in the MIDI editor. All MIDI
objects selected in the arranger are added to the MIDI editor by clicking the "MIDI
editor" button in the Docker.
In an already-opened MIDI Editor you can include additional MIDI objects for Multi
Object editing by clicking in the Arranger while holding down the Shift key.
The MIDI editor (and in multi object editing) always shows the current MIDI object
and the current arranger track from which this object originates. In the field to the
right you'll see the MIDI out of your sound card or the activated VST plug-in for this
track.
New MIDI events will always be inserted into the current object (i.e. the currently
displayed object). The current object is also highlighted in the score editor.
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If you click on the arrow next to the object/ track display, you will see all MIDI
objects/MIDI tracks in MO Editing mode listed beneath one another. Here the current
object or current track has a tick.
When notes or MIDI events are selected, the associated object becomes the active
object. The current Note line will be automatically converted in the score editor.
You can also copy and insert MIDI notes between multiple objects.
The current object range can be highlighted by clicking the button behind the object
selection field. Areas outside the current object will be grayed out and the notes of
other objects will be paler but still selectable.
In addition, a display filter for the current track can be activated while in MO editing
mode. Events on other tracks will then be grayed out. This also reduces the display in
the controller editor to the veIocity values for the current track. If the option "Hide
filtered events" in the "Options" menu is also activated, MIDI events that are not
current will be made invisible.
Note: When representing notes, the note system of the current track will be
highlighted using blue note lines.
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Step Recording with a Keyboard or Controller Keyboard

In the MIDI editor, so-called "Step recording" can also be executed using the
computer keyboard or a MIDI keyboard. Activate the corresponding button first.
A marker shows the scope of the current octave for the following entries. Now you
can enter MIDI notes step-by-step using the keyboard. Note length and step length
can be specified by the length quantization values. The most important keyboard
shortcut for entering MIDI notes using step recording:
Tab One step forwards (set pause)

Shift + Tab One step backwards
Ctrl + arrow up/arrow down Entry octave upwards/downwards
CDEFGAB Note entry in current octave
Shift Enter chords
Different notes can be entered without the playback marker jumping if you hold down
the "Shift" key. This enables chords to be played.
Notes can also be entered in "Step recording" mode by using the controller keyboard.
Editing events in the Matrix Editor (Piano Roll)
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For notes inside the Piano Roll, there are various editing options, so-called mouse
modes. All the same functions apply in all modes (except for delete) for Note editing
(view page 193), so that these modes differ from one another in behavior only when
clicking on free areas.
Tip: You can switch between mouse modes using number keys 1-9 and the M key,
but the MIDI Editor must be in focus for this to work.
Selection (1)
Lasso: you can drag a selection frame while holding down the mouse key.
Clicking on a free range highlights an existing selection.
Draw Pencil (2)
A note can be drawn with a left-click. Beginning and length are determined
according to the current quantization settings
Various other drawing modes can be selected with a right-click on the small
arrow.
Drum Pencil (3)
A sequence of notes is drawn. The note length and interval are determined
based on the current quantization settings.
+ Alt Key: The first note's pitch will be retained for all further drawn notes.
Moving backwards with the mouse (to the left) while holding the key down
removes already drawn notes.
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Pattern Pencil (4)

This mode allows you to draw entire Drum Patterns (or melody patterns). If you
want to create a new pattern, you have to select it first in "Selection Mode" and
press the keys Ctrl+N simultaneously (or go to menu "Edit" in the "MIDI/Drum
Editor > Create pattern from selection"). If you have created a pattern, you can
start drawing at any position. Draw the pattern at the position of the deepest
note of the pattern. This makes an original pitch sound. You can, of course, draw
in a different pitch.
+ Alt Key: The first note's pitch will be retained for the following notes.
Moving the mouse back (to the left) while holding down the mouse button
removes the notes which were just drawn.
Velocity change (5)
The velocity values for the selected events can be adjusted in relation to each
other by holding down the mouse key and dragging up or down.
+ Shift Key: Absolute velocity values will be changed, changing all velocity
values to the same one.
Delete (6)
Clicking on the selected note deletes all selected notes. Dragging the mouse
deletes all notes underneath the eraser.
Magnifying glass (7)
Left click: zoom in
Right click: zoom out
Left click + drag: Zoom in into a range
The zoom mode can also be activated temporarily by holding down a special key
(default: Z key). After releasing the key, the set mouse mode is reactivated.
Glue notes (8)
Glues the note with the next note of the same pitch.
Split notes (9)
A note bar in the matrix is divided into two notes with a click. If the grid is active,
the separation will take place at the next grid position.
Mute (M)
Individual notes or selected note groups can be muted and unmuted with a click.
Also available as a command in the "MIDI Functions" menu.
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Tips:
• Keyboard shortcuts for switching between mouse modes (tools) may be freely
defined (view page 525).
• "Delete" mode may be activated anytime by clicking/dragging with the right
mouse button. You can, for example, add new notes with the pen using
a left-click and remove already drawn notes with a right-click, without having to
change the tool.
• Notes created with the drawing mode receive a MIDI channel and velocity from
the Edit Fields via the Piano Roll.
• You can select the next/previous note using the left/right arrows. With the
arrow up/down you can change the pitch of selected notes in a stepwise
fashion.
Edit notes with the mouse

Edit existing notes by clicking and dragging. Depending on where you click on the
note bars several options are available, which are visible by different mouse pointers.
Change note start time: Grab note bar at the beginning, note end
remains the same
Change note length: Grab note bar at end
+ Set fixed note length for multi-selection: Hold Shift key and drag current
Shift reference note longer/shorter. This sets all selected notes to the same
length.
+ Ctrl Scale note length for multi-selection: Hold Ctrl key and drag current
reference note longer. All notes will be lengthened by the same factor.
Move note freely, pitch and start time change
If Alt is also pressed in Move mode, the note will only be moved
horizontally, retaining the pitch.
If Shift is pressed while in Freehand Draw mode, only the pitch can be
changed, the position will remain the same.
/ If the setting “Ranges for limited movement” is activated in the “Options”

menu, clicking and dragging the first half of the note results in a change
to the position, while clicking the end half changes the pitch.
Pressing the Alt key while moving the mouse temporarily deactivates the
quantization grid.
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Moving and zooming

The vertical and horizontal view or zoom are adjusted with the Scroll bars just like in
the project window.
Mouse wheel: Scroll horizontally

Alt + mouse wheel: Scroll vertically
Shift + mouse wheel: Zoom vertically
Ctrl + mouse wheel: Zoom horizontally
Editing selected events (edit fields)

The properties of each event in the piano roll, controller, and list editor can be edited
by clicking the edit fields below the editing tools. The following buttons are available
for each note:
• Channel
• Byte 1 (or pitch)
• Byte 2 (or velocity)
• (Start) time in bars: beats: ticks
• Length in bars: beats: ticks
The display of the ticks has a resolution of 384 PPQ (i.e. 384 ticks correspond to a
quarter note).
Used to edit, click, and drag the displayed value. Hold down the left mouse button and
drag up or down to increase or decrease the value.
Note: The value adjustments are greater if you press "Ctrl".
You can also edit the value numerically via the keyboard by clicking on the figure.
Multi-selecting events leads to a few special features:
You can change the values relatively by dragging the mouse, using the mouse wheel,
or entering numeric values and then confirming by pressing "Enter" (for pitch and
velocity).
You can make absolute changes by simultaneously holding "Shift" while dragging &
dropping or by completing your entry with "Shift + Enter".
Note: MIDI channel changes are always absolute.
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List editor (midi event list)

Open list editor
The MIDI editor has an integrated display of all events in list format. This list editor
can be opened with the button above the keyboard or by using the “Alt + L” keyboard
shortcut.
When the list editor is opened and activated for editing it has a narrow red border.
This is to make clear that certain functions, e.g. select next/previous event (cursor
keys) or the “Select all” command, refer only to the list.
Working with the list editor
The list editor does not only display note events, but also MIDI controller and SysEx
data. This controller and the data can be hidden and can even be filtered during
playback (“mute”).
Double clicking on a SysEx entry in the list opens a simple editor for viewing and
editing the SysEx information.
A note always has a "Note on" and "Note off" event. These are always selected and
edited in pairs (note off events are not displayed by default, but can be displayed by
checking the box below the editor).
New events can be created directly in the list editor by using the “Insert" button. The
current values of the edit fields in the upper frame of the piano roll always apply.
Therefore, before editing these fields please ensure that no event in the piano roll is
selected.
Tip: If no current event has been selected, you can determine the insert position by
setting the play cursor.
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For editing certain events only, the list editor has a view filter for each column. These
are small check boxes above the list editor columns.
Select a representative format, e.g. a note of a certain pitch. Then click on the display
filter of a specific column to display only events of this type, e.g. of the selected pitch.
All other events are now hidden.
View filters can be combined. For example, you can use the “Select all” command
("Ctrl + A") to select and edit all type 10 control change events (volume) of MIDI
channel 6.
MIDI editor tips & tricks

You can copy & paste MIDI data within the editor and between different MIDI
objects. MIDI data is always inserted at the current position of the play cursor.
Duplicating: If the grid is activated (“Options -> Quantization grid active"), the
selected notes are copied and inserted from the next grid point following the
selection. They are otherwise inserted immediately after the selection.
Drum Editor
Clicking this button switches the MIDI editor to Drum Editor mode.
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The same content of a MIDI object can be edited with the Drum editor like in the
“normal” MIDI editor. The same tools are available. The “Piano Roll” here is specially
adapted to edit drum sequences:
• For each pitch there is a Drum editor track header instead of simple piano keys.
Here, you can assign a name to each drum instrument or rather to each pitch, as
well as set the output note and channel, grid and quantization settings, and
velocity scaling in %.
• Cell mode (view page 197) is used. The display width for each drum event in a
cell can be individually set for each instrument as well as in the respective track
header.
• All individual settings for each note can be edited as a whole in a drum map.
Important: When you switch from Drum Editor mode back to the normal Piano Roll,
you will be asked if you wish to apply mapping (view page 199) or not. If you add
mapping, all mapping settings will be applied to the MIDI object. For example: You
changed the output value for an instrument with a pitch of 35 ("Bass drum 1” in GM
Standard) to 36 ("Bass drum 2"). If mapping is applied, these notes will be replaced
by corresponding “real” notes with a pitch of 36.
Cell mode
"Cell” mode serves to improve the overview as it limits the display to only the most
important information, note starting points, and velocity.
Each time position of a bar is displayed as a row of cells in on/off states. The note
length is not displayed, but rather a unified display width is used. This way, it all looks
similar to the step sequencer of a drum computer (see Robota (view page 265)).
The set quantization grid can be read from the width of cells. “Swing” and “Offset”
settings of the quantization options are also made clearer thanks to cells of various
widths and by repositioning.
The height of cells displays the velocity of the note. When drawing new drum notes
the velocity can be specified via the vertical drawing position within the cells. In
connection with the “Drum draw” mode, increasingly loud drum rolls can be drawn in
easily.
By clicking on the upper edge of a cell and dragging it vertically with the mouse, the
velocity can be adjusted directly without having to use the controller editor. In
“Velocity” mouse mode ("Ctrl + 5") it's even easier; all you need to do is click
anywhere on the cell.
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Drum Editor trackbox

In the drum editor, each individual note has its own trackbox, and individual settings
can be specified for each instrument. When zoomed out, each trackbox can be
increased in size with a simple mouse click.
S/M: Each individual instrument can be played solo (S) or muted (M).
Note number: The output note from the instrument can be set here. This can be
different to the note currently displayed in the MIDI object so that individual drum
instruments can be substituted. To put the display of notes back into the usual order
(deep notes at the bottom, highs at the top), click on “Map” at the top and use the
“Sort drum map” command.
Instrument name: Double clicking on this field lets you rename your drum instrument.
Quantization options/colors: Use this menu to assign any one of the eight
different colors to the cells of a drum instrument. The dialog for the instrument's
quantization options is also opened here.
The dialog is the same as for global quantization options (view page 218), but the
settings only apply to the individual quantization options if an individual grid value is
set for the note as well.
K Output channel
# Quantization grid, “Glo” refers to the global value (More information can be found
in the section "Quantization settings" on page 218)
L Note length, # corresponds to the grid value, “Glo” to the global value
Length of the notation, # corresponds to the grid value (i. e. the entire cell width),
“Glo” refers to the global value of the note length
V Velocity scaling: The velocity value of each note is multiplied by the value set here
in %.
Scaling is audible, but is not visualized further. The purpose of this setting is the
customization of the volume ratio between the individual drum instruments. Software
instruments usually provide their own mixers.
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Drum Maps
Drum synthesizers usually respond to notes with different pitches and different
sounds. You are then able to control an entire drum kit and an array of other
percussion instruments via one MIDI channel. Assigning a MIDI note to a particular
drum sound is called “mapping.” A “General MIDI” map is used by default.
It may be the case that your synthesizer (regardless if real or virtual) uses a different
mapping setup. This means that when you play the drum event, the sound you wish
to hear may not be heard (for example, instead of a bass drum, you get a high tom). In
this case you must adjust the mapping. The settings for individual instruments can be
specified in the track header (the number/note value next to the solo/mute buttons).
For more extensive changes we recommend using the Drum Map Editor (see below).
There you can save your Drum Map as a file.
A project may contain various different Drum Maps. All Drum Maps saved in the
project can be selected via the menu. If you require a Drum Map from a *.map file,
you will have to load it into the Drum Map Editor first so that it can be shown in the
menu. You can edit the individual Drum Maps in the Drum Map Editor.
The Drum Map can be set in the Drum Editor by clicking on

the list field above.
Drum Map Editor

The drum map editor can be used to create and edit drum maps.
The “Drum maps” list on the left-hand side displays all drum maps which are available
to the project. The drum map GM General MIDI is always available to start off with.
New: Creates a new, empty drum map.
Copy: Creates a copy of the existing map. This way you can quickly create variations
of a drum map with various note allocations which can then be toggled via the drum
editor.
Load/Save: Use this to save a drum map (*.map file). This way you can use a drum
map you created for a synthesizer in other projects as well. All loaded maps will be
displayed in the “map” menu of the drum editor.
Delete: Removes the selected drum map from the project.
Use the name field to rename the selected drum map. The settings (mapping) of the
individual notes for each drum map will be displayed below this in tabular format.
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Pitch: This is the incoming MIDI note.
Instrument: Displays the name of the drum instrument, e.g. “Bassdrum 1.”
Grid: If desired, you can set up a grid for the starting point of the drum events.
Length: In this field you can set the grid for the note length.
Output note: This is the note value to which the drum instrument (the incoming MIDI
note in the “Pitch” field) should be routed or mapped.
Channel: You can set up an individual channel for each instrument here.
Quantization options: This opens the dialog for the each instrument's quantization
options (view page 218).
Instrument, grid, length... apply to all: This applies the corresponding setting of the
selected instrument to all other instruments.
Controller Editor
The Controller Editor is a graphic editor that allows you to edit the velocity of notes in
the Piano Roll and Controller events. A Continuous Controller abbreviated as CC or
simply referred to as the Controller allows you to transfer control values such as for
filter, volume and panorama position.
Tip: All control elements for MAGIX Vita Solo Instruments and MAGIX Vita can be
controlled via the MIDI controller.
The Controller Editor is preset as hidden. Unhide it by clicking the button

below the Piano Roll or with the key shortcut “Alt + V.”
The velocity values of note events are displayed as colored bars in the Controller
Editor, whereby darker and higher bars symbolize larger values. The bars are located
directly below the respective notes.
The values of other controllers are shown as bars. The width of the bar extends to the
next event. Because the controllers typically change in small time intervals more or
less continuously - regardless of note events -, they appear as ascending or
descending ramps. In this case, the height of the ramps and their color intensity also
represent the last defined value of an event. Selected controller events also appear in
yellow.
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Tools
Controller Editor for editing the velocity of existing notes (left) or controller values (right)
Selection tool: Specifically select existing controller events or notes and

adjust their values.
Freehand drawing tool: Freely draw new controller values or a gradient.
Draw line: Use the line function to quickly insert a straight controller
gradient (ramp).
Controller Selection. Select a controller to edit by clicking the menu.
Controllers, whose data is already available for the MIDI object, are
marked by an asterisk.
Up to four controller curves can be edited simultaneously. These can be hidden or
displayed using the corresponding buttons.
Note: Only one controller curve is preset in the MIDI Editor. To display the
additional buttons you have to increase the height of the controller curve area by
dragging the top border upwards.
Velocity values are only available at time positions of the corresponding notes
and in the case of multiple notes occurring simultaneously, several appear on top
of each other. Controllers are independent of the notes.
Selection tool
Individual events can be selected by clicking the respective bar. To modify the
controller value, click and drag on the bar end.
To select multiple events click in the controller editor and drag to create a selection
(lasso). The reference for the selection is the top edge of a bar. Since lasso selection is
two-dimensional, it is only possible to select events in a specific value range.
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Additional events can be added to the selection by holding down the Ctrl key.
The selected events can be grouped for editing using handles at the selection frame:
Fade in and out: Drag the handles to fade controller values in and out.
Scale values: Drag to handles to increase or decrease values in relation to each
other.
Increase/decrease values: Drag the handles to increase or decrease all values to
the same value.
Increase/align differences in value: Click a point on the vertical line and the
differences in value on either side of the point will be increased or decreased. If
you drag the handles right down to the bottom, this creates a straight line at the
height of the clicked value and the "amplitude" of an existing curve will be
increased in the other direction.
Stretch/compress duration: Drag at the edges of the selection for temporal
stretching or compression of the curve.
Move selected: Drag down at the line to move the selected curve.
To delete selected events in the controller editor, press the "Del" key.Drawing tool
With the Freehand drawing tool (Mouse pointer: pencil) you can draw any number of
controller curves. With the Line drawing tool (Mouse pointer: crosshairs) you can
create a linear controller gradient (ramp). By dragging backwards, you can delete your
curve during drawing. You can temporarily activate the Freehand drawing tool with
the Selection tool by additionally pressing the Alt key before clicking. The Shift key
temporarily activates the Line drawing mode when using the Selection tool as well as
the Freehand drawing tool.
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Hint: If you edit velocity with the draw tools, no new notes are generated; only
existing velocity values are modified.
Controller Editor Tips

Vertical zoom
To make it easier to edit very small curves (e.g. pitch bend), you can use Ctrl+mouse
wheel to zoom vertically into the controller curve.
Copying controller events

You can copy selected events using "Ctrl + C" and then paste them at any play cursor
position in the corresponding controller editor using "Ctrl + V". This also works from
one controller to another. With Ctrl + A you can select all events of a controller.
Display filter function for velocity values

At points in the arrangement where there is polyphony the velocity bars for the notes
are positioned on top of each other and it can be difficult to select the right note. To
edit only notes of a certain pitch, e.g. all C1 notes in the controller editor, click the
corresponding key on the keyboard. The key and the background of the selected
pitch are highlighted. Now only notes of this pitch are displayed in the controller
editor. Repeated clicking of the same key removes the selection.
You can also select several pitches for the velocity visualization filter by clicking on
the desired buttons while holding down cmd or Shift.
A further possibility for selectively editing velocity bars located on top of each other is
based on the fact that only the bar of the currently selected event can be edited using
the mouse. First click on an event in the matrix editor or controller editor. Now
navigate to the desired note with the "Arrow left/Arrow right" buttons and change
the controller value by clicking the top third of the selected bar.
Quantize Controller Events

MIDI controller events can be quantized and thinned out. To do this select the "MIDI
functions" menu and then the "Quantize/thin out controller" command. Quantization
occurs according to the quantization settings.
Detailed information about quantization is provided in "MIDI editors -> Quantization

(view page 216)".
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Smooth controller events

It is also possible to smooth controller event curves. To do this, select "Smooth
controller" from the "MIDI Functions" menu. This adds interpolated intermediate
values between existing controller values, which creates a smoother curve gradient
and avoids jumps between values.
Score editor
The score editor displays the MIDI data of a MIDI object as a score sheet. It
"interprets" the available MIDI data into real time. If you move or change the MIDI
data, such changes are immediately reflected in the score image. If you insert a new
note in the score editor, a corresponding MIDI "Note on" event is created
immediately. Therefore, do not view the score editor as a score painting program, but
more as an interpreter for MIDI data.
For instance, it is not possible to insert or delete rest symbols directly. Samplitude
Music Studio automatically "registers" rests in the gaps between the MIDI notes. You
will therefore always have a valid score sheet and "complete" bars, even if the MIDI
object should only contain a single MIDI note: the necessary rests are automatically
inserted into the bars.
The common controllers of the MIDI editor in the score editor operate as usual, e.g.
the eraser is used for deleting notes or the pen for creating, copying, and inserting
new notes. In this chapter you will learn how you can edit your MIDI objects within
the regular score. While the event editor contains specific editing options for certain
details (dynamics, note length), it is better to make MIDI changes directly in the score
sheet as it guarantees a better overview.
Opening the score editor

The score editor is integrated into the MIDI editor window. If the MIDI editor is
opened, then you can activate the linear score view by pressing the "Score editor
(linear)" button.
Score editor (linear) button
Navigation: You can adjust the play cursor directly in the score by holding shift and
clicking the desired position. You can set the playback range by holding the "Shift" key
and left clicking the left border and right clicking the right border of the range.
Score editor modes

Samplitude Music Studio offers two alternatives for viewing the score: linear display
and page mode.
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The linear note display can be combined with the matrix display to offer ideal MIDI
editing conditions, since the detail in depth of the matrix editor and overview can be
supplemented by several score systems. You can select the score in the score sheet
and perform fine adjustments in the piano roll. Selection and zooms in all editor views
(linear score, piano roll, event list, velocity editor) are always synchronized.
Linear view
Score editor (linear) button
For detailed editing of the MIDI data in the score you should preferably select linear
view mode as both matrix and velocity display are available. All parameters such as
pitch, note length, and velocity are displayed.
Please note: Only the notes of the currently active system are displayed in the velocity editor if
notes and velocity are parallel. The red bar mark indicates the currently active system.
Notation view in "Linear" mode (move bar between score and matrix)
The horizontal zoom above the scroll bar zooms parallel to the matrix view.
In linear mode details can no longer be displayed correctly if you zoom out
horizontally, since the note symbols overlap. It may then be necessary to reduce the
size of the notation symbols (+ & - buttons on the right). Despite the no longer
correctly displayed details, zooming out can still provide you with a good overview,
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particularly in large scores. Samplitude Music Studio can adjust the notation symbols
automatically. To do this, please select "Automatic zoom" in the score menu.
Page view
This page mode displays the notes just like on a musical score sheet, which also
serves as a print preview. Here you can select notes and allocate them to
voices/staves and delete them, although you cannot move them with the mouse or
pen.
Score editor page mode
Page view is not only useful for preparing a score sheet (e.g. for titles, borders), but
also for editing longer sequences. The stave break allows you to display considerably
more bars than with the linear display.
Scrolling in full view mode: Use the vertical scroll bar to scroll from page to page.
Page mode as print preview: You should first change the page format (in the score
properties dialog) to the paper format of your printer before setting up the page for
printing as the display depends on the page format. You will then see your score
exactly as it will be printed.
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Score sheet
The automatic conversion of MIDI data into score material is usually sufficient for
editing MIDI data; in this case, efficiency is required instead of a perfect,
ready-to-print display. However, it may still be necessary to adjust some of the
display options for the musical material during editing. These display options can be
found in the "MIDI score properties" dialog, which you can open by clicking the
corresponding button.
Open score settings dialog for notation system and page properties
Presets are available here, too. These are pre-programmed standard settings for
certain instruments or groups such as "strings" or "orchestra". Selecting a preset
improves the score display and its readability.
Violin clef view (preset)
Changing the score by selecting the piano presets
More information about the score is available below.
Editing MIDI data in the score sheet

Selection
As usual you can select notes by clicking them. You can select a group of notes (e.g. a
chord) by sketching a frame over them while holding down the mouse button. Select
multiple single notes by pressing "Ctrl".
Note parameters
The parameters pitch, velocity, and length can be changed for one or several selected
notes. If you have selected one or several notes the data of the current note will
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appear in the info bar above the score view. Changing a parameter may have a
comparable effect on all selected notes, just like in the matrix editor.
Move and transpose

To move notes, first select and then drag them to the desired position. Here the info
box can help you keep track of the pitch or position. The step size when moving is
determined by the selected quantization raster in the MIDI editor.
Copy
Select the desired notes and copy them by holding down "Ctrl" and dragging the
mouse. Alternatively, you can also use the copy function of the edit menu.
Insert new notes

You can also insert new notes in the score editor by using the pen. Click on the
desired position with the pen, hold down the mouse button and, if necessary, correct
the position and pitch. If you let go of the mouse key, Samplitude Music Studio will
add a new note of the same length as the selected length quantization value. You can
only insert new notes into the active stave. For instance, to insert a note in the lower
part of a piano system, first click on the lower staff in the system on the left.
Only notes are inserted that correspond with the current pitch. Non-scale notes or
chromatic intermediate steps are skipped. When you enter conventional music
material with the mouse, diatonic insert mode increases the chances of hitting the
correct note. If a new prefix is to be added to the note, you can move the note
chromatically with the arrow key. This way an inserted F in C major can be
transformed into an F# by pressing "Page up".
Delete notes
You can delete notes by:
• selecting them and pressing "Del" or
• by clicking on them with the eraser (or the right mouse button)
Insert notation symbols

Clef symbols can be inserted at the current cursor position by pressing the
corresponding clef symbol in the active system.
Delete notation symbol

Notation symbols such as clef and pitch cannot be selected, since they are meta
information for the notation display and no MIDI events have been allocated to them.
They can also be deleted by clicking them with the eraser (or the right mouse button).
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Adjusting and optimizing the score

Samplitude Music Studio automatically generates a notation display from the MIDI
events contained in the MIDI object. This is always correct with regard to pitch and
position. However, this does not mean that the notation can be read optimally, since
displaying note lengths also plays an important role in this context. In this case, the
notation permits more interpretation flexibility so that the user usually has to
intervene. The illustration shows a typical example of how poor a readable
transformation of a sixteenth note piano sequence would look in notation.
This representation may be correct, but it is not readable. Why is that? The MIDI
events contain very precise information on the start of a note, i.e. its length and pitch,
which has to be taken into account during playback. It may influence the groove of a
song if the notes are always slightly shorter than sixteenth notes. If this were to be
displayed correctly in the notation, then the score would be unreadable as in the
example above. The MIDI events also do not contain information on whether the gap
between two notes is a real rest, its harmonic correlations (pitch), and the
characteristics of the dynamic sequences. This is why automatic processing of
notation always differs from what would be ideal. Samplitude Music Studio includes a
number of automatically and manually controllable functions for making it easier to
read the notation. The reworked version of the the above score illustration shows how
big the difference can be.
Note allocation in multiple staves

The term "Stave" refers to an individual line within a stave as well as all staves of a
score. In cases where it is important to be able to differentiate a score and a staff from
one another, we use the term "Stave" for the score and "staff" for a single system.
What is meant by a "Stave" can often be interpreted from this relation, for example, in
a two-handed piano piece, "upper" or "lower" systems are referenced.
Samplitude Music Studio provides multiple systems, e.g. for piano notation, or entire
scores which can possibly be comprised of up to 16 individual systems.
To manually assign notes to a system, click to move the selected notes one
line on a stave higher, click
to move them one line lower. This results in the note being connected to the line
(independent of the MIDI channel or pitch). This manually set allocation can be
undone by clicking on
"Automatic staff allocation"

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When transcribing a MIDI piano recording, splitting the notes into a two-line piano
system using the split point is recommended. The points where individual notes are
placed incorrectly in a line can be corrected easily by assigning the notes manually
with a click to the desired stave.
The automatic allocation of the score to a specific line is flexible. Either the MIDI
channel of the note event, the pitch, or even a combination of the two can make up
the criteria. This permits simpler and faster distribution of MIDI notes in the score
line.
For example, it's often the case with some standard MIDI files that a particular piano
piece's lower system notes have a different MIDI channel than that of the notes of the
upper stave. Let's assume the notes for the right hand are on channel 1 and the notes
for the left hand are on channel 2. In this case you should set up two staves for the
stave in the note stave settings. The easiest way to do this is with the "Piano" preset.
For the first staff, set the MIDI channel allocation to "Ch. 1" in the "Channel" selection
box and "Ch. 2" for the second staff. Deactivate allocation according to pitch by
setting the split point to 0 (see MIDI score settings dialog).
The rules for allocation are as follows:
If the (preset) option "Automatic stave allocation" is set for the note, then the staves
will be played through until the MIDI channel corresponds with it and the pitch is over
or equal to the split point.
Note: It may happen that some notes are not shown at all as they are not yet
allocated to a stave.
Multi-voice notation
Up to two independent voices can be annotated for each staff. The voices differ in the
direction of the note stems: the first voice is always with the stem pointing upwards,
the second with the stem pointing downwards. Rests are displayed individually for
each voice.
Multi-voice notation can simplify the score considerably and enable multiple instruments or
parts to be displayed in one staff together.
You can set the voice by selecting the notes and clicking on the button or menu
command "Assign first voice" or "Assign second voice".
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This sets the stem direction of the notes, and therefore the voice itself. This
assignment can be undone by clicking on
"Automatic staff assignment for notes".
For automatic voice assignment, the note's MIDI channel has to be analyzed.
To do this, set up a MIDI channel for the second voice in the stave properties dialog.
This can be set individually for each staff. All notes of a stave whose MIDI channel
has not yet been assigned to a second voice, are added to the first voice.
Voice assignment via the MIDI channel can be practical when displaying standard
MIDI files with multi-voice piano pieces if the voices of the right hand are set to the
first and second MIDI channels and the voices of the left hand are set to MIDI
channels three and four. In this case, apply the following settings:
Note: If there is no MIDI channel selected for voice assignment, only one voice will
be annotated (if manual voice assignment does not occur).
MIDI score settings dialog

Open score settings dialog for stave and page properties
Note stave and page format settings can be set here. None of the settings have any
influence on the MIDI data itself, but rather only on the display of the score.
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Note: The affected stave settings are always applied to all MIDI objects situated on
the current track. The page format settings are global and valid for every VIP.
Stave settings
All settings for the stave and display parameters/options can be accessed via this
dialog page. Here you can enter the clef.
Samplitude Music Studio provides MIDI files with up to 16 staves on one track. For
each staff, the clef, display transposition (for instruments that transpose, for example,
a saxophone), and display quantization can be specified individually.
Furthermore, an instrument's prefix ("Name") can be set as well as the MIDI channel
for automatic stave/voice assignment.
Similarly, the split point serves automatic stave assignment: Notes above the split
point are added to the upper stave, while those under the split point are added to the
stave beneath it (as long as the MIDI channel matches).
The active staff is recognizable via the index marked in red. The list of 16 staves can
be scrolled vertically using the arrow buttons (up/down). In the lower range the
display options of the active staff are shown.
Optionally, all changes to settings, display options, clef, and display quantization are
always transferred equally to all staves.
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Note display - Interpretation options

None of the options have any influence on the MIDI files or playback.
Simplify note lengths (interpretation)
Displays rests and slurred notes in such a way that the score is as legible as possible
without influencing playback.
Automatic staccato articulations
A staccato symbol is added to a note whose value is considerably longer than the
"real MIDI note". This is practical when working with simplified length display.
Option: "Simplify note lengths (interpretation)" selected.
Additional option: "Automatic staccato articulations".
Hide note overlaps
Prevents the overlapping of sequential notes which, for example, arises as a result of
playing legato:
Recognize triplets
Activate this option if triplets are present in the MIDI object.
Please note: The display quantization value always has to be one step finer than the
smallest discernible triplet value. To recognize one eighth triplets, display
quantization has to be set to at least one sixteenth (or to 1/64 for 1/32 triplets).
Strict measure/pulse division
There are no note or rest values longer than a beat subgroup (pulse). Longer notes are
displayed as multiple slurred notes. This can simplify the legibility of the score.
Larger beam groups

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

You can select the page format independent of the printer settings so that it always
has the same note layout regardless of workplace and independent of the printers
installed in Windows.
In the score/page format setting, texts for tempo description, composer, and an
additional text can be entered. Similarly, you can choose which layout elements
should appear on the page (check boxes for beat numbers, page numbers, and texts).
Printing score
Samplitude Music Studio automatically creates the layout of the score and allows
optimal division of staves and staves on the page. You only need to specify the page
size, orientation, and page borders.
• Note size: Here you can scale the size of the note symbols and the printout. This
is actually irrelevant when working using the monitor's display, since you can
zoom whenever you want anyway. However, the size of the notes does influence
at which position a line or page break occurs.
• Set a value smaller than 100% to get more beats/staves onto one piece of
paper.
• Set higher values than 100% in order to keep larger note symbols on the
printout.
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Print notes
Activate the print process in the "Score -> Print notes" menu or via the print button.
Furthermore, a printer dialog window appears which appears differently for each
printer or printer driver. Depending on the printer there are various options, e.g. the
selection of pages you wish to print and the number of copies. Make sure that you
have set up the same paper format for the printer as for the page mode, otherwise the
printout may be scaled and the page ratio changed.
The following won't be printed, it's only visible on the monitor.

• The lines which highlight the page borders on the monitor
• Mouse pointers
• The color display of the currently selected notes and playback areas.
When printing a file (e.g. as a PDF file with a special printer driver) please note that
you have to activate the option "Save fonts in document" in the printer driver so that
the notation symbols will be displayed correctly in the document.
Quantize
Small irregularities during recorded playing can be smoothed with the quantization
function. In contrast, mechanical sounding sequences can be made a little more
groovy by applying the “Humanizing” function.
Clicking on the Quantize button shifts all selected notes to a

customizable quantization grid. All notes are quantized without
previous selection. Right-clicking on the symbol opens the
quantize settings (view page 218).
1/4, 1/8, 1/16, and 1/32 notes and corresponding triplets can be
selected as starting points (grid) and lengths.
The Quantize button always performs standard quantization (the note's start point
and length are preset). In the menu MIDI functions (view page 220) > Advanced
quantization provides other quantization modes (e.g. length only or Soft Q).
The quantization options enable the type and scope of the quantization to be set
more precisely.
Quantization Grid ("Snap")

If snap is activated, the notes “snap” to the quantization values when they are
created or edited.
The quantization values are also considered. For instance, the notes snap to the
corresponding positions within the quantization window.
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The snap positions are displayed within the Piano Roll as a matrix. A swing
quantization is displayed by the different intervals of the vertical partitions in the
Piano Roll. The grid can be hidden with the “Show Quantization Grid” command in the
options menu (Ctrl + G).
You can deactivate the snap function while creating or editing notes by holding down
“Alt” as you draw them.
Move relatively on grid ("Options” menu): If this option is activated, notes keep their
original intervals relative to the grid and not to the note start when they are moved;
the distance moved snaps to the quantization value. Use this option if you want to
move unquantized notes a certain distance without disturbing the timing.
Soft Grid ("Options” menu): If this options is activated, the quantization options are
applied, e.g. when notes are moved they will only snap to the corresponding position
within the quantization window.
Keyboard shortcut: Ctrl + G

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Quantization settings
The quantization settings can be found in the MIDI editor menu under "MIDI
functions -> Extended quantization" or in Samplitude Music Studio's main menu
under "MIDI -> MIDI quantization settings".
The dialog with the settings is not "modal", i.e. you can leave it open if you wish, and
test certain passages with different settings.
The selected quantization settings may be visualized in the top of the dialog. The blue
lines indicate the target positions for the quantized notes, i.e. the snap points. The
gray area around this show the quantization window, i.e. the target positions that are
affected by the quantization.
Q-grid/length: The quantization grid and length at the target points within the bar on
which the note start points or lengths move. (See above)
Q threshold/Q window: With the parameters Q threshold/Q window you can restrict
the quantization to certain notes in order to retain the genuineness of an MIDI
recording. The parameter "Q threshold" can be used to exclude notes from
quantization that are very close to the next snap point. Only notes that are far enough
from the raster will be quantized. Conversely, by reducing the "Q Window" notes that
deviate too much from the raster can be excluded from the quantization. It is
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therefore possible, for example, to quantize quarter and eighth notes and retain the
sixteenth notes that lie between by reducing the appropriate window.
In summary this means: Events less than the "threshold”-distance or more than the
"window"-distance from the grid point will not be quantized. The time range affected
by the quantization is indicated in gray in the dialog graphic.
Swing: Starts swinging, groovy playback (for example, triplet). Specifies the division
for uneven grid points.
• 50 ... “50-50” division: The odd eighths are exactly halfway between the even
eighth notes (“even” playing method)
• 67... triplet playing method, 3-2 division
Offset: The value range in this parameter stretches from -100 to +100. By changing
the offset values, you move the whole quantization grid. Negative values move the
quantization to the left, i.e. forward in time; positive values move to the right, i.e.
backward in time. The maximum of 100 corresponds with an offset distance of half
the grid width.
Presentation of blue grid points in the dialog as well as of the grid in the MIDI editor
directly reflects changes to these values.
Humanize: The "Humanize" parameter creates another variation option, i.e. notes are
able to be assigned according to the randomization principle up to a specific interval
to positions around the exact quantization value. The setting occurs in % of a 16th
note. The specified value thus regulates the maximum possible spacing of the
quantized notes at the exact quantization value.
Soft Q: This value sets the strength or "Soft Q" value of the quantization.
• “100” moves the event precisely to the quantize grid point
• "50" shifts the event to the middle between the current position and the
quantization grid point,
• "0" means no movement, i.e. quantization off
The command "Soft Q" considers the current level value in the quantization options.
The simple quantization command always occurs at 100%. In this manner, you can
always select between approximation (soft) and hard quantization without having to
adjust the quantization options every time.
Standard quantization settings: Select the quantization action from the list (see MIDI
functions (view page 220)) to be performed by clicking the "Quantization" button.
Reset quantization: All notes will be reset to their original positions.
Standard settings: Restores the default values.

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MIDI functions
The "MIDI functions" menu contains advanced quantization (More information can
be found in the section "Quantization settings" on page 218) and editing functions for
MIDI notes. The commands in the "MIDI functions" menu always affect the selected
events. If nothing has been selected, the functions are applied to all events.
Legato: If necessary, notes may be lengthened until the next note to be played in
legato.
Quantize notes (default): A standard quantization will be used on all selected

notes. If no notes are selected, all notes will be quantized. The standard action can be
defined in the Quantization Settings Dialog (view page 218). "Quantize notes (start
and length)" is set as default. This function can be accessed via the "Quantization"
button in the MIDI editor.
Advanced quantization
This submenu contains additional quantization commands.
• Start Q: Selected notes will be quantized corresponding to the set grid
quantization value. Note lengths remain unaffected.
• Start and length Q: Selected notes will be quantized corresponding to the set
grid and length quantization values. Hard quantization always occurs at 100%.
• Soft Q (Quantization approximation) : This command considers the current level
value in the quantization options. The simple quantization command always
occurs at 100%. In this manner, you can always select between approximation
(soft) and hard quantization without having to adjust the quantization options
every time.
• Length Q: Selected notes will be quantized according to the set length
quantization value. The start time remains unaffected.
• Quantize Note Ends to Grid: The end of selected notes will be quantized
according to the set grid quantization value. The start time remains unaffected,
but the note lengths will change.
• Undo quantization: Use this command to reverse all completed quantization
steps. This works even after the project has been saved.
• Quantization settings: Opens the selection dialog for the quantization settings
(view page 218).
Quantize controller events: Allows you to quantize controller events to reduce their
number.
Humanize: Use the Humanize function to make quantized notes sound more
"human" meaning less perfect. Notes will be moved to a random value. See
Quantization settings (view page 218).
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Mute Notes (Mute): Mutes and reactivates notes or selected note groups with a
click.
Remove overlaps (polyphonic): Notes are shortened so that there are no longer any
overlaps. Chords (simultaneously played notes) are recognized and left uncorrected,
i.e. chords are not split up.
Remove overlaps (monophonic): Notes are shortened so that there no longer are any
overlaps. Forces monophonic voice leading.
Convert sustain pedal to note lengths: This function converts sustain pedal controller
events (controller 64) into note lengths. All notes which were started after a "Pedal
pressed" event (CC64 > 64) will be extended to the "Pedal released" event (CC64 <
64), and the pedal events removed.
Transposition: Here you can transpose the pitch of selected events by half steps.
MIDI Timestretching: With this function you can make various changes to selected
events, e.g
• double the tempo
• halve the tempo
• scale to range length.
• stretch manually. This allows you to enter individual values in the Stretch Factor
field.
Reverse: With this function you can reverse the playback sequence. This means that
the sequence of notes will be played backwards. The result is a mirror image at the
vertical axis.
Mirror Melody: This function mirrors the selected events in terms of the pitch of the
current note. The effect is that each interval in the note sequence that was directed
upwards will now be directed downwards and vice versa. The result is a horizontal
mirror image.
If you don't define any particular notes, the mirroring will affect the mid pitch of all
notes.
Velocity Dynamics
The MIDI velocity dynamics can be accessed as an offline effect via "MIDI editor
MIDI Functions > Velocity dynamics", or as a real-time track effect in the track editor.
"Velocity dynamics" is a MIDI effect that edits the MIDI velocity dynamic of the
selected MIDI notes. It can be used in real time as a track effect during playback and
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for MIDI-Thru (button in the MIDI section of the Track editor), and also offline via the
corresponding menus.
Velocity dynamics makes it possible to adjust the MIDI velocity to the dynamics of
the connected synthesizer, i.e. to adjust MIDI synths or VSTis, thereby compressing
or expanding the velocity strength of the selected events.
Each input velocity value is assigned to a specific output velocity via the
characteristic. The characteristic curve may be set linear like a compressor/expander,
but other characteristics patterns are also available to produce exponential and
sinus/cosine curves.
The Preset field contains a series of presets for different compressor or expander
applications; these may be used to form the basis of individual adjustments.
Ratio (0.10 - 10.0): This parameter describes the level of compression/expansion as

the MIDI input signal reaches the threshold.
Threshold (0 - 127): Threshold specifies the level at which MIDI events are adjusted
via velocity dynamics.
Inverse: Velocity values above the thresholds aren't processed, but rather only those
values below the threshold.
Gain (-128 – +128): The gain controller sets the amplification factor for events after
they have been processed by other parameters
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Auto: If this option is activated, the gain parameter will be adjusted automatically to
reach a consistently full overdrive (Velocity 127).
Limit maximum and Limit minimum are used to limit the top and bottom velocity
ranges by entering a minimal or maximum velocity value.
Offline mode
Offline mode makes the Set value button available. If this is pressed, then the selected
MIDI events may be set to the velocity value entered in the field next to it.
Change velocity with the random function

With the Random Variation button you can assign several of the same velocity values
to subsequently fluctuate around mean velocity values, e.g. in order to make a
programmed sequence sound as if it were played live. In the field next to the button,
enter the maximum deviation value allowed. The velocity values will be altered
randomly within the range specified.
If randomized variation should be displayed in relative %, then this option must be

checked accordingly. If the Randomize button is clicked now, the selected MIDI
velocity values will change accordingly. At a lower dynamic in the original material,
variation will be softer than positions with higher dynamics.
Only for notes in limit zone: A check placed here modifies notes with a velocity within
the limit minimum and limit maximum. This enables all notes with a velocity of 100 to
be set to 77 or only notes above velocity 100 to work with random variation.
Note: By setting the limit minimum and limit maximum to the same value, a fixed
value may be set for the velocity for real-time use.
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Menu reference MIDI editor

File
• Import MIDI: Load a standard MIDI file (*.mid) to the MIDI object. See Load and
save MIDI files.
• Export MIDI: Export the content of a MIDI object as a standard MIDI file (*.mid).
Edit
• Undo/Redo: The last editing function is undone or restored.
• Copy/Cut/Paste: Depending on the editor area, the copy actions can be used for
notes (Piano Roll), controller events (Controller Editor), or all events (List
Editor). You can copy and paste within one MIDI object or between different
ones. Events are inserted at the position of the playback marker.
• Duplicating: If the grid is activated, the notes selected in the Piano Roll are
copied and inserted from the next grid point following the selection. They are
otherwise inserted immediately after the selection.
• Select all: Select all events in the MIDI object. Depending on the editor area, the
selection includes notes (Piano Roll), controller events (Controller Editor), or all
events (List Editor).
• Reverse selection: All non-selected MIDI events are selected and selected
events will be deselected.
• Create pattern from selection: Selected MIDI notes are saved as a pattern. The
length of the pattern is quantized when the grid is active. Afterwards, the
pattern can be drawn in the Piano Roll in Draw pattern mode (view page 190).
• Delete selected MIDI events: Selected MIDI events are deleted.
• Delete all MIDI events = File > New
MIDI Functions
see MIDI Functions (view page 220)
Options
• Hide MIDI channel filter/filtered MIDI data (view page 187)
• VIP Track filter: Limits the display to the MIDI object on the selected track, see
Multi-Object Editing (view page 188).
• Highlight Current Object (Range/Notes): The current object (in multi-selection)
and the selected range in the VIP are highlighted in the display, see Multi-Object
Editing (view page 188)
• Use velocity colors/Use MIDI channel colors/Use track colors: Changes the
colors of the MIDI notes from a graduated representation of the velocity values
to different colors for each MIDI channel or each VIP track.
• Scroll mode/Soft scroll mode: In Scroll mode (preset) the displayed section of
the MIDI object follows the playback marker. In Soft scroll mode, this is done
continuously, meaning the section moves behind a fixed playback marker.
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• Show event list/Show Matrix Editor (Piano Roll)/Drum

Editor/Velocity/Controller Editor: Shows or hides the elements of the MIDI
editor. (corresponds to the functions of the buttons above in the MIDI editor)
• Step input
• Play notes that have been clicked: Deactivates the playback of notes that have
been clicked or the piano keys on the left
• Zones with restricted movement for notes: If active, the notes react differently to
the movements of the mouse, depending on where you click on the bar in the
Piano Roll, see Edit notes with the mouse (view page 193).
• Open MIDI Editor with Double-click: When deactivated, double-clicking opens
the MIDI Object Editor (view page 183) instead of the MIDI Editor.
• Quantization grid active: Activates/deactivates the quantization grid (view page
216).
• Soft Grid: If this options is activated, the quantization options are applied, e.g.
when notes are moved they will only snap to the corresponding position within
the quantization window.
• Relative movement on grid: If this option is active, notes keep their original
intervals relative to the grid and not to the note start when they are moved; the
distance moved snaps to the quantization value.
• Show quantization grid: Shows/hides the quantization grid.
• Solo:
• MIDI Object Editor (view page 183)
• MIDI Panic (End all notes): In rare cases, after a Note On event the
corresponding Note Off event may not be sent to the synthesizer and the notes
"freeze". Use this command to send Note Off events to all channels in all
pitches.
• Audition Panic (Cancel Played Notes): Sends "Note Off" commands for all
played notes.
Mouse Mode
Mouse mode for editing events, see Piano Roll (view page 190) or Controller Editor
(view page 200).
View
All editors and areas in the MIDI Editor are listed here as menu options. The options
correspond to the functions of the buttons at the top right in the MIDI Editor.
Notes
Commands for the Score Editor (view page 204)
Keyboard Shortcuts
The keyboard shortcuts used in the MIDI Editor can be freely configured to a great
extent. For more on this you can read the following section.
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MIDI editor shortcuts

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

Close MIDI editor (apply changes) Return
Close MIDI editor (discard changes) Esc
File
Import MIDI Ctrl + I
Export MIDI Ctrl + E
Edit
Undo Ctrl + Z
Redo Ctrl + Y
Cut Ctrl + X
Copy tracks Ctrl + C
Insert Ctrl + V
Duplicate Ctrl + D
Select all Ctrl + A
Create pattern from selection Ctrl + P
Delete selected MIDI data Back, Del
Delete all MIDI data Ctrl + back, Ctrl + Del
Select next event Arrow right
Select previous event Arrow left
MIDI functions
Legato Ctrl + L
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Quantize notes Ctrl + Q
Options
Scroll mode F
Show event list Alt + L
Show velocity/Controller editor Alt + V
Play clicked notes Alt + P
Quantization grid active Ctrl + G
Show quantization grid Alt + G
Quantization options Alt + Q
MIDI object editor editor Ctrl + O
Audition Panic-End played edit notes Ctrl + F
Mouse mode
Selection 1
Draw 2
Drum (draw) 3
Pattern (draw) 4
Change velocity 5
Delete 6
Magnifying glass 7
Glue note mode 8
Split note mode 9
Mute notes (Mute) mode M
Select next event Arrow right
Select previous event Arrow left
Event pitch higher Arrow up
Event pitch lower Arrow down
Select next grid quantization value Alt + Arrow down
Select previous grid quantization value Alt + Arrow up
Select next length quantization value Alt + Arrow right
Select previous length quantization value Alt + Arrow left
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Move play cursor forward Page down

Move play cursor forward (fast) Ctrl + Page down
Move play cursor backward Page up
Move play cursor backward (fast) Ctrl + Page up
Velocity/controller selection Ctrl+1
Velocity/controller draw freehand Ctrl+2
Velocity/controller draw freehand Ctrl+3
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VST plug-ins 229
VST plug-ins
Samplitude Music Studio provides the option of integrating software plug-ins
according to VST standards as well as MAGIX synths in a virtual project and can be
controlled via the internal MIDI functions and editors.
All plug-ins, as well as the instruments with their multiple outputs, are seamlessly
integrated into the audio engine with all of their effects and routing options.
The maximum number of effect plug-ins is 4 per object, track or in the master, and is
otherwise only limited by the performance of the processor. However, you can
increase them virtually as you like using the integrated freeze function (view page
392).
Installation of VST Plug-Ins

The VST plug-ins provided by Samplitude Music Studio are detected automatically
and can be used immediately. To use third-party plug-ins in Samplitude Music Studio
you must tell the program in which folder they have been installed. To do this,
proceed as follows:
1. Install each VST plug-in according to the instructions provided by the

manufacturer. In most cases the plug-in installer suggests a default folder (e.g.
C:\Program Files\VST): these System VST folders are included in the plug-in
scan by default. You can also use any other folder. If you already have VST
plug-ins installed on your system, it is best to use the existing folder.
2. Open the system settings (Key Y) and go to "Effects > VST/Rewire". Under the
VST plug-in folder list, click "Add" and enter the folder path.
3. To start the plug-in scan, click "Scan" and choose "Scan selected VST folders"
from the menu. This scan may take some time for many installed plug-ins and
instruments. Not only are all the plug-ins imported, but they are also checked for
usability within the program. Incompatible or incorrectly installed plug-ins and
those that cause the plug-in search to crash are also included in the list and
flagged as unusable, so that they are skipped during the next scan and cannot
cause problems again. To scan these plug-ins again, use the menu item "Test
failed plug-ins again".
4. The newly found plug-ins can be used immediately.
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Hint For a complete reset of the VST settings and a new scan of all plug-ins, delete
the file "VSTPlugins.ini" in the folder C:\ProgramData\Samplitude Music Studio. All
paths will have to be newly entered.
If you activate the option "Scan user and system VST folders automatically for new
plug-ins", the list of plug-ins is automatically updated after every program startup
when the track settings or plug-in browser are opened for the first time. This means
that the program searches for newly installed plug-ins and removes uninstalled
plug-ins from the list. This search is performed only once per working session, and the
next time you access the track settings it'll open immediately.
You can also specify and scan any number of plug-in folders.
Hint: If you add VST plug-in subfolders into the main VST folder (e.g. "Equalizer",
"Filters", "Modulation", etc.), these will also be displayed as subfolders in the plug-in
browser.
Hint: The command for a new plug-in scan is also in the menu that you can open
with an arrow button on each plug-in slot.
Load instruments
These are managed in Samplitude Music Studio under "Track menu -> VST
instrument editor". You can also assign an instrument to each track; the instrument is
selected as a MIDI playback device.
Selected instruments or their individual outputs are shown directly in the first VSTi
plug-in/insert slot of the track box and mixer track and can also be muted (left click)
and opened (right click) from there.
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VST plug-ins 231
• Load an instrument by selecting a "New instrument" in the project window as a

track output. This can happen at various points:
• Playback device menu (right click the "Mute" button -> MIDI -> New
instrument)
• Plug-ins slot -> VSTi in the track editor
• "Insert effect slot of the mixer -> VSTi": You will only find this option in the top
insert slot of the individual mixer channels.
• "Out" slot -> New instrument in the MIDI section of the track editor.
• "Out" slot -> MIDI -> New instrument in the audio section of the track editor.
Loading routing settings with software

instruments
An instrument may also be assigned to each track as a MIDI output device.
Additionally, you can route audio output channels from software instruments to any
tracks of the VIP. MIDI (send) and audio (return) signals from a software instrument
may be present together on one track (but this is not absolutely necessary).
Samplitude Music Studio is fully flexible in terms of individual routing configurations.
When installing a software instrument, the "Routing for multi-channel instruments"

dialog opens up. Here you may specify new tracks for single audio outputs.
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Simple: Audio and MIDI together in a single track: Now all audio signals will be
routed to the current track where the instrument has been opened. Multiple outputs
will be mixed together before the mixer effects. Simple mono or stereo software
instruments may be installed completely in the current track. In this case, the track
sends MIDI to the instrument and receives the audio signal from the instrument.
Multi-timbral audio on your own track separated from MIDI routes: Choose this
setting if you would like to control the VSTi from several MIDI tracks.
Multi channel: Create multiple new tracks for instrument outputs: Choose this
option to automatically create new tracks for all VSTi audio outputs. The newly
created tracks are configured and named automatically. The mono/stereo
configuration is assumed from Samplitude Music Studio (Standard).
Individual outputs can also be routed subsequently to separate tracks. To display

hidden tracks in the Arranger window again, please use the Track Manager.
Advanced options
Stereo/Mono (standard): Information delivered from the plug-in is used for routing.
All as stereo/mono: Several plug-ins deliver incorrect information about whether the
outputs are in mono or stereo. These options force individual outputs to be treated as
stereo or mono outputs.
Combine audio/MIDI: Activate this check box to automatically route the MIDI output
of each individual track to this instrument.
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VST plug-ins 233
Hide instrument output tracks in arrangement: All newly created output tracks of
this instrument are hidden in the arranger but still appear in the mixer window. This
setting should be used if an instrument's individual outputs are controlled by a single
MIDI file, and therefore do not contain objects or information in the arranger window.
Hint: Please note that a virtual synthesizer's audio output can usually be created,
edited, and mixed in the same track as the MIDI data the instrument is receiving.
Among other things, this results in a double use of the volume fader which, on the
one hand, controls velocity or MIDI volume (CC7), and on the other the audio level.
These are not identical parameters. For instance, you can include a MIDI instrument
played with high velocity quietly in the mix and vice versa. You can, therefore,
optionally assign the volume fader differently. To do this, right click on the track's
volume fader.
Route MIDI instrument inputs

Nearly all software instruments require MIDI data in order to be heard. To route the
MIDI input onto a specific track which contains the MIDI data, click on the VSTi
button in the track editor of the corresponding track and select the instrument from
the "Out" slot which you wish to activate. Already loaded instruments are mentioned
in this list.
To open a completely new instance of an instrument which works independently of

already existing instruments within the project, select its name from the "New
instrument" submenu.
Instruments with multi-channel outputs

The number of available individual outputs generally depends on the instrument, and
this may be adjusted via the instrument's settings. Outputs may be available in stereo
or mono.
Distributing sounds on multiple single tracks

This approach, for example, is ideal for all drum samplers if you want to address an
entire drum set, but prefer to mix and edit the drum sounds individually.
Addressing an instriment on several MIDI channels

Several MIDI tracks are typically used for so-called "multi-timbral" synthesizers which
can play several sounds on different MIDI channels simultaneously, whereby each
addresses a specific sound program (part) on a specified MIDI channel. This also has
the advantage that such instruments only require one instance of the plug-in for
several sounds. Multi-timbral software instruments often have separate audio
234
outputs. Please remember to route the individual parts to the desired outputs within
the VST instrument (panel).
Adjust instrument parameters

The instruments editor (panel) is then opened when an instrument is loaded and can
be opened again at any later date by right clicking on the VSTi slot in which the
instrument name is displayed. Alternately, the VSTi editor can also be opened by right
clicking on the record button on the track -> Instrument output -> VSTi editor.
The graphical interface opens by default. If the selected instrument (or plug-in) does
not have its own interface, the parameters dialog will open. This display mode is
limited to just a few control elements and can only be opened via the menu of the
instrument window. Use this mode if you find the panel of the plug-in too unclear or if
it takes up too much space on the screen. In this dialog eight freely selectable
parameters of the instrument are clearly and numerically displayed. Bar controls can
be used to adjust the parameter values.
Alongside the combi-boxes for the selection of all instrument parameters, the "Auto"
checkbox is also of importance. Once activated, the automatic processes of the
selected parameters are started. The automation curve is shown in the project track
and can be edited. The parameter can be automated using the fader.
Activate automation parameters by checking the "Auto" control box.
The parameter selection is saved for each plug-in so that the next time you use the
same plug-in in a different project, the same parameters are used. This way you have
the advantage that every frequently used parameter of the corresponding instrument
is available immediately after it has been opened.
Instrument panel and parameter dialog

The instruments editor (panel) is opened when an instrument is loaded and can be
opened again at any later time by right clicking the VSTi slot displaying the instrument
name. Alternatively, the VSTi editor can also be opened by right clicking the record
button on the track -> Instrument output -> VSTi editor.
The graphical interface opens by default. If the selected instrument (or plug-in) does
not have its own interface, the parameters dialog will open. This display mode is
limited to just a few control elements and can only be opened via the menu of the
instrument window. Use this mode if you find the panel of the plug-in too unclear or if
it takes up too much space on the screen. In this dialog eight freely selectable
parameters of the instrument are clearly and numerically displayed. Bar controls can
be used to adjust the parameter values.
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VST plug-ins 235
The parameter selection is saved for each plug-in so that the next time you use the
same plug-in in a different project, the same parameters are used. This way you have
the advantage that every frequently used parameter of the corresponding instrument
is available immediately after it has been opened.
Dialog menu
Further options can be found in the menu of the instrument window:
Bypass: Deactivates the instrument and mutes it. Note that some instruments use up
processing power if bypass is switched on but are still located in the insert slot. In
such cases, the instrument should be removed completely from the insert if it is no
longer required.
Monitoring: This option must be switched on if you wish to be able to hear the
instrument when it is being played or recorded. If you wish to always have monitoring
active when the track's record button is pressed, then please select the "Tape
monitoring" option in the system/global audio options ("Y", "Audio setup" tab)
dialog.
Loading/Save patches/banks: Here you can save an instrument's settings and

sounds. The standard formats for this are: *.fxp for patches or *.fxb for whole banks.
Some instruments have their own patch/bank format, settings are then loaded and
saved directly via the instrument's interface.
Set parameters randomly: Use this function to set all parameters of an instrument to
a random value. This option can lead to surprising results and provides interesting
ideas for sound design, thanks to the random generation of a new sound. However,
you should note that parameters can only be set when they are accessible via the
interface. For some very complex virtual synthesizers (e.g. modular systems), some
parameters may not be modifiable using this option. Please note that thanks to the
random placement of various parameters, very extreme sounds can be generated.
This may lead to no sound being produced at all or extremely loud volumes and
frequency ranges being reached. For this reason you should keep an eye on the
preview volume when experimenting with this function.
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Play and monitor instruments live

Requirements for playing live
In order to play virtual software instruments, you will require a MIDI device to enter
the data. This is typically a MIDI keyboard. Of course, you can also use any other PC
that transmits MIDI data or a hardware synthesizer.
For direct monitoring while playing you will in any case require an audio interface with
ASIO drivers. Simply playing instruments, however, is also possible with MME or
WDM drivers.
Monitoring
In order to play virtual software instruments you require a device to enter the data.
Typically this would be a MIDI keyboard. Of course you can also use any other PC
that transmits MIDI data or a hardware synthesizer.
For direct monitoring while playing you will in any case require an audio interface with
ASIO drivers. Simply playing instruments, however, is also possible with MME or
WDM drivers.
• For live monitoring you also have to make the following settings:
• ASIO drivers (System/Options -> System/Devices -> Global audio options ->
Playback devices -> Driver system)
• Activate global record monitoring in the transport control ("Rec M" button)
• Activate the track monitoring button (loudspeaker symbol)
• Software monitoring or Hybrid Engine (Options -> System/Global audio options
-> Audio setup)
Tip: You can also select monitoring mode by right clicking on the "Record
monitoring" button on the transport control.
Latency: Please note that a system-dependent delay between pressing the key and
the instrument sound occurs when you play virtual software instruments. This
so-called latency time is mainly determined by the buffer size set for the ASIO drivers.
For playing in an acceptable manner we recommend a buffer size of 1024 samples
max. This corresponds with 23ms at 44.1 kHz. For many users, however, a latency of
3ms, i.e. 128 samples, is optimum. Please note that the CPU load also increases at a
lower buffer size. The "live" delay only occurs when an instrument is played, playback
latency of an already recorded MIDI track over a virtual instrument is compensated
later.
As software instruments are fully integrated into the audio engine of the program, the
signals can be routed, mixed and equipped with plug-ins any way you like. There may
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VST plug-ins 237
be some restrictions when playing, but all functions are fully available during
playback.
Hint: Please note that "Track FX monitoring" mode or "Mixer FX monitoring/Hybrid

Engine" have to be activated.
Latency
Please note that a system-dependent delay between pressing the key and the
instrumental sound occurs as you play virtual software instruments. This so-called
"latency" time is mainly determined by the buffer size set for the ASIO drivers. To play
in an acceptable manner, we recommend a buffer size of max. 1024 samples. This
corresponds with 23ms at 44.1 kHz. For many users, however, a latency of 3ms, i.e.
128 samples, is optimum. Please note that the CPU load also increases at a lower
buffer size. The "live" delay only occurs when an instrument is played, playback
latency of an already recorded MIDI track over a virtual instrument is compensated
later.
Recording and playback of an instrument

An instrument is recorded much in the same way as a normal MIDI track. Make sure
that the MIDI recording is active in the desired track and then press the record button
in the transport control. The recording begins immediately.
When playing already recorded MIDI tracks, track monitoring should be switched off.
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Routing VST instruments using the VSTi

manager
There are many flexible methods for signal routing of instruments.
As described in the previous paragraph, an instrument may be fed from several MIDI
tracks, and the outputs of an instrument may also be sent to several tracks.
Routing instrument outputs

Instrument outputs can be easily routed by using the VSTi manager. Simply open the
VST instrument to view the single outputs and then right-click the "Output routing"
column.
Now switch to the track that is to be fed with the respective single output. The
assigned output then appears in the target track's plug-in slot.
Alternatively, you can also route directly to the track header of the arranger: To play
the output of an already loaded instrument on a specific track, click with the right
mouse button on the record button of the track, go to "Instrument outputs" and select
the output of the software instrument available in the arranger you want to sound on
this track by placing a check mark. Several outputs of an instrument can be routed
simultaneously to a track. You can even combine the outputs of different instruments
onto one track.
Deactivation of the instrument outputs works in the same way. Remove the check in
front of the corresponding output in the "Instrument outputs" submenu.
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VST plug-ins 239
Note that the routing options of the mixing console may also be used. A track
containing the audio return of any instrument may be routed to any submix bus, AUX
bus or master.
Routing instrument MIDI inputs

Most software instruments require MIDI data in order to generate an audio output. To
route the MIDI output of a track to the input of a VSTi, click on the MIDI button in the
Track Editor of the corresponding track and select the VST instrument in the "Out"
slot that you want to activate. Already loaded VST instruments are listed in this menu.
To open a completely new instance of an instrument that works independent of any

existing instruments within the project, select its name from the "New instrument"
submenu. You can differentiate several instances of the same VST plug-ins by the
number (index) in front of the name of the software instrument.
Previewing VSTi instrument outputs solo

To preview solo instrument outputs, switch the track to which signals are added by
the corresponding instrument to solo. Even if the MIDI objects, which in effect are
responsible for the sound, are not present in the track, you will still hear the selected
track solo. Samplitude Music Studio automatically recognizes which MIDI tracks have
been routed to this track and plays the instrument output.
Preset management
If an instrument has presets, these are displayed in the “Program Slot” (“Prg”) with
their internal name (if MIDI mode is activated).
This drop-down menu can be used to easily “step through” the presets of your
instrument. These presets can also be selected using the “Program” menu of the
instrument window.
If your MIDI input device can send “Program change” commands, then you can also
directly select programs of this instrument. The program slot is automatically updated
in the track, so you have an overview of the program all the time.
Freezing instruments (freeze)

Software instruments require CPU power for playback, which at some point can be
quite considerable and is required during every playback. Therefore, please use the
"Freeze" function to release the CPU power for VSTi tracks temporarily. You retain full
control over the MIDI objects of this track, which can be restored (“de-frozen”) at any
time.
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To “freeze” an instrument, select the “Track freeze” option in the track menu (Ctrl +
Shift + F). After a short processing time, all MIDI and audio objects are replaced by a
single, resource-friendly, 32-bit stereo audio object, which is now played back instead
of the original object and the instrument. The existing automation data and track
effects are already included in this freeze object.
The actual instrument of this track is no longer addressed by MIDI files of this track
and can even be deactivated, provided that it is not used by other MIDI tracks.
Select “Track unfreeze” (Ctrl + Shift + U) to change the original MIDI data at a later
point in time that was "frozen”. The track is now returned to the state in which it was
"frozen", but again requires the initial CPU power for processing the instrument.
Alternatively, you can use the feature “Edit track freeze”. In this case, a new
single-track VIP is opened with the original track. This track cannot be played
together with your arrangement. As soon as you save this project, a new freeze object
is processed and included in the original project.
Freeze also works with single outputs in different tracks than the main output track
(instrument outputs 1+2). You can also freeze these tracks if they do not contain
MIDI information and do not hold objects. The MIDI data that has been routed to the
track or to the individual output of the instrument automatically creates an audio file
that is now played instead of the original instrument. In order to prevent double
playback of the data, deactivate the single output of the instrument manually in the
frozen track.
To edit freeze data you cannot only use the "Track freeze edit" function, since there is
no MIDI data available on this track that could be edited. Therefore, “unfreeze” the
track and edit the MIDI data of the send track. You can then refreeze the track.
Note: As long as the instrument is not entirely unloaded from the track it remains
loaded into the RAM memory of the system. Samplers or instruments that require
considerable amounts of memory also require this when their insert tracks have been
frozen.
Tips on handling virtual instruments

• You can realize so-called stack sounds (i.e. sounds that use several synthesizers
and play these in unison) by opening several instruments and activating
monitoring for all channels.
• To program beats, you can create and save individual drum maps in the MIDI
editor that match the respective instruments.
• If an instrument can limit the amount of voices, then you can use this option to
save CPU power if you do not require the full number of voices.
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VST plug-ins 241
• Some instruments use sound sets according to the "General MIDI" standard.
You can use these instruments for playing back MIDI files according to the GM
standard. Please import the entire MIDI file to a single track including all
channels. Make sure that virtual instruments can also receive program change
commands that are also saved in such a file, so that the correct sounds are
played back.
ReWire
If this option is activated, ReWire-compatible client applications (e.g. Propellerheads
Reason) can be integrated into Samplitude Music Studio as synthesizers.
Activate ReWire functionality in the program settings ("Y"). Afterwards, installed

ReWire applications can be loaded as instruments into a MIDI slot. All ReWire client
applications appear as individual sections in the selection menu of the plug-in slot of
the track and are loaded as software instruments (VSTi). The client application should
always be launched after Samplitude and should be closed before exiting Samplitude.
Some client applications can be opened automatically by right clicking on their name
in the MIDI slot (red) – just as you can open the plug-in window for VST instruments
by right clicking.
The ReWire application can then be accessed like a software instrument via MIDI, the
audio output signal of the ReWire client can be routed to the Samplitude Music
Studio tracks. The client application runs, starts, and stops synchronous to the time
position of Samplitude.
ReWire supports up to 4096 MIDI buses. A ReWire client only registers the MIDI
buses that are actually available with the host (Samplitude Music Studio). You can
therefore select the bus within the track in the MIDI channel menu (e.g. the receiving
instrument for Reason):
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The "classic" MIDI channel of MIDI

notes and events is not important, it
is replaced by the ReWire MIDI bus
system. For each track a MIDI object
is able to control a ReWire MIDI BUS.
This means that all events of a MIDI
object apply to the track for this
ReWire bus, independent of the
channel number the events originally
had. Multi-timbral MIDI objects, like
those created in the MIDI file import,
cannot be played correctly with
ReWire. You can, however, access
the ReWire client across multiple
tracks on various ReWire MIDI buses.
Only a few ReWire clients support direct opening of the client application via the host
application (Samplitude Music Studio). In this case, you will have to start the client
application manually. You can do this by starting your client application as you would
normally. It then automatically recognizes the host and starts in a special client mode.
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Synthesizers 243
Synthesizers
Samplitude Music Studio comes with several synthesizer plug-ins for creating own
drum patterns, bass or melody lines. In Samplitude Music Studio there are two
different types of software synthesizers: On the one hand, so-called "Synth objects"
that are arranged together with the other objects in the tracks and that contain their
own sequencer; On the other hand, synthesizer plug-ins based on the VSTi (view
page 229) standard that are controlled by MIDI objects in the tracks.
Synth objects
These synthesizers build individual synth objects in Samplitude Music Studio. A
corresponding synth object can be moved onto any tracks without anything changing
in the synthesizer settings. Object synths include Loop Designer, Beatbox 2, Atmos,
LiViD and Robota.
Note: Object synths can also use object effects. Open the object editor (view page
59) via the corresponding object's context menu.
You can open synth objects via the "Object menu" > "New synth object”. A small
selection menu with the installed synth objects opens. After the selection, a synth
object is created at the position of the playback marker on the current track and the
interface of the synthesizer opens.
Programming the synth object

Depending on the plug-in, various functions to create and control sound can be
applied via the operating console. Please read the following chapters pertaining to the
individual synthesizers in this regard.
To monitor programming, playback can be started and stopped at any time with the
space bar while the operating console is open. If the synth plug-in has its own play
button (e.g. the beat box), then it will start the plug-in solo without playing the other
tracks of the arrangement as well.
Arranging the synth object

If the synth object melodies or rhythms are programmed, you can close the the
control console and arrange the synth object in the track. The length of synth objects
can be changed by using the handles, or they can be used to fade in and out or change
the volume, etc. These steps are identical for all objects.
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Double-click on the operating console of each synth object to reprogram the object
later. In addition, any number of other synth objects from the same software
synthesizer can be dragged onto the tracks and programmed separately. You can also
cut synth objects apart.
BeatBox 2 plus
BeatBox 2 is a 16-voice drum computer with hybrid sound synthesis and a step
sequencer. The proven handling concepts of the "old" BeatBox like matrix
programming with auto copy have been expanded with comfortable editing of
velocities and significantly improved sound synthesis, including a multi-effects
section (one effect per drum instrument).
A drum sound is created in BeatBox 2 using a sample (analogously to the old

BeatBox) which is combined with a synthetic sound that can be created using up to
three different synthesis models (hybrid sound synthesis). BeatBox 2 plus enables
detailed editing and automation of all sound parameters.
There are two styles of interface in BeatBox 2. While closed, you can listen to included
sounds or those you've made in BeatBox 2 without using too much window space.
Only the most important control elements are displayed when the program window is
minimized.
Volume controller: Controls the volume.

Peakmeter and preset name: The peakmeter lets you visually control BeatBox 2.
Click on the triangle beside the preset name to open the preset list.
Next/Previous preset
Save preset: The preset includes the drum kit in use, the pattern, and any possible
automations (view page 249).
Play/Stop: The playback controller in BeatBox 2 starts BeatBox without playing
the arrangement, too.
Edit button: The edit button opens BeatBox 2 for you to program your own beats
and sounds.
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Synthesizers 245
Maximized BeatBox 2 plus window
Drum kit: This section loads drum kits (collections of different drum instruments)
and the individual drum instruments.
Selected drum instrument: The settings in the synthesis section (6) and
velocity/automation (5) always affect the selected drum instrument.
Pattern editor: Programs the beat sequence. In the top part, different patterns
(sequences) can be loaded and saved as well as different settings for the view
and function of the pattern editor. The matrix is where the beat is programmed:
One line corresponds to a drum instrument, and a column matches a specific
time position within 1-4 beats. If a cell is clicked on, then the respective drum
instrument will be triggered at this position.
Velocity/Control: This section has two modes: Velocity and Automation. The
setting Velocity displays the velocity levels for the selected instrument's beats as
a column. The Automation set up allows automation to be set for sound
parameters in the synthesis section (6).
Synthesis: The selected sound parameters and effects settings for the selected
drum instrument can be edited here.
In the following, the sections of BeatBox 2 will be discussed individually:

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Drum kit
This section loads drum kits (collections of different
drum instruments) and the individual drum instruments.
You can also try out an already programmed pattern
with different kits or exchange individual drum
instruments.
Select drum kit: Use the <> buttons to switch through the different drum kits. A
drum kit is a collection of percussion instruments with matching sounds, e.g.
rock kit or electronic drums à la TR 808. By changing the drum kit, you can add
an entirely different sound to the rhythm you have already created.
Save drum kit: Use this button to save the current collection of drum
instruments as a kit.
Drum kit list: Click on the arrow right of the name to open a complete list of
available drum kits.
Select drum kit: The arrow buttons function analogously to those of the drum
kit. The sequence of drum instruments in the kit can be resorted via drag & drop.
Mute/Solo: The "solo" button switches a drum instrument solo, i.e. all other
instruments which are not "solo" will be muted. The "mute" button mutes a
drum instrument.
New drum or effect sounds can by added to the current drum kit by drag & drop from
Windows Explorer. Drag a wave file to a drum instrument to create a new drum
sound based on this sample. BeatBox 2 copies the sample into the sample folder to
make sure that the instrument or kit created can be used again later. You can drag a
complete folder with wave files to the drum kit to create a kit based on those samples.
Context menu
Right clicking a drum instrument always opens a context menu:
• Copy/Paste: Copy an instrument from a track and paste it to another one.
• Empty instrument: An empty instrument is added. No sound is played, it has no
name, and is used to clean up an unused track.
• Default instrument: The standard instrument is added. It has the standard
parameter for all synthesis shapes and serves as the starting point for your own
sounds.
• Reset automation: BeatBox 2's own presets contain automations. These are
dynamic sound parameters like filter curves or pitch changes. This command
allows you to completely remove these for the selected instruments.
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Synthesizers 247
Pattern editor buttons
Pattern: Use the <> buttons to switch through the different patterns. The arrow
to the right opens a list of all available patterns, and the save button stores the
current pattern.
Clear track/all: All events for the selected instrument (track) or all events for
the pattern (all) are removed by clicking this button.
Bar selection: The bar you wish to edit can be selected via the corresponding
number button. Use the “Follow” button to select follow mode, i.e. the step
display follows the steps of the currently played beat. All shows all bars of the
pattern.
"1>2-4" Auto copy: If more than one bar is set as the pattern length, "Auto
copy" mode makes sure that the drum notes set in the first bar are
automatically placed into the next bars. This also makes it easy to create a
continuous beat, even with a loop length of four bars. Notes set in the bars
further back are not affected by the "Auto draw" function, which, for example,
makes faint variations detectable only in the fourth bar.
Bars: The maximum length of a drum pattern is four beats. The length can be
selected via the small scroll bar.
Shuffle: This controller changes BeatBox 2's timing. If the fader is turned to the
right, the eighth of a rhythm is played more and more like a triplet. If that
sounds a bit too abstract – simply try it out, ideally with a pure 1/16 hi hat
figure; you'll soon see what the shuffle fader is capable of.
Grid: Here you can set the time resolution of the BeatBox. You can choose from
1/8 notes (only for very simple rhythms), 1/16 (default), 1/32 (for more refined
constructions).
Pattern editor - matrix

248
This is the heart of BeatBox. A click on any position in the drum matrix creates or
deletes drum notes (events). Clicking and dragging draws in a series of notes.
Together with the velocity editing options (view page 250) (velocity), you can easily
create drum rolls.
If "Shift" is held when you click on notes in the range, a rectangle can be drawn out
which selects the notes contained within this rectangle (lasso selection). Selected
notes can be copied by dragging them to a new position. If "Ctrl" is also held down,
then existing notes will remain at the target position. Delete all selected notes by right
clicking.
Two special commands are available for selection:
Shift + double click Select everything in the bar clicked on.

Shift + Ctrl + double click Select all
A simple mouse click cancels the selection. The selection is automatically canceled
after copying. If you want to keep your selection, hold down "Ctrl" while copying.
Keyboard shortcuts
Many functions in BeatBox 2 can be controlled with the keyboard, for example a beat
can be triggered with the "Enter" key live in a running pattern. Here's a complete list
of the keyboard commands:
General Key command
Open/Close editor e
Pattern editor - options
"1>2-4" Auto copy a
Follow f
Display bar 1... 4 1... 4
Show all bars 0
Grid finer/rougher +/-
Selected drum instrument
Previous/Next Cursor up/down
Preview p
Live input Enter
Mute on/off m
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Synthesizers 249
Solo on/off sec
Velocity
The velocity mode serves for editing the velocity/automation of the individual drum
notes for the selected drum instrument.
Reset: Sets all velocity levels to 100%

Mode switcher: Switches the section between velocity control and Automation
(view page 249).
Random: The random parameter adds random variations to the set velocities.
This helps make your beats sound more natural.
Amount: No function in velocity mode.
Velocity level: Every set note for the selected instrument is displayed as a
column and can be edited. Multiple columns can be edited at once; see Editing
velocity values and automations (view page 250).
Automation
Every parameter for a drum sound, including effects, can be automated, i.e. can
change during a pattern. For example, you can make your snare drums more lively by
adding higher voices to loud hits or by setting accents on individual hits with reverb
effects.
The synthesizer section below enables the selection of a parameter

for automation via the small blue LEDs above a parameter controller.
More about the parameter controllers in the Synthesizer (view page

251) section.
Reset: Sets all automation values for the selected parameter. 0.
Mode switcher: Switches the section between velocity control (view page
250
249) and automation switched. This happens automatically during selection

of parameters.
Random: The random parameter adds random variations to the set
automation. This helps make your beats sound more natural because each
programmed hit will sound slightly different. The level of the random
parameter is also influenced by the amount controller (see below), i.e. if the
amount is at "0", then the randomness will have no effect.
Amount: The amount parameter regulates the complete influence of the
automation values and of the random factor on the selected parameter. An
amount of "0" does not have any effect at all on the automation; maximum
level has the greatest effect. The effects of the amount controller on the
automation values is made visible by a slightly lighter line in the value
columns.
Automation values: The selected parameters can be drawn in as a column
with the mouse. Automation values can also be drawn between the set
notes; the sound of the drum instrument changes during playback.
Automation values are added to the original value of the parameters.
Editing velocities and automation values

Hold down "Shift" and select any number of columns for velocity or automation with
the mouse. Two special commands are available for selection:
Shift + double click Select everything in the bar clicked on.

Shift + Ctrl + double click Select all
The "Copy" button copies the selection to the clipboard. If you select this or that track
in another editor, then you can paste the notes there now from the clipboard. If the
target selection is larger than the contents of the clipboard, then it will be inserted
again. This lets you quickly add a short section throughout the complete length of the
pattern.
The three handles allow the velocity or automation values to be edited together.
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Synthesizers 251
The middle handle increases or lowers the values together.
An object can be faded in or out with the handles to the left and right upper corners of
the object.
If you move the handles horizontally you can change the curve shape of the transition.
A single click in the automation section cancels the selection again.
Note: A selection of velocity values matches the selection of corresponding notes in

the matrix editor.
Synthesizer
In the lower section of BeatBox, you can set the sound for the selected drum
instrument.
The synthesis in BeatBox 2 consists of a combination of a simple drum sampler and a

synthesizer. There are three different synthesis models possible for the synthesizer:
"Phase Distortion Synth" (FM synthesis), "Filtered Noise", and "Physical Modeling".
The mixed signal of both components is then processed by a multi-mode filter. An
envelope curve ("envelope generator") time-dependently controls modulations of in
all components.The details of the synthesis models can be read in the section
Synthesis models (view page 255).
Preview drum instrument

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Save drum instrument

Select sample: A click on the arrow selects samples from the categories like
kick, snare, etc.
Select synthesis mode: Switches between the three synthesis models.
Mix: Mix relationship between drum sampler and synthesizer.
Parameter controllers: All six sound parameters for a drum sound can be
directly set and automated via the parameter controller. The parameters in
question depend on the drum sound currently loaded. By clicking the name of
a sound parameter, a menu opens for you to add parameter controllers to
each drum sound's synthesis parameters.
Automation: This selects the controller's parameter for the automation (view
page 249).
Effects section
Each of BeatBox 2's drum instruments includes an effects unit which is fed in after the
actual sound synthesis and editing. Each of these effects units includes a series of
high-quality algorithms to add "audio polish" or to place the sound in a
production-typical context.
FX on/off
Parameter controller: An effects module includes four adjustable parameters.

The fourth, "Mix", is always available and the remainder possess a function
dependent upon the selected algorithm.
Automation: This selects the controller's parameter for the automation (view
page 249).
Effects algorithm: Click the arrow to select an effects algorithm.
The available effects algorithms per unit are described in the following.
Mono delay (tempo sync / millisec.)

Simple, monophonic delay effect
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Parameters
• Time: Delay time controlled by musical measure (sync) or free running
• Feedback: Repetition
• Damping: High damping of the repetition
Stereo delay (tempo sync / millisec.)

Stereophonic repetition, adjustable separately per side
Parameters
• Left / Right: Delay times, synced or free running
• Feedback: In contrast to mono delay, no repetition takes place in the middle
position of the feedback controller. When turned to the left the type of delay is
that of the so-called "ping-pong" variety, i.e. the signal is alternately sent so that
is jumps from one channel to the other. When turned to the right the delay
effect is "dual mono", in which case left and right sides act as two independent
time-delay units.
Chorus
Produces a typical "floating/shimmering sound" by modulated detuning of a signal
to "thicken up" its sound or spread it across the stereo field. Detuning is achieved by a
short delay, the length of which can be varied by the modulation. This produces the
so-called "Doppler" effect.
Parameters
• Time: Delay time in milliseconds. This can be understood as the "base"
modulation which is stretched or compressed by the modulator.
• Rate: Modulation speed
• Depth: Modulation amplitude. Low values modulate only a little, higher values
lead to a clear vibrato.
Flanger
Algorithmically similar to chorus, but different in that the delay time is significantly
lower and delay works with repetitions (feedback). A flanger sounds more "cutting"
and up-front than a chorus.
Parameters
• Feedback: Delay feedback
• Depth: Modulation amplitude
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Phaser
A modulation effect just like chorus & flanger, but in this case no detuning takes
placed. Filter components periodically alter the signal's "phase response" (principle of
the "phase shifter"). Characteristic notches are produced in the frequency spectrum
response to create so-called "comb filter effects". The phaser effect is suitable for
pads and "psychedelic" sounds.
Parameters
• Feedback: Feedback of filter steps
• Depth: Modulation amplitude
Room reverb / Hall reverb

In the case of reverb there are two realistic simulations of natural reverberation.
Sounds receive "atmosphere" and thereby appear lively and "authentic". Room reverb
simulates a small space with high echo density. Hall reverb mimics the typical reverb
of large concert halls.
Since natural spaces never sound "static" because air molecules are constantly
moving and due to the complexity of reflection processes, both algorithms include a
modulation parameter which varies the delay time of individual echoes and thereby
affects the liveliness of the reverb impression depending on strength.
Parameters
• Decay: Reverberation length
• Damp: Damping of highs, simulates absorbtion via air, wall materials, and
objects
• Mod: Modulation strength.
Lo-fi
This algorithm gives the sound a little bit of "grit", or a certain measure of signal
destruction depending on its setting. An ideal partner for creative sound design. The
simulation of early digital synthesizes or samplers is equally possible since their
AD/DA converters were anything but "true" in the character of their sound. The
sample rate from the output of the lo-fi effect can be continuously reduced and a
generous measure of "aliasing" distortion can be produced alongside the unavoidable
loss of highs which results from "down sampling". Bit resolution is clearly changeable,
too.
Parameters
• Rate: Sample rate
• Crush: Number of bits
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Synthesizers 255
• Low-pass: Low-pass filter at the output to smooth out induced noise
Distortion
This overdrive effect works similarly to common guitarist effect pedals. Everything is
possible, from light, bluesy signal saturation to hard "metal shred boards". Here a
dual-band EQ works on the in and output signals and therefore provides a rich palette
of sounds.
Parameters
• Drive: Controls the internal level and thereby the overdrive
• Low: Bass portion.
• High:High portion.
Analog filter 12/24db

Vintage compressor
Synthesis models
The sound synthesis in BeatBox 2 consists of a simple sampler and a synthesizer
which includes three different synthesis modules.
Sampler
The sampler plays short sound recordings ("samples") in different pitches. The
sampler is intended for creating all kinds of drum sounds; the sounds are static and
unnatural if the pitch is not altered. This is why the sampler is combined with on of
the three synthesis models.
Filtered noise
White noise is filtered by two band-pass filters with separately setup frequencies and
resonance. This algorithm is suitable for creating synthetic snares and high hat
sounds.
Phase distortion synth

Two oscillators with regulated phase distortion and thoroughly variable frequency
modulate each other (FM/cross-modulation/ring-modulation). Depending on the
setting, this algorithm can be used to create kick, tom, or metallic percussion sounds;
higher values for frequency and modulation level produce noisier sounds for high hats
or shaker sounds. Since the oscillator frequency can be set exactly according to the
musical pitch, this model can be used to produce mass lines or melodies.
Physical modeling
This is a simple physical model of an "abstract" percussion instrument. A fed-back
network of delays is caused to oscillate by an impulse of filtered white noise (exciter).
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Depending on the setting of the exciter, the size of the model (surface), and the
damping, a wide spectrum of natural sounding percussion instruments like cymbals,
claves, gongs, or triangles can be created.
Multimode filter/Envelope generator

Following the samplers and synthesizers, an inverse filter (multi-mode filter) is added
to add the last bit of polish to the drum sound. The envelope generator controls all
time-dependent processes in the synthesizer and sampler.
Loop Designer
The loop designer unites both stellar design elements of drum'n'bass style in a
"device": turned-up beats and rumbling bass lines. With the Loop Designer you can
create authentic drum'n'bass sounds without any specialized knowledge.
Loop Designer overview
The top half of the synthesizer controls the rhythm section, the lower half - the bass
section. You can mute both sections using the M symbol on the left border. This way
you can, for example, turn off the bass section in order to take only the drum section
into the project. Only the drum section will then be added to the mixdown file when
mixing down the project. Next to this are the volume controls, which control the
volume of both sections.
You can preview and stop your drum'n'bass creations using the "play" and "stop"
buttons.
Additional buttons:
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Loads a saved pattern with all settings.
Saves a pattern.
Undo for all settings made in all sections.
Makes random settings changes in both sections. You can change

settings later as you wish.
Drum section (top half)

Here complex, authentic-sounding Jungle-Breakbeats can be put together easily. In
professional recording studios Jungle-breakbeats are made by chopping up arbitrary
drum loops and putting them back together in a different order. These laborious work
steps are significantly simplified by Loop Designer.
The new sequence is determined in the top row, the so-called "step" row. The grey
cells represent the individual sections ("counts") into which the loop is separated.
Pick a different note or playback by left-clicking a grey cell. Various notes will be
represented with a light bar which "grows" toward the top with each mouse click. This
way, each time you click on the grey cell, the bar expands by one step.
1 of 4: Play Drum Loop starting from the first note.
2 of 4: Play Drum Loop starting from the second note.
3 of 4: Play Drum Loop starting from the third note.
Full bar: Play Drum Loop starting from the fourth note.
Reverse icon: Play backwards from this position
Stop icon: Stop playback

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The right mouse key deletes settings of a step bar and the Drum Loop is played in its
original order.
Pressing the double-arrow button generates a random step sequence.

You can change this rhythm as you like.
Clicking into the blue field in the left part of the drum
section opens a pop-up menu where you can pick the
sound of the Drum Loop. When you select another drum
loop it will load and be played in the way you
programmed it.
Tip: You can also send a loop from Soundpool or a wave file to Loop Designer. To
do so, select the desired loop or file and drag it into the field while holding down the
mouse key ("drag & drop").
In the field under the "steps" row the sound of the loops is defined. The intensity of
the settings is determined with a control similar to a peakmeter. The higher the bar,
the stronger the influence on the loop is. With the help of the left mouse key, values
can be smoothly adjusted. "Volume" controls the loudness (full = loud, empty =
quiet), "filter" the filter strength (full = clear, empty = muffled). In the "Flam" row
you have the option to make the note repeat itself twice in quick succession. This is
how to program rolls and fill ins.
Using the top arrow buttons at the right edge you can load pre-defined pattern
settings. The originally set loop will not be changed. The two lower arrow buttons
offer presets in the form of standard curves for "volume" and "filter".
Filter type: selects the type of the filter sound: "BP" stands for
"bandpass", "LP" for "low pass" and "HP" for "high pass".
Bass section (lower pane)

The bass section produces suitable bass lines.
• The first row of the "Notes" row, determines the order of the sounds i.e. the
series of notes. Select a cell with the left mouse click, where the lowermost
represents the lowest note and the topmost - the highest. A right mouse click
deletes a cell.
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• In the "Octave" row you can specify the octave of the bass. The slide control
positions represent the various octave values. If the controller is down, a deep
sound is produced, if it is in the top position, you will get a high tone. If the
controller is in the middle, the pitch will be balanced.
Just like in the drum section, here you will also find arrow buttons on the right side for
opening pre-defined patterns and and a double-arrow button for setting arrows. The
filter can be set analogously to the drum section. The arrow button next to the filter
area select presets in the form of standard curves.
You can determine the bass sound in the blue selection field at the left side. You can
drag loops and WAV sounds into the field using drag & drop just like in the drum
section.
Additionally, there are two slide controllers for sound changes to the right:
Vibrato: makes the bass tone's pitch change. When the control
is to the far right, the sound vibrates more, if it's to the far left
pitch isn't changed at all.
Decay: determines how long should it take to for the sound to

subside. Set to the far right the sound is very fast (about 1 / 4 of
a second), on the far left the sound lasts longer.
Robota
The Robota is a four-part drum computer with virtual analog and sample-based sound
production. Virtual analog sound production means that the sounds are synthesized
in real-time, i.e. produced with a synthesizer to recreate the typical analog sounds of
classical drum computers, such as the Roland Tr-808 and Tr-909, or more recent
devices such as the Korg Electribe or the Jomox x-cousin. Sample sound production
uses drum sound recordings (or even other recordings) as the basis for sound
production.
After selecting the elementary sound production technique, the sounds of each of the
4 parts (or instruments) can be edited using modulators.
The step sequencer programmed with incident lighting helps Robota to play. 4 beats
in sixteenths (or 2 beats in thirty-seconds) are processed as a loop. At each beat
position, the playing positions can be set by clicking a button. In "Event" mode, the
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instruments are distributed within the beat pattern. In "Snapshot" mode you can
adjust additional instrument sound settings.
Sound synthesis
The four instruments of the Robota are built identically. Each instrument can create all
kinds of drum sounds – from hissing hi-hats to phat bass drums.
During elementary sound production, you can choose between an oscillator with
selectable wave shapes (sine, triangle or saw tooth) or a sample. In addition, you can
add a noise generator can be added. The oscillator has a pitch envelope (pitch env.)
and a volume envelope (attack/decay). It can also be frequency and ring-modulated.
The depth of the modulation can be controlled via an envelope parameter (Fm/rng
dcy). There’s also a “Lo-fi” section consisting of distortion (Rectify), bit rate reduction
(Crush) and sampling rate reduction (down sample).
Temporal control via an envelope (lofi dcy) will get the best out of the lo-fi effects. A
multi-mode filter (low-pass/band-pass filter/high-pass) with 12/24 dB steep-side. A
comb filter can be inserted. The filter frequency can be likewise modulated via an
envelope. For extra pressure, an adjustable compressor (compressor, comp resp) is
included, as well as tube amplifier simulation (tube).
Parameter (1): To simplify matters, not all parameters

can be changed on a sound - only those that are
meaningful for the selected drum sound may be
changed (snare, kick, high etc.). There are four selected
variable parameters coordinated exactly with the
selected preset sound.
Oscillator waveform (2): The fundamental waveform of
the Oscillators is selected here. You can choose from
sinus/triangle/sawtooth/sample. If you have selected
"Smpl" you can use the rotary knob to select a sample,
i.e. a previously recorded drum sound. These samples
are saved in the folder /synth/robota/samples/. If
select custom samples, they will appear in the selection
list.
(3): For each part you can regulate: Filter Cutoff,
Resonance, Tube, Volume and Panorama (view page
262).
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With select choose the instrument for editing in the step sequencer.
“M” mutes the instrument, “S” makes it solo
The loudspeaker button allows you to hear a preview.
Master Section
Volume regulates the total volume of the Robota. Distortion adds an adjustable tube
distortion to make the sound “dirtier” and more powerful. The peak meter helps
control the output level – when it enters the red area, reduce the total volume.
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Schematic illustration of the Robota synthesis
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Here is a detailed circuit diagram of a Robota voice with a description of all control
parameters.
Pitch envelope (pitch env)

Controls the pitch envelope level.
Tune
Tunes the instrument.
Oscillator shape (osc shape)

The shaper adds additional frequency shares to the basic sound of the oscillator by
artificially reshaping the wave shape. A sine wave (shape = 0) can be reshaped up to
a square curve (shape = max).
Oscillator waveform
The fundamental waveform of the oscillators is selected here. You can choose from
sine/triangle/sawtooth/sample. If "Sample" is selected, you can use the controller to
select a sample, i.e. a previously recorded drum sound. These samples are saved in
the folder /Synth/robota/samples/. If you select custom samples, they will appear in
the selection list. If you are playing your own samples, they will appear in the selection
list.
Noise
Adjust the ratio between the oscillator sound and the noise generator.
Attack
Adjusts the attack time. The greater the set value, the softer the attack of the sound.
The attack rate is also applied to the lo-fi and filter envelope curves.
Decay
Adjusts the decay curve. The greater the value, the slower the instrument will decay.
FM/Ring modulation frequency (Fm/rng frq)

The fundamental frequency of the frequency or ring modulation.
FM level (fm lvl)

At a low frequency FM first adds vibration to the sound, at high frequencies and low
levels it creates bell-like sounds, as the level increases metal sounds, and finally noise.
Ring modulation level (rng lvl)

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Ring modulation creates typical auxiliary frequencies.
FM/Ring modulation decay (Fm/rng dcy)

Time constant of FM/ring modulation by-product. Only the beginning of the drum
sound is affected by the modulation.
Rectify
Distorts the audio signal.
Crush
Bit rate reduction. Digital artifacts become audible with higher settings.
Down sample (dwnsmple)

Sample rate reduction. Ideal for creating the "old school sound" of older digital drum
machines. As it is increased, the result becomes darker.
Lo-fi decay (lofi dcy)

Time constant of the by-product of the three lo-fi effects which makes the sound
"dirty". Only the beginning of the drum sound of the lo-fi effects is affected if the
decay is low. For instance, this makes the kick of a kick drum sound more interesting.
Filter modes (flt mode)

Filter mode: High cut – sound portions above the cut-off frequency are filtered out.
Band pass (BP) – Sound portions above and below the cut-off frequency are filtered
out. Low cut - All sound portions below the cut-off frequency are filtered out. This
mode is set as a preset and can not be changed.
Filter frequency (flt freq)

The cut-off frequency of the filter.
Filter resonance (flt reso)

Filter resonance which increases the sound portions at the cut-off frequency of the
filter. If the resonance is high, the filter itself can also be used as an oscillator.
Filter modulation -/+ (flt mod -+)
Regulates how much and in which direction the filter envelope curve moves the filter
frequency in which direction.
Filter-Modulation decay (flt mod dcy)
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Decay time of the filter curve. Smaller values with high resonance create a "zapping"
sound of the filter, greater values create the typical sweep sound.
Filter modulation velocity (flt mod vel)

Specifies how much the filter modulation depth depends on the velocity. If this value
is increased, louder beats will generate higher filter curves than quieter ones.
24 dB
The filter can operate with a slope of 12 dB or 24 dB. This mode is set as a preset and
cannot be changed.
Comb filter (comb filt on)

You can activate a comb filter, a feedback delay that creates resonance-like sounds
comparable to a plucked string. The delay time and feedback levels are permanently
linked fo the filter parameters (frequency and resonance). This comb filter is set as a
preset and can not be changed.
Compressor
Controls the compressor strength. This lets you increase the "power" of the drum
sound.
Compressor response (comp resp)

Controls the compressor time. The lower the value, the faster the compressor follows
the volume.
Tube
Controls the level of the tube amp simulation. It "saturates" the output signal of the
voice and adds warmth to the sound if the settings are moderate. Increasing the
settings makes the sound "dirtier".
Volume/Pan
Controls the volume and panorama position of the drum instruments.
Sequencer
Incident lighting is used to control the drum patterns just like in all classical drum
computers and groove boxes. The step sequencer consists of 16 individual step
buttons with LEDs corresponding to the appropriate partitioning of a beat:
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16ths or 32nds (a half beat is in each case displayed). A button lights up to indicate
the releasing of the instrument at this point in the beat (= step).
A left click turns on the step, a further left click deletes the step again.
A pattern can be a maximum of 4 beats long. The length can be modified

using the fader on the button bar.
The beat to be edited can be selected with the applicable “edit” button. The “Follow”
button specifies whether the step of a beat is in time.
"1 > 2-4" auto draw: If more than 1 beat is activated as the loop length, the "Auto
draw" mode ensures that the drum note set in the first beat is set automatically for
the following beats. This makes it very simple to produce a continuous beat from a
loop length of 4 beats. Notes set in the rear beats are not affected by auto draw.
How to program a drum pattern:

• Select the pattern length with the fader.
• Select “Event” mode.
• If you edit during playback, turn off “Follow”. Select the beat with the “Edit”
buttons.
• Use “Select” to choose an instrument to edit.
• Use the “Clear bar” button to delete all steps in the selected
instrument.
• Turn on the appropriate step buttons, and use the “Velocity”
controller to adjust the beat velocity.
• Repeat the procedure with the other instruments
Snapshots
In addition, you can automate programming of the editable sound parameter of a

drum sound via so-called "snapshots". You can thereby save the sound parameters of
a drum instrument on the step buttons of the sequencers.
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Automating the drum instrument with snapshots.:
• Set the edit mode to “Snap”.

• If you edit during playback, turn off “Follow”. Select the beat with the “Edit”
buttons.
• Select an instrument and edit the sound. You can control the sound of an
instrument even when playback has stopped by using the loudspeaker button.
• Save the sound as a snapshot to one of the step buttons.
• Change the sound of an instrument and save the settings to other step button
Warning: The parameters are not changed abruptly but are faded internally instead,
in order to avoid crackling. If two snapshots with extreme parameter differences are
too close together, the drum sounds will sound differently when the pattern is
played.
• Using the arrow keys, you can jump between the individual
snapshots during stopped playback.
• Press “on” to activate snapshot automation.
Groove Control
The secret behind “groove” beats lies in delay. That is, individual beats are either
anticipated or delayed according to patterns. For example house beats use the
“shuffle” whereby straight 1/16s are delayed at certain times.
In the Robota there are groove velocity and groove swing presets. Groove velocity
presets contain for each step of a beat a certain offset to increase or reduce the
original beat velocity. Groove swing presets contain for each step a time alignment
that is either anticipated or delayed. The result is a livelier-sounding sequence. The
strength of the effect can be adjusted with the % regulator.
Setups, drum kits, presets, and patterns

A single instrument sound is saved as a
preset.
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Presets containing all four instruments

are saved as drum kits.
All note information plus the snapshots

are saved as a pattern.
Together (drum kit + pattern) they are

know as a setup.
Load/Save
Presets, drum kits, patterns and setups can be selected with the continuous rotary
regulators next to the display area. For storing, click on the “Save” button. Then
specify a new name in the input field. To store, press “Enter”.
Note: A drum kit stores only the names of the presets, not the actual parameters. If
you want to store your own drum sounds that were created by changing existing
presets, you must first store them as new presets and then as a new drum kit! The
same applies to the setups, which contain only the pattern and drum kit names.
If necessary, always store in this order: preset -> drum kit -> pattern -> setup. This
applies only when creating your own “templates”. If you store your project normally,
the complete current status (synthesizer + sequencer) of the Robota is always stored
and correctly loaded later with the project.
Synthesizer plug-ins
Samplitude Music Studio also includes software synthesizers that are based on the
VST plug-in technology. These are different from synthesizers that are loaded as
synth-objects:
• Generally, VST instrument plug-ins (VSTi) do not feature sequencers of their
own and are controlled via MIDI objects.
• VST instruments are always loaded to a specific track. All MIDI objects on this
track then control this VST instrument. VST instruments, unlike synth objects,
cannot be freely moved from track to track.
• Effects may only be applied at the track level.
Nevertheless, these are much easier to manipulate in Samplitude Music Studio using
the MIDI controls.
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DN-e1
The DN-e1 is a virtual analog synthesizer that is suitable for all conceivable styles and
application areas. It works in a subtractive way, i. e. first a basic sound is selected that
is then filtered with the aid of a filter curve.
The DN-e1 is played with a MIDI keyboard or with the aid of MIDI objects. You can
use the keyboard in the program to set the sounds.
Sound selection
Select the sounds and sound configurations at the top.
Bank: Here you can switch between three banks with various complete
configurations.
Category: Here you can select a sound category.
Rndm (Random): Here you can activate a random selection of the parameter settings
in order to experiment with the sound.
Patches/Name: Here you can select a sound that will then be modulated.
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Output
The end of the signal chain is edited in this area.
Volume: Sets the total volume.
Voices: Controls the number of voices generated (polyphony).
Glide: Controls the glide function. You can access sliding pitch transitions between
the individual notes.
Unisono: Switches to monophonic, but generates a number of slightly varied voices

for “Thickening” the sound.
Filter en.
In this area the filter curve used to filter the output sound is modulated.
Attack: Sets the time duration that the filter curve requires in order to reach its
maximum.
Decay: Sets the time duration that the filter curve requires in order to go from its
maximum to the sustain level.
Sustain: Here you can set the degree of filtering that should take place after the decay
phase. This filtering remains the same until the key on the keyboard is released; in
contrast to the other three parameters, it does not also control a time duration, but a
specific level.
Release: Sets the time duration which the filter curve requires in order to go from the
sustain level to the zero point after the key is released.
Reverb
An additional reverb effect can be set here.
Type: Sets the sound coloration of the reverb effect.
Pre Del: Sets the time that passes between the direct signal and the arrival of the
early reflections. The reverberation time comes only after this time span.
Damp: The corner frequency at which a damping of the highs should be implemented
for each delay is defined here. This is useful, for example, for making the delays
reverberate more naturally or for creating special effects (reggae/dub-style effects).
Decay: Sets the complete reverb time.
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Low Cut: Sets the filter frequency of a high-pass filter. All signal components below
this frequency will be filtered out.
Amount: Here you can set the mixing ratio between the effect and the pure sound, i.e.
the original sound without any effect applied.
Delay
An additional echo effect can be set here.
Type: Different types of echo can be selected here: normal echo, ping-pong echo
(where the sound swings through the stereo panorama) and various other forms.
Color: Sets the sound coloration of the echo.
Feedback: Sets the number of echo repeats.
L Rate: Sets the time duration for individual echoes for the left channel.
R Rate: Sets the time duration for individual echoes for the right channel.
Amount: Sets the mixing ratio between the effect and the pure sound, that is to say,
the original sound without any effect applied.
Vita
The MAGIX Vita synthesizer specializes in playback of "real" instruments using
sampling technology. This means that short samples of real instruments in different
pitches, playing techniques and volumes are used, combined, and played again at the
correct pitch.
The VITA synthesizer is controlled via the MIDI objects. If you load Vita via the Media
Pool, a preset MIDI object will appear first. You can then load different Vita sounds
via the "Output" menu at the top of the MIDI editor.
You can adjust Vita's sounds via the instrument menu of the
trackbox.
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The Vita interface
1. Layer selection/Peak meter: The Vita sounds, also known as layers, can be selected
here using the arrows. Right-clicking on the display opens the layer menu.
2. Main parameter: Here the volume, panorama position, pitch characteristics

("transpose") and the fundamental frequency ("master tune") can be set.
3. AMP: This is the volume envelope. With this you can control the timing of a
sound's volume. A(ttack) stands for the volume increase at the start, D(ecay) for the
length of time the decrease in volume takes on a section set with S(ustain) at the
maximum volume. R(elease) is the length of time it takes for the sound to fade out.
4. FILTER: Here you can switch on a filter which influences the sound. With FILTER
TYPE you can select the kind of filter you want to use. Cutoff controls the filter
frequency and “Resonance” controls the strength of the emphasized filter frequency.
“Velocity” indicates how much the velocity influences the filter frequency, using
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“Gain” you can balance the volume. The filter envelope (ADSR slider) influences the
filter frequency depending on the time.
5. DELAY: Here you can switch on an echo effect. “Time” controls the delay time and
“Level” controls the strength of the echo sound.
6. REVERB: Here you can switch on a reverb effect. “Time” controls the delay time
and “Level” controls the strength of the echo sound.
7. TUBE DISTORTION: This is a tube distortion effect like those found in guitar
amplifiers. This is normally used for electric guitars but you can also get creative and
use it for other things. “Drive” controls the strength of the distortion. “High-cut” and
“Low-cut” filter out the high and low frequencies.
8. VALUE DISPLAY: This always displays the exact values of the parameter that was
just adjusted.
9. DYNAMIC RANGE: Usually the relationship between the created volume and the
MIDI velocity is proportional. You can compensate for the fact that some MIDI
keyboards need to be pressed forcefully to produce loud sounds (or conversely
produce loud sounds with a soft touch) using the “MIDI Input Curve.” Using
“Dynamic and “Dynamic curve” you can manipulate the dynamics of a sound, i.e. the
relationship between the loudest and quietest sounds.
10. Voices: Here you can control the number of voices played simultaneously. If notes
are no longer played, as is the case in some fast passages, you can increase the
number of voices at the expense of performance.
11. Keyboard: Here you can preview the Vita sounds. This only works during playback
or recording. 12. lets you hide the keyboard.
Revolta 2
Revolta 2 is a further development of Revolta. It is polyphonic and playable with up to
12 tones, including an additional noise generator, a step sequencer, and an
extra-flexible modulations matrix. An effects section with 9 different effects and
presets (created by a professional designer) make it a full-fledged synthesizer for all
kinds of lead, sequence, and pad sounds.
REVOLTA 2 has a whole array of presets. The sounds have been created by
professional sound engineers and demonstrate the huge potential of this instrument
from the word start. First off, however, we would like to encourage you to try out the
various control functions and to experiment as much as you like. The sky's the limit to
your creativity.
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Revolta 2 interface
Note: The following is only a short description of the Revolta 2 interface.
For a comprehensive documentation of this complex synthesizer please click

the help button on the Revolta 2 interface!
The Revolta 2 interface can be displayed in two sizes. In “Rack” mode only the
elements necessary for preset loading are visible:
By clicking the edit button you can open the complete interface.
1. Main parameter: Sets the volume, panorama position, pitch characteristics

("Transpose"), and play modes ("Poly,” “Mono,” “Legato"). “Glide” regulates the
portamento time.
2. Oscillator section: Two oscillators are available with smoothly adjustable curve
forms and a noise generator. Both oscillators can be tuned to each other and used to
modulate frequencies.
3. Amp: This is the volume envelope. Here you can influence the temporal
progression of a track's volume. A(ttack) stands for the volume increase at the start,
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Synthesizers 275
D(ecay) for the length of time the decrease in volume takes on a section set with
S(ustain) at the maximum volume. R(elease) is the length of time it takes for the
sound to ring out. “Vel” specifies how much the envelope curve depends on the
velocity.
4. Filter: Here you can switch on different filters to influence the sound. “Filter type”
selects a filter type. “Cut-off” regulates the filter frequency, “Resonance” controls the
strength of the amplification of the filter frequency. VEL” indicates how much the
velocity influences filter frequency, and “Key” changes the filter frequency depending
on the note pitch ("Key tracking"). The filter envelope (ADSR slider) influences the
filter frequency depending on the time. “Env mod” controls the strength of the filter
envelope curve, and with “drive” the filter can be overmodulated.
5. FX1/FX2: Here you can mix in 2 different effects out of a total of 9 available effects.
6. LFO1/LFO2/Step sequencer: Two LFOS and the step sequencer can be used to
modulate single parameters of Revolta 2.
7. Options and modulations matrix: The two buttons open the Revolta options page
for general and preset-specific settings and modulation matrix. In the modulation
matrix modulation sources are connected with modulation targets. Simple
modulations like the oscillator (the pitch will be modulated via an LFO) can be set
quicker directly on the interface. Much more complex modulations are possible in the
matrix because the matrix offers more modulation sources (e.g. MIDI controller,
oscillators) and the modulation source can influence more targets.
8. Value display: The value display shows the exact value of the parameter which was
just modified. In addition, you can find out the load of the twelve voices.
9. Preset section: Here you can select Revolta presets. Every sound can be listened to,
and an A-B comparison between two sounds is also possible (for example, an edited
and an unedited sound).
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Vita Solo instruments

Samplitude Music Studio includes four additional track synthesizers that are based on
the Vita Sampler engine. The Vita Solo Instruments are a sample player that have
customized interfaces for the relevant instrument.
The basic controls are identical for all synthesizers.
One click on the arrow symbol opens a fold-out menu where you can determine the
general sound of the instrument. If "ECO" appears in the description, this refers to
especially performance-improving settings which may not sound so "smooth". You
may also save the settings you changed in order to add them to your favorites lists for
later use.
You can control the overall loudness of the instrument.
You can turn the instrument keyboard on or off with this controller.
Because these samplers are enhanced for each instrument by tuned effects, the rest
of controls function analogously to the already familiar synthesizers such as Vita. If
you would like to know which result certain effects have, you will find explanations in
the Essential FX, Vintage Effects (view page 137) or Reverb chapters.
Additional information is also available in the VST plug-ins (view page 229) chapter.
Articulation
Some Vita Solo Instruments have a special feature: In a bass octave (on the keyboard
(C0-H0), there are special notes, which let you control the playing style
(articulation). An alternative sample set is loaded, which lets, for instance, a bass
guitar sound even more realistic using various playing styles such as note bending and
flageolet.
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Articulation is switched on and continues until normal articulation is switched on

again through the corresponding note (C0).
On the keyboard at the bottom of the synthesizer interface are the buttons to switch
articulation, displayed in different colors. In the MIDI Editor appearing above, you can
watch a practical application of articulation. The notes on 1:4 and 4:1 will be played
back with varying articulation. Before the next “right” note, normal articulation will be
switched on again through C0.
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Vita Sampler
The Vita Sampler is a simple sampler, which you can use to play sections of samples
via MIDI, for example individual drum sounds from drum loops. This function is a
so-called “beat slicer,” which means that it automatically finds the individual elements
in samples (e.g. kick drum in a drum loop), which in turn are available as destinations
for eight drum pads.
Wave form: Your own samples in the file formats .wav. .aiff, .ogg, and .mp3 may
be loaded into the Vita Sampler via drag & drop simply by dragging them there. In
this case, the sample segments ("slices") are detected automatically and marked
in the sample.
Assigned slice: Of all the detected slices, 8 are selected randomly, assigned to the
drum pads, and specified as random playback modes (5,6).
.Drum pads: Slices may be played using the mouse with the drum pads and via
MIDI with the white buttons starting at C3 (MIDI note number 60, 62, 64, etc.)
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Selected slice: Slices may be selected for advanced listening by clicking them. The
associated drum pad is also displayed at the same time.
To change the slice assignment for this drum pad, drag the colored frame around
another wave form slice.
To change the size of the assigned slice, drag the edges of the frame using the
round handles. The edges will snap onto the specified slice borders. Pressing the
ALT key shuts off the snapping grid. This enables imprecise positions in the slice
detection to be corrected.
Note: Slices may not be assigned to multiple drum pads, which is why
sometimes, the selection cannot be dragged as desired.
Clicking the symbol Forward

changes the playback
direction of the slice:
Reverse
Clicking the symbol No loop. The slice is played back for as long
changes the playback as the drum pad or the MIDI note is active, but
mode of the slice: only until the end.
Loop. The slice is played back in a loop for as
long as the MIDI note is active.
One shot. The slice is played back to the end,

independently of the length of the triggering
MIDI note.
Lock pad: Lock the pad Not locked
out of the random
function (see below).
Locked
Random: A new, random selection of slices is added to the drum pads and
random playback modes (5,6) are assigned. Locked pads are not included. You
can use the random function repeatedly to discard unwanted results and keep the
good ones.
Zoom: The zoom buttons enable you to enlarge the wave form display, to
recognize more details,which is practical for correctly slice edges with the ALT
button (see above)
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Automation
Samplitude Music Studio provides lots of comprehensive automation possibilities at
track level. You can enter automation movements in realtime or draw them manually.
The created automation data are visible as controller movements in the
corresponding plug-in or as a curve in the automation track. An unlimited number of
automation curves are available on each track. The volume automation curve is set to
0 dB at the middle of the track and +6dB at the top of the track.
The following dynamics automation settings are available at track level: volume,
panorama, AUX sends and plug-in control elements and MIDI controllers.
Create automation curves

There are specific control elements on the track header for activating the most
important track automation curves – volume and panorama.
You can select the other parameters for automation in different ways:
• Select parameter in automation context menu or menu automation
• Via keyboard shortcut Ctrl + Alt + Control element in the mixer or the interface
of a plug-in
• Via the VST parameter dialog
Automation context menu or menu automation

In the automation menu or automation context menu (right-click on "Effect" in
section "Automation" in the track editor) you can select a automation parameter.
Below in the menu, all available parameters are listed in sub-menus according to
loaded plug-ins and effects. Select the parameter you want.
All available active or inactive automation parameters are listed in the top part of the
menu. Here, select an automation parameter that you can then manipulate during
playback with the automation controller in the track editor. The curve of the selected
parameter can be seen in the track in the foreground. Via the context menu, you can
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opt to have all other curves displayed as thin lines or you can also have them faded
out (See Automation – Context menu for more details).
Ctrl + Alt + Control element

This is the fastest and smoothest way to automate a plug-in parameter. In the mixer
(volume, pan, aux sends, EQ) or interface of a plug-in, click the control element of the
parameter you want to use while holding down Ctrl + Alt. In stopped state, this then
creates a curve. During playback, a change to the parameter is drawn directly
(regardless of the selected automation mode).
Note: This works only at track level, and not for the automation of object effects.
An alternative method of automating a parameter is to select "Automate next

parameter" in the plug-in menu of the VST plug-in dialog and then click the
corresponding control element.
Automation via VST plug-in/VST parameter dialog

You can also select and activate all parameters you would like to automate in the
parameter dialog of the VST plug-in. You can open the parameter dialog in the
plug-in's menu via "Plug-in" > "Parameter dialog".
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Select the parameter you want from the drop-down menu at the front (the first eight
parameters are selected by default) and activate the box under "Automation".
Tip: To display the new parameter in an Automation Lane, select "Lanes for all
curves" from the Automation menu or the Automation context menu.
Automation modes
The automation modes define how automation data should be saved or displayed. Set
the automation mode for each channel/track. Different automation modes may be
selected by right clicking the automation button in the mixer channel. Clicking this
button toggles between the last activated mode and "Read" mode. "Copy to all
tracks" applies the currently selected automation mode to all tracks/channels.
Off mode
All automation functions are deactivated on Off Mode, all already written automation
sequences are ignored.
Read mode
All recorded automation parameters are played in "Read" mode. The automation
button is usually set to this state.
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Touch mode
In "Touch" mode, automation data is only recorded as long as you touch the selected
control element with the mouse or touch it from your external controller. As soon as
you release the control, the automation recording stops. Once released, the control
will move back to the previously recorded position. You can determine the fader
return time in the System Options (Keyboard shortcut: „Y“) under „Effects“ >
„Automation“ > „Automation Release Time“.
Track automation - Basic procedures

Step 1: Select the "Touch" recording mode for creating automation curves for the
individual tracks/channels.
Step 2: To automate a plug-in control element, select "Automate next parameter" in

the plug-in menu and click the desired function button in the plug-in dialog.
The arranger will now display an automation curve for this parameter.
You can also select the plug-in parameter you want to control by right-clicking on the
automation display in the Track Editor.
Step 3: To start recording automation, press "Play". Whatever changes you made to
the selected control element will be recorded in real time during playback.
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You can overwrite, edit and copy the automation data at any time. You can draw fine
steps in the curve if you hold down the "Shift" key.
In universal mouse mode, you can edit the curve points by right-clicking on them. A
numerical entry field will appear where you can enter the values you want, or you can
use the mouse wheel to change the value in 0.1 dB increments. Holding the shift key
while doing this will adjust the value in increments of 0.01 dB. Holding down the "Ctrl"
key, in turn, will change the value 1 dB at a time.
You can jump to the next automation point using the Tab key.
Note: Afterwards, if you want to change the vertical positions of the curve
points—that is, their values, not their positions—hold the shift key while moving
them. Holding the "Alt" key in addition to this will only move the curve points
horizontally. (So you'll be changing their positions and not their values).
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Automation lanes
When several automation curves are present on a single track, things can become
cluttered quickly and editing curves is more complicated, e.g. it is more difficult to
select a curve when drawing one.
Several automation curves over one object
Automation lanes provide a solution for this issue. Automation lanes enable users to
display an automation curve in a separate track, which make it easier to see and edit
the curves.
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You can use the little triangle below left on the track header to
open and close automation lanes.
When you open the lanes for the first time, an empty
automation lane will appear.
Click on the triangular button on the right to open a menu where in the section above,
you can choose an automation curve to display in the automation lane. In the bottom
section of the menu, you can also select any other parameter to create a new
automation curve that will be displayed in the lane.
Clicking on the "-" key automatically fades out automation lanes.

Clicking on the "+" key creates a new lane under the automation lane.
Automation on/off: Used to activate/deactivate the respective curve.
Automation mode: The automation mode for the corresponding track
Parameter menu:
Parameter field: The current parameter value will be displayed at the play cursor
position. In stopped state, this value can be modified by vertically dragging the
button on the right. You can also edit the curve numerically using this method.
Tip: To quickly display automation lanes for all available automation curves, select
"Automation" > "Lanes for all curves".
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Master automation
Volume and effect settings for the master track can be automated. To edit these track
curves, you must display the master track in the arranger. Right-click the automation
button in the master channel and select the option "Display master track in arranger".
In the arranger, an additional track with the name "Master" appears, which displays
the master automation track curves.
You can also make the master track visible in the arranger window via the track
manager (view page 313). To do this, open the track manager and place a check next
to "Arrangement" for the "Master" track name.
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Recording automation in "Read" mode

The easiest way to write automation in "Read" mode during playback is via the "Ctrl +
Alt + switch/controller" shortcut, while working directly in the
plug-in/instrument/mixer interface. This way allows an automated recording to be
made at any time. As long this key combination is held down, you may also automate
the selected parameters in "Read" mode.
If a mixer/VST control element is clicked with the same key combination "Ctrl + Alt"
while stopped, a corresponding inactive curve will be created automatically for editing
in "Draw" mode.
Automation Draw Mode

Select Draw Automation Curves mode in the toolbar to draw automation curves for a
parameter or a MIDI controller.
Drawing Track Automation:

1. First, select a control element in the track editor/mixer or VST plug-in using the
key combination "Ctrl + Alt".
2. The inactive automation curve that appears in the track can now be edited with
the pen tool.
3. When creating an automation curve with the pen tool, you can place it on any
position in the track display and drag with the mouse pointer to edit the curve.
VST parameters are shown in % while drawing. Volume and AUX send parameters
are indicated in dB.
More information about Automation Draw mode can be found in the chapter
„Mouse functions and Mouse modes > Automation Draw mode“ (view page 288).
Editing Automation Curves

Alongside the normal mouse mode for editing already recorded curves (create or
delete curve point), a special
Curve Edit Mode or Object/Curve Mode is also

available.
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Automation 289
In Curve Edit Mode you can directly draw, move and delete curves with a
double-click. The mouse pointer switches to a Hand or Moving tool. If your mouse is
not directly above the curve, you can select an area of automation points using the
Calculation Tool.
In Object/Curve mode you can also create new points on the curve, move, and delete
curves with a double-click. If you move the mouse pointer away from the curve, you
will automatically be in Object mode. In this mode you can move objects and adjust
their start and end positions, add fade-ins and fade-outs as well as edit the object
volume.
You can find detailed information about the curve modes in the chapter "Mouse
functions and mouse modes" (view page 79).
Move automation curve with audio/MIDI data

To move the audio material to a new position on the timeline along with the
automation curve, the automation curve will have to be connected to the object. This
is possible via "Link curves to objects" mouse mode. Click this button in the mouse
mode toolbar to get started.
Objects may now be moved or copied together with your curve

points.
Note: If you only wish to move or copy the curve points, follow the instructions
above and simply delete the objects once moved/copied. The curves remain intact.
To copy the curve points, simply use "Curve edit" mode and drag out a section by
moving the mouse from right to left over a curve while holding down the mouse
button, copy the curve points via "Ctrl + C", and then insert them into a different
track at the current play cursor position via "Ctrl + V".
Automation – context menu

A variety of options are available for launching the automation context menu:
• Launching the "Automation" menu item
• Right-clicking on the automation button in the Track Editor
• Right-clicking on the automation controller in the Track Editor
• Right-clicking on the "Vol" button in the track header
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Now you can select an automation parameter that you then manipulate with the
automation controller in the Track Editor.
First entries in the automation context menu

The first entry indicates which parameter you have automated, e.g. Effect 0 volume or
Effect 1 pan. By checking the corresponding entry you can activate the corresponding
automation curve. If you haven't activated an element, No effect (track) will be
displayed.
Editing curves
Create new point at playback position
A new curve point will be added to the curve at the play cursor position, and the input
field for numeric data entry opens.
Edit next point at playback position

The input field for numeric data entry will be opened from the play cursor position at
the next curve point.
Curve generator
The curve generator will create a volume curve for you that is beat based and pulses
according to eighth, quarter, half, or full notes. Enter a minimum and maximum value
or define delay values as an option for the beat-based envelope curve calculation.
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Automation 291
The "Create..." option in the automation context menu opens a selection dialog to
define the shape of the automation curve more accurately.
Beat-based: This option causes the form of the automation curve to follow the beat in
the arrangement.
There are 4 basic patterns available for beat-based automation curves: 2 sawtooth
shapes, rectangle, and triangle. These shapes run depending on the beat and control
the intensity of the activated effect. The left side of the dialog enables the automation
curve to be set to activate once per eighth, quarter, half or whole note.
Options: This opens an additional dialog to control the style and intensity of the
influence of the beat on the automation curve (see below).
Scan envelope: This option allows the volume process to be displayed as an

automation curve (as an alternative to a beat-based automation curve).
First normalize: This function normalizes the level of the audio object before the
object is scanned to create an automation curve.
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Curve generator - options for envelope calculation (beat-based)

Limitation: Determine the minimum and maximum value of the envelope. Via Delay
Minimum/Maximum the basic forms can be altered further.
Shift moves the entire curve. This lets you create interesting off-beat effects.
Edit curve – invert

This command inverts the activated automation curves.
Edit selected curves – thin out

While recording, the automation events are placed in very short intervals. The
command "Thin out" reduces the number of curve points. The course of the
automation is then displayed and reproduced even more accurately.
Thin out automatically

The command "Thin out" is executed automatically after automation data is recorded
or drawn.
Edit curve – inactive

Use this command to deactivate the selected automation curve. The curve remains
intact, but will be displayed as a dotted line and will no longer affect the
corresponding parameter.
Edit curve – copy, paste, delete

The activate automation curve may also be copied, pasted into other tracks, or
deleted.
If the option "Use snap for automation curve points" (System options -> Program ->
General) is selected, automation points may be set while moving set values on the
grid.
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Automation 293
Edit curve – curve color

This command displays a color palette for you to specify the color of the active curve.
Logarithmic
This option lets you switch volume curves to logarithmic display.
Delete All Curves

This command deletes all automation curves in the corresponding track.
Delete all curves

This command deletes all automation curves of the corresponding track.
Automation Mode
Specify the Automation mode here.
You can find detailed information in "Automation modes".
Display automation curves options

Do not display automation
With this option, you can deactivate the display of the automation curves for all
tracks.
Display track automation (default setting)

If you select this display option, only the track automation will be displayed.
Show Only Selected Curve

Views only the selected curves for the corresponding track. This helps to maintain a
clear overview if several automation curves have been created.
Show unselected curves (not selectable)

The unselected automation curves are also shaded, but may now be activated with
the mouse.
Show all curves (selectable)

The deselected curves are also shaded, but may now be activated with the mouse.
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Show lanes for all curves

This opens the automation lanes and corresponding automation lanes are created for
all existing automation curves.
Select previous curve

With this you can select the last edited curve.
Select Next Curve

With this you can call up the next curve from the selection list.
The last section of the context menu lists the ranges for which automation
parameters are available during automation of the corresponding track.
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Burning CDs 295
Burning CDs
Burning Red Book-compatible audio CDs is a vital feature of Samplitude Music Studio.
You won't require any other software for writing a CD. You can also write CDs "on the
fly", and all processing is performed in real time during the write process. Since
trackbouncing was not performed first and no image is created, no extra space is
required on the hard disk.
However, sufficient system resources must be available for processing while writing.
If your PC is too slow and writing is interrupted, then you can of course revert to the
conventional trackbouncing method.
Writing
Some years ago, there was only a small number of select studios which were able to
do CD mastering. Today, writing audio CDs is nothing exceptional and continuously
dropping prices for CD-R burners and media make them available to nearly everyone.
The audio material is stored digitally on the CD, this data is read by the CD player,
and then it is transformed back to the analog plane. While in action, track indexes
indicate to the CD player which songs start at which position.
Samplitude Music Studio can also write an audio CD from the program directly.
Before the write process starts, the track indexes are directly set in the VIP window,
and then Samplitude Music Studio converts stereo sum and indexes into a data
stream which is fed to the CD burner.
The CD-R drive modifies an assigned layer of the medium by means of a laser so that
an audio CD player can read this information as digital audio data later on.
Burning CDs in Samplitude Music Studio

1. Record individual CD tracks in Samplitude Music Studio import WAV files into VIP
tracks.
2. Mix your recordings using realtime functions of the VIP windows and the Mixer
windows. The CD will sound exactly as what you hear as the playback from a stereo
sound card. All settings for playback will be audible on the CD.
3. Set the track markers to mark the start positions of individual songs. If the VIP
window has only one stereo track in which each song is laid down as a separate
object, you can create track markers using the "Automatic indices" button in
Samplitude Music Studio. An index is set at the beginning of every object. In
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Samplitude Music Studio tracks and indices can be arranged in any order. Pauses can
be adjusted by moving objects, and indices with no pause may be set as well.
4. If you have made all settings, click on the "Create CD" button in the toolbar or
select "CD > Create CD". The burning dialog opens:
Burn audio CD "on the fly“ calculates all effects in realtime: This option immediately
starts the burning process as long as a blank CD-R is in the CD-R drive.
Before burning, create a CD image file: This option creates a stereo wave file before
burning, corresponding to the first version of the project. It is recommended when the
system is too burdened or too slow for realtime ("on-the-fly") burning. Please take
not of the system indicator on the main screen! If it comes critically close to the 100%
marker, we recommend creating an image file before burning. The image file will be
automatically deleted after.
Burn MP3 CD/DVD: You can burn an MP3 CD/DVD with this option. You can find
MP3 encoder settings via "Format options".
CD title: here you can enter a CD title, which can be read by some CD players.
Track list: This option lets you monitor the CD track manager (view page 443), which
can be reached via the CD menu. All tracks can be listened to and the track markers
can be moved if needed.
Display TOC (CD contents): This button opens a text window with the current Table
of Content. You can also open this data with current CD contents in an external
editor.
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Burning CDs 297
Get CD info (freeDB): When you click this button, Samplitude Music Studio looks for
information to the title in the freeDB.org data base and displays it.
Burn CD: opens the actual burning dialog. Here you can select the burning speed,
burn CD text to the blank disc, simulate burning and create the CD as a CD extra
project. In addition, you can compare the CD after burning with the project data in
order to compare the error rate. If it is too high, the burning speed has to be lowered.
Even new CD and DVD burners can cause errors during burning.
Cancel: closes the dialog without burning.
Print CD cover: opens MAGIX Print Studio, an included printing program, using which
you can print a CD cover. Track information are automatically transferred as a table
into the print project in MAGIX Print Studio.
Help: opens the corresponding section of the Help file.
DSP display
System capacity is essential to the real time CD writing process. Once the writing
process started, it cannot be stopped. The CD will be unusable if the the process is
interrupted. When ”on the fly” is selected, the computer must calculate the playback
with all real-time functions and simultaneously write the data onto the CD.
The DSP display is a useful tool to assess possible problems when writing to the CD.
The table below gives you a clue to the maximum possible writing speed. Individual
deviations may result due to the configuration of your system and the speed of its
components.
DSP display and writing speed

Nearly 100 percent single speed
Up to 50 percent double speed
Up to 25 percent fourfold speed
In particular, when first using a new and unknown computer system it is

recommended to simulate the writing process first to check the system's
performance limits. If the system becomes overloaded, reducing the number of tracks
or real-time effects will help by combining parts of the VIP window (trackbouncing).
The offline writing process variation offers another possibility. It creates a new stereo
file first as the basis for the writing process.
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Tools and wizards
Crossfade editor
Samplitude Music Studio features a professional crossfade editor.
The crossfade editor is opened by clicking the toolbar button or via menu "Edit ->
Crossfade Editor". You can also use the keyboard shortcut "Shift + F".
Use the crossfade editor to conveniently and efficiently edit all aspects of a crossfade.
All changes are non-destructive and can be undone.
Crossfading with the crossfade editor

In the VIP, select the objects which you wish to fade into and open the crossfade
editor.
The following editing options are available for selection:
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Crossfade length: The length of the crossfade may be set in different sized steps.
Clicking the "+" / "-" buttons increases/decreases the length in small steps, the "++"
/ "--" buttons in larger steps. Use the "-?+" button to customize these step effects as
needed. The crossfade length can also be defined by a selected range in the VIP by
clicking on the "Get range length" button in the "Range" menu. This range has to be
selected before opening the crossfade editor.
Fade in/fade out: There are plenty of different curve types available for selection for
the crossfade:
• Linear (0)
• Exponential
• Logarithmic
• Cosine
• Sine/cosine
The faders may still be used to change the curves in the corresponding available
range. Linear curves require less computer power than non-linear.
Note: The settings for fading in/out in the crossfade editor are applied to the
selected object if it does not overlap any other object.
Global settings: Set
The current settings are defined as by default. This is useful in case an object has
been split with the "T" key and you want to create a crossfade between the two
objects. When opening the crossfade editor, the specified settings are set as default.
Global settings: Get
Use this button to get the presets of the crossfade editor.
Get range length: The range length of the range selected in the VIP is set as the
crossfade length.
Fade offset: Specify how much of the fade should be outside of the object border.
Usually, the entire fade is located within the borders of the object, that is, the fade
starting point is at the start of the object (0%) as is normal with fade ins/outs of
individual objects. If the fade becomes part of a crossfade, it may be necessary to
modify it. For example, if the second object starts with a drum beat, it would be better
to execute the crossfade beforehand in order to keep the "attack" of the drum beat.
The value may be changed from 0% (fade within the object borders) to 50% (fades
symmetrical to the object borders) to 100% (fade outside the object borders) – the
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object is then stretched by the percentage of the fade length. The "actual" beginning
of the object is displayed as a dashed line.
With a fade offset of over 0%, make sure that the corresponding audio material is
available in the wave project, otherwise it may be the case that an object with a
modified fade offset cannot be faded in or out. For example, if the object starts at the
exact beginning of the wave project, you will no longer be able to crossfade if the fade
offset rises above 0%.
Crossfade off: The "Crossfade off" button deactivates the crossfade of the selected
object. The fade out time of the first object is set to 0.
Play/stop: This button starts playback in the selected range or at the cursor position.
Move crossfade position: The end of the first object and the end of the second object
are moved equally. The ++/--/+/- buttons are used to set the crossfade length.
Enable asymmetrical crossfades: The fade offset settings of both objects are no
longer connected to one another and can therefore be set independently of one
another.
Waveform generator
This dialog contains a powerful generator for several test tones.
Select whether the waveform created should be a mono or stereo file.
Next, choose between a RAM wave project or HDP; in the first case, the waveform
will only be created in memory (RAM), and this must be saved separately if you want
to use the signal again later.
If a HDP is created, then the waveform created will be available immediately as a file
on the hard disk. Basic differences are also explained in the chapter "Wave projects".
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Sample rate: The sample rate may be selected between 44.1 kHz and 48 kHz.
The next section specifies the type of signal to be produced. Select from square,
triangle, sinus, sawtooth up, sawtooth down, and white noise.
Length: Enter the desired length of the test tone generated in samples, milliseconds,
and SMPTE.
Wave shape parameter: The waveform is finally specified for the pitch and volume
parameters.
Once you've made all your settings, click "OK" or press the "Enter" key. The signal
generated will now appear in a new window and for further editing.
Remix Agent
The Remix Agent is a powerful tool for determining the BPM (beats per minute) and
the time positions of quarter note beats of any song. This is important, for example,
when a track on an audio CD has been imported into Samplitude Music Studio and
other sounds like drum loops, effects or synthesizer voices are to be mixed in.
You open the Remix Agent via "Object" > "Remix Agent".
Tempo and beat recognition

To create a remix, elements from a completed song or components of a song are
added and removed creating a new song. In order to combine your own loops and
beats with a given song, it is important to know the exact tempo (in BPM - beats per
minute) of the song. The Tempo and beat recognition in Samplitude allows you to
define the tempo of MP3s or imported tracks from a CD.
Once the tempo has been determined, you can optionally match the tempo of the
project to the tempo of a song, the tempo of a song to the tempo of an existing
project, or divide a song into individual beats (remix objects), which can then be
rearranged as desired.
Requirements for using the Tempo and beat recognition

• The song must be longer than 15 seconds.
• The songs have to contain “rhythmic” music.
• The track must be in stereo.
Note: If one of the above requirements is not fulfilled, the Loop Finder can be used.
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If audio files longer than 15 seconds are dragged into the project, the Remix Agent is
started automatically.
Workflow of Tempo and beat recognition

The Tempo and beat recognition works in 4 steps:
Step 1: Checking the start marker

Step 2: Tempo recognition
Step 3: Specifying beat starts
Step 4: Application of BPM and beat recognition
Step 1: Checking the start marker
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Place the play cursor at the position where detection should start in the object by
clicking the timeline. If the object contains a longer intro without beats but rather
calm synthesizer pads, you should position the start marker after the intro.
Furthermore, the start marker should always be positioned just before a beat hit, even
better, just before a beat at the start of the bar.
Step 2: Checking the automatic tempo recognition

After opening the Remix Agent by pressing the “Continue” button, it will begin to
analyze the audio material and try to determine the tempo. The object is played back
while a metronome click relative to the event can be heard and numbered green beat
lines appear in the waveform.
The following will be indicated:

• Position of the start of the measure (one): red lines.
• Position of the other quarter notes (two, three or four): green lines.
• Reliably recognized positions: thick lines.
• Unreliably recognized positions: thin lines.
• Tapping is indicated by additional blue lines.
Note: If the tempo or bar information of the object you wish to analyze is already
available, these are displayed as dots at the respective positions above the display of
the wave shape.
Under the waveform on the left side the established tempo is displayed in BPM. There
is a small transport console in the middle to make navigating easier. The slider serves
as a position controller. To set the metronome volume, an additional fader and mute
button are provided on the right-hand side.
Change beat positions and tempo

The automatic tempo recognition doesn't always work right away. If you don't hear
the metronome clicking in time with the music, click the “No” button in the upper
section of the dialog in order to access the manual tempo input dialog.
To correct the metronome speed and any timeshift that may occur between the
metronome clicks you can use the tempo correction as well as the “Tap tempo”
button:
Tempo correction: The Remix Agent provides various speed settings – the speed the
Remix Agent determined as the most probable is preset. If this tempo isn't correct,
you can choose another one from the list. The next time you play back the song it
should be in sync with the metronome.
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On/Off beat correction: Now it may happen that the tempo is right, but the beats
have been displaced. “On/off beat correction” provides a number of alternatives for
moving the beats according to the complexity of the rhythm. Try out various
alternatives until the metronome clicks are in sync with the beat.
Tap tempo: Instead of selecting the tempo under “Change Tempo,” you can click
rhythmically on the “Tap tempo” button or press the “T” key. Additional blue lines are
displayed in the wave display. After at least four taps, the Remix Agent attempts to
select the correct tempo from the list in “Tempo correction.” The display next to the
“Tap tempo” button displays the current status. Keep tapping until the red display
showing “Unlocked” changes to the green “Locked” setting.
Use the “0” key to manually set the quarter beats while the music plays. Surrounding
markers will automatically be removed to ensure that the set tempo remains intact.
You can move the markers with the mouse. If you hold down the “Ctrl” key
simultaneously, the subsequent markers are also moved. If the metronome clicks now
correspond with the music, you can continue to the next step.
Step 3: Determining the start of a bar:

Next you can set the time signature. The default setting is 4/4 but you can adjust this
if necessary. The beat at the start of the bar should coincide with the high sound of
the metronome, or the red line in the waveform display.
It can now be corrected in just one step: If the start of the bar can be heard, click on
“Tap One” once using the mouse or press the"T” key on the keyboard. Alternatively,
select how many quarter notes the “One” is to be moved back. Use the “0” key to
manually tap the position of the beginnings of the bars during playback. This allows
you to correct the beginnings of the bars in longer sections.
Continue to the last step if the starts of the bars are now correct.
Step 4: Applying BPM and bar recognition

This lets you determine what you want to do with the analyzed audio material. The
following option is available:
• Create remix objects from the analyzed audio material
• Adjust the project tempo to that of the analyzed audio material and vice-versa.
• Save only the tempo and beat information in the audio file for possible editing
later on.
Following this, you can also start the Remix Maker and the Harmony Agent.
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Create Remix Objects

The song is split into individual objects according to beats. These objects can then be
used in the VIP in any way. Some sample applications:
• Create loops from complete songs and use them with your own material.
• Remix songs, that is, change the order of the remix objects, cut and duplicate
individual parts or beats of the song, or enhance the song with various other
loops, samples, etc.
Attention! The "Create Remix Objects" option can only be selected if the Remix
Agent has been opened from within a VIP.
Audio Quantization: The new objects are precisely arranged on the bar grid.
There are slight tempo variations in “hand-made” music, so that different bar lengths
can occur. Object time stretching is automatically activated and applied to correct the
difference in length so that the objects still fit into the rigid beat grid of the
arrangement.
Use resampling for small corrections: If the required corrections are not too
significant, you can use higher-quality resampling instead of time stretching.
Note: If you change the tempo of your multitrack project later (and adjust the audio
objects in the VIP to the new tempo), there will be clearly audible pitch changes in
the Remix Objects.
Remix objects in loop mode: New objects are put into loop mode. When extending
the length of the object using the right object mouse handle, the object is
continuously played back in original length.
Set arrangement tempo to object tempo: The arrangement (VIP) takes on the
determined BPM value. If you would like to use the cut-up song as the basis for a new
composition as with remixes, this option should be active.
Note: The time correction assigned to the Objects is carried out by setting the
Object real-time time-stretching and can therefore be corrected in the Object Editor.
On the contrary, TS settings that are already set are overwritten.
Group: This function groups the remix objects.
Use Crossfades: The remix objects are crossfaded. The default crossfade parameters
are used.
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Cancel: The dialog is closed without applying the changes.
Adapt tempo
This option lets you adjust the song speed to your project speed or the other way
around.
Attention! The "Adjust Tempo" option can only be chosen if the Remix Agent has
been opened from within a VIP.
Set object tempo to arrangement tempo: This adjusts the object length to the
existing arrangement. There are three different possibilities:
Use Time stretching: The pitch of the song remains constant in time-stretching;
however, the sound quality may suffer.
Resampling: Resampling changes the pitch (similar to changing the speed of a record
player), but retains most of the sound quality.
Note: If you change the tempo of your multitrack project later (and adjust the audio
objects in the VIP to the new tempo), there will be clearly audible pitch changes in
the resampled Remix Objects.
Audio Quantization The tempo adjustments are calculated into the audio file in such
a way that it appears as if remix objects were created and then immediately compiled
into a new audio file (see below). If recognition is unreliable, the result can show
extreme tempo variations. Here, before opening the Remix Agent, it is particularly
important to set the start marker in a way that ensures proper detection of the tempo.
The advantage of audio quantization is that smaller tempo variations can be balanced
in the music. The starts of the bars in the music correspond with the bar starts in the
arrangement: they do not slowly drift apart.
Set arrangement tempo to object tempo: The arrangement (VIP) takes on the
determined BPM value. If you would like to use the cut-up song as the basis for a new
composition as with remixes, this option should be active.
Change global settings: The BPM value of the arrangement (VIP) is set to the
determined value.
Adapt tempo map: A tempo marker is set in the arrangement (VIP) for each bar
between the positions of the playback marker and the final position of the remix
Objects.
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Generate beat markers in the current range: Use this option to place markers at the
beginning of the beats of a song. (The positions of all strokes displayed in red in the
waveform display).
Generate quarter markers in the current range: Select this option to place markers at
the beginning of the positions of the quarter beats. (The positions of all strokes
displayed in the waveform display).
Example applications for both cases:
Mixing 2 songs:
1. First adjust the project tempo to the song that will be faded into the second song.
("Set arrangement tempo to object tempo" change global settings)
2. Then adapt the tempo of the second song to the project tempo (“Set object tempo
to arrangement tempo”).
3. As the project tempo now matches the song tempos of both songs you can easily
fade between the two songs.
Save tempo and bar info

When you select this option the tempo and beat information will be written into the
audio file. The objects in the VIP or the VIP, respectively, remain unchanged
Generate bar markers in the current range: Use this option to place markers at the
beginning of each bar in a song. (The positions of all strokes displayed in red in the
waveform display).
Generate quarter markers in the current range: Select this option to place markers at
the beginning of the positions of the quarter beats. (The positions of all strokes
displayed in the waveform display).
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Managers
A manager combines frequently required management and control functions within
one window, such as for markers, tracks and CD tracks. This includes a file browser
for finding, previewing and loading media files.
Managers can be opened within the Docker, but can also be displayed as separate
windows. Manager windows are multi-monitor enabled and save the last position
when closing. Multiple managers in various different views can be opened
simultaneously and independently of one another.
You can open the Docker providing quick access to all managers and other windows
via the "View > Managers/Docker" menu. You can also access individual managers
via the "Managers..." submenu below.
File manager
Samplitude Music Studio contains a file browser in the manager where files can be
previewed and loaded directly into projects. The browser can be used to create
favorites folders and provides access to all recently opened folders.
To view the file browser, click on the "Manager" button in the toolbar and then select
the "File browser" tab at the bottom of the manager window. The file manager can
also be opened via the menu.
Menu: Tools/Manager/File browser
Navigation / Favorites
The file manager works in a similar way to Windows Explorer; directories and files are
displayed with directory and file symbols in list form.
Navigation is achieved with the mouse or keyboard. A drive selection menu found in
the toolbar lets you quickly switch between all data storage devices connected to the
workstation.
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A display filter located in the toolbar lets you limit the display to certain media types,
e.g. .wave, MIDI, or project files, only. "All media files" is the default display.
The "Search" option lets you search the current window for directories or files. Enter a
search item into the input box and click “Enter”. Found directories or files are
highlighted. You can find and highlight several entries that meet your search criterion
by entering one or several first letters.
The file browser opens as a tiled window by default. The right box hosts the favorites
list, which you can fade out using the “Options” toolbar. Use “Add” or “Remove” to
add and remove directories from the list of favorites.
There is a combo box below the favorite list displaying the last used paths and which
lets you change the current project directory.
Preview audio files

You can use the "Play" icon in the toolbar to preview a marked audio file, and every
highlighted audio file is played immediately if the “Autoplay” box is checked. This way
you can listen to a complete list using the cursor keys only. Clicking on the play button
again stops continuous playback again.
Hint: During playback the transport console controls are allocated to the media file.
Playback and positioning functions are fully available.
Playback is not routed through the mixer or internal effects. In contrast to the
playback features of the “Load” window, which uses routines of the operating system,
playback uses the audio device selected in the "Play" parameters (“P”), usually an
MME, WDM, or ASIO device. If no playback occurs, first check that the settings and
routing of this device is correct.
Note: To preview certain media data, e.g. in WMA format, you have to convert
these files to wave format. Conversion is done automatically in the background.
Load files from the browser into projects

Some media files can be inserted from the browser into an opened project at the
desired time position via drag & drop. If the file browser list is in the foreground,
pressing “Enter” has the same result.
If an audio file is dragged from the clip list and dropped into an empty space or into
the title bar of the program window, it is opened in wave editing mode.
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If several files are selected in the list, all files will be inserted at the current cursor
position as new objects, and loading options ("Options") will be applied. This way you
can specify whether all files should be inserted into the current project one after the
other, one underneath the other, alphabetically, or according to their time stamp
positions. The load option settings are valid also for files loaded via the load dialog of
the program.
There are further options in the context menu of a media file (right click):
• Load file
• Delete file: Physically removes file from storage device. This process cannot be
reversed!
• Highlight all files
• Open via standard link: The file is opened in the Windows application that is
linked to this file type. This can be an MP3 player or some other wave editor.
• Open in Windows Explorer: Opens the current directory as a new Windows
Explorer window.
Soundpool
This setting can be used to access Soundpools. Access to the supplied Soundpools is
via a new, more clearly laid out database overview that enables the display of loops,
multiple styles and instrument categories, e.g. all bass loops of every installed style or
every loop of a style.
If you did not install the Soundpools on your hard drive during installation, then insert
the Samplitude Music Studio installation DVD into the DVD drive. The contents of
the Soundpools will now be imported into the database. Other Soundpool media are
automatically recognized and added to the database.
We recommend copying media to the hard drive

and then importing it with "Add style".
This menu provides several additional options for maintenance and display of your
Soundpool database:
Normally, loops can be previewed just by clicking them, even during project playback.
If "Automatic playback" is deactivated, then use the playback button in the manager.
The option "Hide instruments without available loops" completely hides instrument
groups in the Soundpool manager for which there are no loops present in a certain
style (instead of being grayed out).
Every detected Soundpool (on CD/DVD or on the hard drive) is added to the
database and displayed there, even if the corresponding medium is currently not in
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the drive or if the Soundpool has been deleted or moved. The option "Clean up
Soundpool" removes these entries from the database. "Reset Soundpool" will reset
the Soundpool database so you can re-import the Soundpools later.
A Soundpool consists of one or more Styles. Styles are sound libraries that belong
together and cover a certain musical style. The sounds (sample or MIDI loops) of one
style all have a certain tempo. You can mix loops from different styles, and the
tempos will be adjusted accordingly. Within a style, loops are ordered according to
instruments, and one instrument folder contains different sounds. Each sound can
have a different pitch (except for drums and effects sounds).
The Soundpool display consists of several columns: First, all styles available in the
database are shown. The second column lists the instruments. The third column,
"Name", contains the list of the sounds found. The respective name, tempo, length in
bars (1, 2, or 4 beats), and type is listed for them. The different pitches are displayed
above that (if available).
The list of samples found is created based on the entry selection in the first two
columns. With "Ctrl + click" you can reduce or expand selection. No selection ("Ctrl +
click" on a single selected element) shows all entries from this category.
If you select an instrument, e.g. "Drums" and "Percussion" and no style, then all drums
and percussion samples in the whole database will be displayed.
In the search field, you can search the list of the

sounds found for a certain sound file name.
There is one principle difference between the types of loops: While audio loops (.wav
or .ogg) are normal (looped) audio objects that can be applied anywhere in the
arranger, MIDI loops (MIDI takes) consist of MIDI data + the controlled synthesizer
(Vita or Revolta). This is automatically loaded to the track where you place the MIDI
loop. This means that you will need to use a new track for each additional MIDI loop
which controls a different sound. However, the same loop in another pitch is possible.
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Loops can be loaded by double clicking, drag & drop, or by double clicking the
corresponding pitch. The objects will be inserted directly behind one another so that
complete accompanying tracks can be compiled quickly.
Tip: If you want to search in multiple lists at the same time, open a new manager via
"Tools -> Open new manager..." and switch to "Soundpool" in the new window. A
separate search query can be set for each list.
Object manager
The object manager integrated in the manager lists all objects contained in the
current project and makes it possible to edit selected object parameters.
To view the object manager, click the "Manager" button in the toolbar, and then select
"Objects" at the bottom of the manager window.
Menu: Tools -> Manager -> Object manager
Keyboard shortcut: Ctrl + Shift + O
You can export object manager information as a text file. To do this, click the "Export
text" button in the toolbar. The Windows™ text editor opens with an excerpt from the
object manager list. The following information will be saved:
• Project name and path
• Track and object name
• Start position in the project
• Source file path
Afterwards, you can find this file in the project folder (Projectname.txt).
Object view and selection

Objects are displayed in a tree structure and sorted according to tracks, whereby only
tracks are listed that actually contain objects. As an option you can choose to display
objects of the current tracks only (Toolbar: “Options”).
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You can use the +/- keys of the toolbar to open and close the track object display in
the entire window. Click on the “+” symbol left of the track number to explode the
view of a single track.
Selecting objects: A square check box next to the object name lets you select single
or multiple objects. These will then appear in the project window as “selected”. If an
object is selected that is part of an object group, then the other objects of the
selection are also selected in the project window and object manager. You can
recognize grouped objects by the number of the object groups in the object manager
group bar.
Search for objects: As in other manager windows, the object manager also provides a
search option that allows you to search for objects in the current window. Enter a
search item into the box and press “Return”. Found objects are highlighted, but are
not selected in the project window.
Deleting, renaming and editing objects

You can delete objects directly in the object manager by selecting one or several
objects simultaneously and pressing “Del”. Alternatively, you can delete an object via
its context menu.
You can rename objects by double clicking on the object name and entering a new
name. The procedure of changing a marker position directly in the list is the same.
To edit an object directly from the object manager, right click on the object you want
to edit and start the object editor.
Edit object parameters

The following objects may be edited via the object editor:
• Object start
• Object length
• Object end
• Volume
• Lock
To edit a parameter, double click the respective entry and enter a different value.
Numeric values may be changed via drag & drop, in which case "Ctrl + Shift" provides
larger or smaller value changes. "Tab" moves to the next editable value. "Arrow
up/down" navigates vertically within a text column.
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Track manager
All tracks of the current project are displayed in the track manager and it enables
direct access to solo, mute, and record. To view the track manager, click the
"Manager" button in the toolbar, and then select the "Tracks" tab at the top of the
manager window.
Menu: Tools > Manager > Track manager
Track view and selection

The track manager contains all of the current project's tracks. You can double click on
the track number to select a track. The track will be displayed in the project window. If
the track is outside of the visible display, the project window will scroll to this vertical
position.
Search for tracks: As in other manager windows the track manager also provides a
search option that allows you to search for tracks in the current window. Enter a
search item into the box and press “Return”. Found tracks are highlighted.
Rename, delete, and insert tracks

You can delete tracks via the manager by selecting one or several of these tracks and
pressing “Del”. Alternatively, you can also use the context menu to delete a track. You
can rename tracks by double clicking on the track names and entering a new name.
The procedure of changing a marker position directly in the list is the same. “Tab”
moves on to the next editable value. “Cursor up/down” navigates you vertically within
a column if this is a text column.
To edit an object directly from the object manager, right click on the object you want
to edit and start the object manager. All functions are present in the same way as
they would be if you opened the object manager from the project window.
You can also insert new tracks directly in the track manager. Right click on a track
entry and select “Insert track” from the context menu. A new track is added after the
final track of the project.
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Marker manager
The marker manager displays all markers contained in the current project, regardless
of type and makes it possible to jump to them directly from the list or to play them.
To view the marker manager, click the "Manager" button in the toolbar and then
select the "Marker" tab at the top of the manager window.
Menu: Tools -> Managers -> Marker manager
You can export marker manager information as a text file. To do this,

click the "Export text" button in the toolbar.
The Windows text editor opens with an excerpt from the marker manager list. The
following information will be saved:
• Project name
• Marker type
• Marker name
• Marker position in project
You can find the file in the project file (Projectname.txt).
Marker view and selection

In the marker manager you can display all of the current project's markers.
Searching for markers: As in other manager windows, the marker manager also
provides a search option which allows you to search for markers in the current
window. Enter a search item into the box and “Enter”. Found markers are highlighted.
Jump to and play from marker position

Double click on a marker in the type column to position a playback marker on a
different marker position.
Playing markers: Select a marker and click on the “Play marker” button in the toolbar.
A range surrounding the selected marker is created and playback is started.
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Deleting markers, changing marker name, position, and type

You can delete objects directly in the object manager by selecting one or several
objects simultaneously and pressing “Del”, or you can also use the context menu to
delete a track.
You can rename markers by double clicking on the marker names and entering a new
name, or you can use the context menu. The procedure for changing a marker
position directly in the list is the same. Please use the same method to change a
marker position directly from the list. “Tab” moves on to the next editable value.
“Cursor up/down” navigates vertically within columns if these are name columns.
Tip: You can change the type in the context menu of the respective marker anytime,
e.g. if you want to change a position marker into a CD track marker.
Range manager
The range manager represents all ranges contained in the current project and makes
it possible to select them directly from the list.
In order to display the range manager click on the “Manager” button in the toolbar
and then select the “Ranges” tab on the bottom row of the manager window.
Menu: "Tools -> Managers -> Range manager"
Defining and search for ranges

Defining ranges: To save a range in the manager, you first have to define a range in
the project window. Next, click on the “Define new range” button in the toolbar of the
range manager.
Ranges that are saved using the program's “Save range” feature ("Alt + F2", "Alt +
F3", etc.) appear in the list with "F2", "F3", etc., as indicators.
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Searching for ranges: As in other manager windows, the range manager also features
a search option that lets you search for ranges in the current window. Enter a search
item into the box and press “Enter”. Found ranges are highlighted.
Edit range parameters

You can edit the following parameters in the range manager:
• Name
• Start
• Length
• End
To edit a parameter, double click on the respective entry and enter a different value.
Numeric values can be changed by drag & drop, and "Ctrl + Shift" allows for larger or
smaller value changes. “Tab” moves on to the next editable value. “Cursor up/down”
navigates vertically within a column if these are name text boxes.
Take manager
Menu: Tools - > Manager -> Take manager
Shortcut: Ctrl + Shift + Alt + T
The take manager offers you a convenient option for selecting and organizing
recording takes and loop recordings. Following calculation of destructive effects, a
new take is also created, and this becomes visible in the take manager immediately.
Take manager – basic working principle

In addition to the audio and MIDI data, Samplitude Music Studio also saves additional
information like the time position and the track where the data was recorded in each
recorded file. This data is stored as take information in the wave project and the MIDI
object. For multitrack recordings, the takes also contain information like which other
tracks were involved in the recording.
This enables each recorded passage to be assigned to a section, marking it as a take

of a certain recording.
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First, record as many takes of a certain passage as required. If a new take in an

arranger track is recorded over an old one at the same position, no existing data will
be overwritten. The new recordings will be attached to the end or saved to a new file.
If an object from a recording is selected and the take manager is opened, takes from
the same track and original position are searched for in the whole audio material of
the project, and the results are shown as takes.
Note: The take manager only accepts objects that were created by recording, but
not those created by wave or CD import.
Take Manager – Application Examples

• To select the best takes after some punch loop recording sequences
• To find the best takes from several recording sequences of a production by
means of predefined bar positions.
• To display a clear overview of all available takes in a specific SMPTE period.
• To edit the best parts of existing takes of recorded vocals into a "perfect take"
The basis for working with the take manager is always a selected object, e. g. the most
recently created object after a punch-in recording. The current object take can be
identified by the checkmark preceding the names in the take list. Now all the takes
suited to the selected object are shown in the list. In the basic settings, this refers to
all the takes from the same track and original position.
Take manager – options

Filter recording position: Only takes that overlap the same original time positions are
shown, e.g. the selected object.
Filter out takes that are too short: Only takes that are at least as long as the currently
selected take are shown.
Show all tracks: Takes of all tracks will be displayed.
Manager font: Use the dialog to specify the font, format, and size for the take
manager
Select Takes
To select a take for the object, place a check mark before the desired take, or press
Enter after you have selected the corresponding take in the take manager.
Select a take directly in the arranger window by applying "Ctrl + right click" to the
object.
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All of the takes shown in the take manager and the currently selected take are
arranged one below the other in the take composer. Takes can be compared directly
in the take composer and a combination of the various takes can be edited together.
Rename take: Right-click on the take to open the context menu and rename it or edit
the recording position in the take manager. Multiple selection is also possible.
Edit recording position: This option enables you to make changes in the position field
of the take manager.
Delete takes: Right-click on the take to open the context menu and delete it. Multiple
selection is also possible. Once you have deleted all of the takes except for one, you
can decide if you would also like to delete the referenced file. Note that the deleted
audio file will not be usable in other projects.
Note: If the audio file contains several takes but is not referenced through an object,
it can be completely deleted from the hard drive without having to delete each take.
To do this, use the "Remove unused samples (view page 368)" function in the
"Clean up" section of the File menu.
For a better overview, easy-to-use take-naming options are available in the

recording window (view page 417) even during recording.
Take management for multitrack recordings

For multitrack recordings, each recording creates associated classified takes on each
track. All simultaneously recorded objects are grouped and also given the same take
name.
Switch takes on all tracks: This allows all takes of a multitrack recording to be
exchanged in one step.
Note: Since the take manager display refers to the last clicked object, the reference
track may be switched at any time.
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VSTi manager
The VSTi manager enables easy display, inserting and deleting of VST, MAGIX, and
Rewire instruments in the current project. If the instruments are opened, the single
outputs to the assigned tracks are displayed. Right clicking on the selected instrument
opens the plug-in dialog of the selected VSTi. Instrument outputs are routed in the
VSTi manager in "Routing setup". Specify how the outputs should be routed in the
dialog that appears. Either route all outputs to the current track or create new mono
or stereo tracks for each output. Pressing the Del key removes a selected instrument
completely from the project. If only individual output signals are selected, routing to a
track is canceled by pressing the Del key.
Detailed information about instrument routing settings (view page 231) and about
managing single outputs can be found in the chapter "Software/VST instruments ->
"Routing instruments" (view page 237).
Info manager
The info manager displays notes for individual objects, tracks or the entire project on
a clearly-arranged interface.
You can write notes concerning the currently selected project, track or object in the
three fields.
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Tempo editing
Overview
Tempo and beat changes are an important means of expression in your music and
these changes can be made in Samplitude Music Studio by using extensive options.
The project window of Samplitude Music Studio is provided with a modifiable bar
grid. This bar grid can be displayed in the form of grid lines.
The most important dialog in order to set the bar grid and to make it visible as a grid
can be accessed through "File" > "Project Properties" > "Snap and Grid Setup (view
page 536)".
The definition of tempo changes can be made using tempo markers. The tempo map
displays all tempo markers, thus determining the musical position for each time
position. In more simple terms: The tempo map defines the tempo changes in the bar
grid.
You can adjust the bar grid to specific time positions by using grid position markers
(e. g. existing audio or MIDI events). To do so, set a grid position marker and drag the
entire grid of the bar grid with it to the desired time position.
It is even possible to tap the beat hits or entire beat positions of the grid live for
playback. In this case, use the "Grid Fit Mode" of the tempo map (view page 327).
Besides the Tempo map dialog (view page 324), the transport console also serves as
an optical control of the tempo map. The transport console displays the current
values for tempo (BPM) and time signature at the current play cursor position.
In the Tempo map dialog (view page 324) you can specify which objects' or markers'
position should be adjusted when tempo changes are made.
Tempo Markers
Tempo markers signify a tempo change at a specific position in the project. They
appear either as BPM markers or as Grid position markers according to the Tempo
Map mode (view page 327).
You can also change the time signature when creating BPM markers and grid
markers. Set the Tempo marker directly using the menu or indirectly by manipulating
the tempo in the tempo track with the mouse.
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Another way of accessing and editing the Tempo marker is by using the Marker
Manager (view page 315).
BPM Markers (red)

You can define tempo changes for each musical position directly in the project
window using BPM markers. When setting a BPM marker, a new tempo is defined at
the corresponding position. A new project first has a single “Master” tempo which can
be defined in the transport console or in the project settings (keyboard shortcut: “I”).
This master tempo affects either the entire project or the start of the project up to the
first BPM marker.
Exception: If the tempo should be interpolated to the first tempo marker, the master
tempo is only effective directly at the project start in order to go linearly to the
tempo of the next BPM marker.
You can define tempo changes at any time and for each musical position (even
between beats) directly in the project window using BPM markers or the
corresponding tempo curve points:
Step 1: Place the playback marker at the position where the tempo change should take
place.
Step 2: Right-click on the marker bar to open the marker menu.
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Step 3: Go to "Tempo markers" > "Set tempo change"
Step 4: Enter the desired tempo change in BPM (beats per minute) in the "Tempo and
Beat Type" dialog and confirm by clicking "OK".
The tempo markers are set to the next snap point to the playback position when the
grid is active. By dragging the tempo markers and holding down the "Alt" key, you can
temporarily deactivate the grid function.
Note: In order to use tempo markers to adjust audio objects in your arrangement to
match tempo changes, musical tempo adjustment (view page 333) needs to be
activated for the object.
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Time Signature Markers (blue)

Bar markers change the time signature from the marker position, e. g. 4/4 beat to
3/4.
This means you can only insert bar markers at the borders of bars. They must also be
positioned at bar borders when moved.
Grid Position Markers (green)

Grid position markers assign a specific musical position to a specific time position.
If you move a grid position marker, you'll see how the beat grid is immediately
adjusted. In the tempo track (view page 329) you can apply the effects of the beat
grid changes to the tempo.
A grid position marker defines the tempo indirectly, causing the tempo before the
marker to be adjusted in such a way as to reach the desired musical position exactly
at the marker position. This way, the bar frame/grid and MIDI events can be easily
synchronized with existing audio material.
Tempo Map Dialog

Step 1: Set the playback marker to the position at which the tempo or beat changes
should occur.
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Step 2: Open the tempo map dialog with the command in the marker menu
(right-click on the marker bar) or through "Edit" > "Tempo".
Step 3: Now click on "New Marker". A marker is inserted at the current position.
You can now use the marker options to set the properties of this marker. Now make
the new entries, e. g. the tempo in BPM for a tempo marker (view page 321) or the
new time signature for a bar marker (view page 324).
Note: Be aware that the settings are only valid for the markers currently selected in
the marker list. For example, you cannot set marker properties such as type or
tempo after a new marker has been created.
A bar marker is always placed at the start of a new bar. If the playback marker is at a
different position, the marker position is automatically moved to the beginning of the
next bar.
Ignore all tempo markers, use project tempo

This option allows you to ignore any previously created tempo markers in your project
so that only the project tempo is observed.
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This occurs automatically for grid position markers if illogical bar positions are created
while moving, e. g. if grid position markers are exchanged (bar 20 before bar 19) or
are moved in such a way that this bar position originating from a previous tempo
marker cannot be met by tempo interpolation.
Hide Tempo Marker: This option ensures that all tempo markers in the arranger are
no longer shown. If you are in the pitch shift/timestretch mouse mode, this option is
ignored.
Retain musical position after tempo changes

If a tempo marker is changed or a grid position marker (view page 324) is moved, this
influences the following markers and audio/MIDI objects in the virtual project.
There are two main possibilities: The time position either remains constant, or the
musical position remains.
The time position in the virtual project is the absolute position, the musical position is
flexible and is displayed by the grid.
Maintaining the musical grid position means that objects or markers are adapted to
the newly created grid and their absolute time position in the project changes. If the
time position is maintained, the musical position changes accordingly.
When changing the tempo markers, the behavior of markers, audio and MIDI objects
is controlled separately. By default, the musical grid position of MIDI objects and
tempo markers is retained and the time position of markers and audio objects
remains constant. f you drag a tempo marker while holding down the Alt key in Grid
Adjustment Mode, the time position of the object remains unchanged.
In this example, the first tempo marker in the second image has been changed. The
MIDI object and the second tempo marker were moved correspondingly so that the
musical position (3:01:000) was maintained.
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If you generally want to keep the time position of objects during a tempo change,
select the option „On all locked tracks“ and activate the button in the track header
to lock all the objects on the track.
Tempo map modes BPM mode/Snap mode

In the Tempo Map dialog (view page 324) you can choose between two modes: BPM
mode and Snap mode.
• In BPM mode you work exclusively with BPM markers and Time signature
changes.
• In Snap mode you work exclusively with grid position markers and time
signature changes.
You can toggle between BPM markers and grid position markers at any time. The
tempo markers remain the same, but change their type. The effective tempo map and
beat grid remain unchanged.
For example, first adjust the bar grid in grid mode to a MIDI recording with many
tempo changes. Now switch on the BPM mode and insert musical tempo changes for
single sections.
Note about working in BPM mode: By holding down the "Alt" key in the time stretch
mouse mode, you can also move a temporary grid position marker while dragging
with the mouse in the timeline.
Grid Tapping
You can set grid position markers in the tempo map grid fit mode during playback.
To do so, assign the menu command "Insert grid position marker" (view page 382) a
keyboard shortcut of your choice, e.g. "P". Press "P" in time with the rhythm during
playback and tap the bar grid or tempo map.
The following will happen: At the time of pressing the key, the nearest bar position of
the selected bar grid will move to the current playback position and it will be marked
with a grid position marker.
Tips:
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To detect the tempo, work in the bar grid, in entire bar borders first. In a second
step, you can detect slight tempo variations in the bar grid.
The BPM mode exceptionally allows you to set a temporary grid position marker
while dragging with the mouse and the "Alt" key held down in timestretch mouse
mode (or when loading older VIP projects).
Manipulating the Tempo Marker in Timestretch Mouse

Mode
The timestretch mouse mode simplifies working with tempo markers. Select
"Pitchshift/Timestretch" mode from the toolbar.
Create BPM markers by directly clicking the desired playback position and holding
down "Shift". You can adapt this tempo by moving the mouse vertically while holding
down the Shift key.
You can create grid position markers in "Timestretch" mouse mode by clicking the
desired playback position and holding down "Alt".
You can move them using "Alt" + horizontal mouse movement, e. g. to manipulate
the bar grid and adapt it to existing audio events.
Tips - Examples of Use

• Tempo markers can be placed when composing in the MIDI Editor. Subsequent
MIDI Objects and tempo markers retain their musical position (advanced
setting).
• The grid can be adjusted to available audio events, e.g. assigning beat numbers
to certain time positions. You can either use the "Set new grid position marker"
menu command to create a marker at a position within the project and assign
the corresponding bar position, or use "Alt" + mouse click on the respective beat
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grid position and, while holding down the mouse button, immediately move it to
the required time position (e.g. to the beginning of an object).
• If the project includes MIDI data, this will be automatically adjusted (preset).
The newly created tempo grid is used in the MIDI Editor for subsequent editing.
• When working with MIDI files and complex tempo changes, you can switch off
the tempo map before starting to record the new MIDI data ("Ignore all tempo
markers, use project tempo"). After the recording has finished you will be able to
switch on the tempo map once again, which makes the newly recorded MIDI
data adjust itself automatically.
Tempo Track
The Tempo Track can be used to display an overview of the tempo and time changes
in your project in a track of its own. The Tempo Track is a graphic display of the
project's tempo map (view page 324) as an automation curve. Each automation point
of the curve corresponds to a tempo marker.
The Tempo Track header provides quick access to the most important commands for
placing and editing tempo markers.
Note: You still have the option of displaying the "tempo" automation curve as one of many
automation curves in any other track, instead of displaying it in a separate Tempo Track. When
you create a Tempo Track, the tempo automation curve in the other track is removed.
Creating Tempo Tracks

To create a Tempo Track, select "Track" > "Insert new Tracks" > "New Tempo Track".
Changes to tempo markers are automatically transferred to the Tempo Track and vice
versa. Keep in mind that the tempo track can only be edited in BPM mode; in snap
mode it serves solely as a display.
The tempo automation behaves differently than track-based automation curves.

Automation points are coupled with evenly increasing/decreasing tempo changes
and the pencil of the automation drawing mode doesn't create any new automation
points as you drag, only when you click.
Note: In the tempo track the beat grid is constantly active (regardless of the system
option "Program > General > Use snap for automation curve points"). As usual the
snap can be temporarily disabled using the "Alt" key.
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Tempo Track header
Tempo automation on/off: You can disable tempo automation entirely with this
button. This corresponds to the option "Ignore all tempo markers, use project
tempo" in the Tempo Map dialog (view page 324).
Current tempo: The dropdown menu under the arrow corresponds to the one in
the transport console and contains a selection of preset tempos, as well as the
tap tempo feature.
Tempo Map dialog
Insert new tempo marker
Insert signature change
Insert grid position marker
Switch between Grid mode/BPM mode (view page 327)
Edit in the Tempo track (only BPM mode)

Insert tempo changes
• Double-click on the tempo curve in Universal Mouse Mode:
• In Curve Mode: Click (and drag) on tempo curve.
• In Automation Draw Mode: Click
Change existing curve points

• BPM. value and positions can be changed by clicking and dragging curve points.
For tempo levels there are always two curve points for one tempo marker, one
for position and and one for tempo.
• Alt key: With this modification key you can temporarily deactivate the grid and
convert tempo jumps into tempo curves.
• Shift key: With this modification key you can change BPM values and make fine
adjustments to them (horizontal lock).
• Ctrl + Shift + Click: This key combination can be used to switch between tempo
curve and tempo step.
• Right-click: Right-clicking on a tempo marker opens the „Tempo and Time
Signature" dialog (view page 329) where numerical values can be changed.
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Inserting tempo changes and tempo curves into the tempo track:
Step 1: Double-click (in Universal Mode) or simply click (in Curve Mode or
Automation Draw Mode) on the desired position in the tempo curve. In addition to
the new curve point a new tempo maker will appear in the marker bar.
Step 2: Starting at the new curve point, drag the mouse pointer upwards or
downwards to change the tempo.
Step 3: Right-click to the open the "Tempo and Time Signature" dialog where you can
change the values numerically.
Step 4: If you hold down the Alt key while clicking on a tempo marker, the grid is
deactivated and the tempo jumps to the neighboring tempo markers are converted
into tempo curves.
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Step 5: Hold down the Ctrl key while double-clicking (in Universal Mode) or simply
clicking (in Automation Draw Mode). Now drag on the created BPM marker to set a
tempo curve to the previous BPM marker.
Step 6: To switch back and forth between the tempo curve and the tempo step to the
previous tempo marker, click on a tempo marker while holding down the Ctrl and Shift
keys.
Step 7: This creates a Ritardando or Accelerando. While holding down the Ctrl key,
create a new tempo marker by double-clicking (in Universal Mode) or simply clicking
(in Curve Mode or Automation Draw Mode) on the tempo curve. Hold down the
mouse button and drag upwards on the created tempo marker for Accelerando, or
downwards for Ritardando. This will generate a tempo curve to the previous tempo
marker and the corresponding BPM marker will be displayed as a double arrow in the
marker bar. The previous tempo is applied again from the newly created tempo
marker position.
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Tempo and time signature dialog
This dialog appears by double-clicking on an available tempo marker or curve point or

if you set a new tempo or bar marker via menu command ("Edit" > "Tempo" > "Insert
tempo/beat change").
As in the tempo map dialog, you can also determine the time position in the project
as well as the marker name here, enter the desired tempo in BPM (not for grid
position marker) and determine or change the time signature. Also you can choose
here whether the tempo should be interpolated to the previous tempo marker
(Ritardando or Accelerando) and whether this marker should be ignored.
Change Global Tempo

Using the command „Edit“ > „Tempo“ > „Insert Tempo Change...“ You can scale all of
the BPM values on selected tempo curve points by a set factor simultaneously.
Musical tempo adjustment

With musical tempo adjustment, audio objects are adjusted to match any changes
made to the tempo of the project. This means that when you change the tempo of the
project, the tempo and time positions of the objects are adjusted accordingly using
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tempo markers or a tempo curve. The bar position remains untouched while the start
positions of objects are moved, and time stretching is applied.
You can activate musical tempo adjustment in an object by placing a checkmark next
to it in the Time/Pitch section of the object editor.
Note: Musical tempo adjustment is automatically activated when you load

Soundpool samples into a project. If you activate the BMP sync preview option when
you load audio files via the file manager, tempo adjustment will also be activated for
the object.
Musical tempo adjustment cannot be used at the same time as Vocal Tune (pitch
automation) (view page 169) or object resampling.
The indicator field in the object will show you which of these options is currently
being used:
Vocal Tune (pitch automation).
Musical tempo adjustment: The length and position of the object are
changed to match the tempo map of the project. The original BMP value
will be used as a reference tempo for the object.
Sample rate adjustment: Adjusts the sample rate of audio objects by
using object resampling if the sample rate of the Wave file is different
from that of the project. If sample rate adjustment has been carried out
automatically, you will be asked if you want to remove it when you
activate tempo automation.
Note
• In the current program mode, non-relevant control panels (such as stretch
length, stretch factor and BMP) are grayed out.
• Remix Agent cannot be run.
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Tempo automation does not work with looped objects or objects played in reverse
(view page 63).
Synchronization
Synchronization is very important to an audio system, since it is necessary to align
playback and recording speeds of different system components. Synchronization
enables studio equipment such as tape machines, drum computers, video recorders,
or sequencers to be linked with different formats like MIDI clock, MIDI time code, or
SMPTE time code so that all of the devices run at precisely the same time.
Samplitude Music Studio can be configured to as the master or slave within a

synchronization system. As a master program, it generates the necessary timing
information required for other system components; as slave. Samplitude Music Studio
receives the time code data to follow during playback or recording.
Clock on digital systems

In case digital signal flows are processed, e.g. via ADAT, SPDIF, or MADI, it is
important to define a clock reference within the overall system. The clock signal is
transferred via Blackburst, World Clock, or the digital input, and it may be received by
the receiving or playback computer. External devices such as converters or mixers
may also provide a clock reference. For these systems, there can be only one master
but several slaves.
Note: Don't confuse (Word) clock with time code. The clock signal is only a digital
pulse for comparison of the timing between the connected devices and to keep the
bit rate constant. This enables transmission errors to be prevented. Professional
digital audio devices normally feature a word clock input and are able to generate
and receive a clock signal.
Time-related synchronization of projects

For more complicated configurations, it is usually necessary to connect various audio
and video systems via absolute time references. This enables them to operate
according to the behavior of the master, and the time code information (transport and
progress) is implemented correspondingly.
Applications
Application 1. Synchronization using an external hardware sequencer. Samplitude
Music Studio is the master.
To synchronize Samplitude Music Studio with an external hardware sequencer (drum

computer, groove box, etc.), first select the type of synchronization. As these external
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devices usually use the song tempo or rhythm-dependent information, they are often
synchronized using MIDI clock. In this case, impulses are passed on from the master
to the slave. These control impulses are transmitted for each quarter note. Their
number per quarter is always identical. The tempo information is always clear since
the impulses do not occur in absolute time units but are rhythm-dependent. This
secures the tempo synchronization of the two units that are to be aligned. Of course,
the same tempo (more or less) should be set to both units from the beginning. The
MIDI song position pointer is another important MIDI clock synchronization tool
which provides information on how may control impulses have already been
transmitted. You can therefore start at any position of the sequencer. This guarantees
the same position of both synchronization units.
Attention: The value of the MIDI song position pointer is limited to 1024 bars (4/4
beat). After this, no further synchronization via MIDI clock is possible. In this case,
connected slave devices remain still.
1. Make sure that your external hardware sequencer supports synchronization via
MIDI clock as slave.
2. Connect the MIDI Out port of the master (MIDI Out on the MIDI interface of the
computer running Samplitude Music Studio) to the MIDI In port of the external
hardware sequencer.
3. Set the hardware sequencer to "Slave" mode. If you apply this setting, refer to the
instruction manual for the respective device.
You will now notice that the transport control and tempo setting of the hardware
sequencer are deactivated. It will now receive data from the master, i.e. from
Samplitude Music Studio.
4. Open the synchronization window in Samplitude Music Studio and activate the
"MIDI clock output -> MC output active" option.
5. Select the MIDI port as the device that is connected to the slave device.
Select the tempo you would like the external hardware sequencer to run at. This does
not necessarily have to be the tempo of your Samplitude Music Studio VIP project
(VIP BPM), but in most cases it is sensible, since the bars in the Samplitude Music
Studio arranger window will correspond with the bars of the hardware sequencer.
6. If you press play in Samplitude Music Studio, the external device runs in sync with
the tempo of your VIP project.
Application 2: MIDI Clock synchronization using an external device. Samplitude

Music Studio is the slave.
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In principle, it makes sense to choose a master within a group of devices with the
most stable timing. In most cases, this would be Samplitude Music Studio. Of course,
you can also set Samplitude Music Studio as slave, for example, if the main parts of a
production are prepared using an external hardware MIDI sequencer and Samplitude
Music Studio is only used as an additional audio device, or if the sequencer only
permits MIDI Clock synchronization as a master.
The following should be observed: Unlike a MIDI-only device, Samplitude Music

Studio can contain audio files which might need adjusting. This is only possible with
the "Chase lock sync (time alignment by resampling) > Active" function. However, if
the timing of the master is inaccurate, this may result in audible pitch deviations.
Note: This function should only be used if no common word clock is available. If a
common word clock is available, synchronization variations will be created.
1. To synchronize via MIDI clock as slave, connect the MIDI Out port of the external
device to the MIDI In port of the MIDI port selected in the synchronization options.
2. Now select "MC Input active" in "Synchronization/MIDI clock input" and enter the
tempo of the external sequencer.
Samplitude Music Studio is now operating as the slave. Unlike many other hardware
sequencers, Samplitude Music Studio does not deactivate the transport keys but
"listens” to the incoming master commands.
3. Make sure that the external device is switched to "master synchronization" (many
devices also call this "Internal sync mode" with "Sync Out" activated).
4. If you start the external device now, the VIP project in Samplitude Music Studio
starts too.
If the "Chase lock sync" option is active, the variations Samplitude Music Studio has
to compensate are displayed in cent at the bottom right of the arranger window.
If your external sequencer is set to a different tempo than from Samplitude Music
Studio, this will attempt to adjust to the incoming tempo by changing the playback
tempo relative to the initial BPM after starting the sequencer. However, this can take
up to several beats and results in clearly audible pitch deviations. Make sure from the
start that both synchronization units are set to the same tempo.
Application 3: MIDI time code (MTC) synchronization using a second software

sequencer. Samplitude Music Studio is master.
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Samplitude Music Studio can be synchronized with another software sequencer or

hard disk recording system. MIDI time code synchronization is particularly useful for
this.
The advantage of the synchronization method is that it is independent of a song's

tempo entries. Rhythm and beat-dependent tempo changes are therefore no longer a
problem within a project since communication now takes place via time values. There
is a division corresponding to the SMPTE code into hours: minutes: seconds: frames
(format: 00:00:00:00). Frames are the smallest SMPTE units. These originate from
movie technology and state the number of images per second (e.g. 24 frames for film,
PAL: 25 frames for video).
Note: If Samplitude Music Studio should be synchronized with audio data and not
film, then the frame rate can be set however you like. It is important that the same
sample rate is selected on both of the systems to be synchronized.
The second software sequencer can be running on the same or on a different

computer from Samplitude Music Studio. If two sequencers are running parallel on
one computer, make sure that the audio drivers being used permit simultaneous use
of multiple sound card outputs. Alternatively, you can also use two different audio
interfaces.
During synchronization via the MIDI interface, note that a MIDI port that is opened by
the software cannot be used by other applications. To overcome this limitation, two
MIDI interfaces that have been connected can be used. It is more elegant to use a
freeware program like "Hubis Loopback", "Marblesound Maple" or "MIDI Yoke".
These programs install virtual MIDI ports to be opened multiple times on the PC that
can be "connected" freely with the respective applications.
For synchronization with a second software sequencer via MTC with Samplitude
Music Studio as a master, proceed as follows:
1. Start both programs first.
2. Now connect the MIDI output of the MIDI port used by Samplitude Music Studio
with the MIDI input of the system to be synchronized, or patch this virtually using an
auxiliary program.
3. Select the corresponding MIDI port in Samplitude Music Studio's "MTC output"
window and activate the MTC output.
4. On the slave system select the corresponding "slave” or "receive MTC” option. This
setting is dependent on the second program being used. Now activate the used MIDI
input.
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5. Ensure that the same frame rate is set for both systems.
6. Now start playback in Samplitude Music Studio. The slave system will follow and
run in sync with the master.
Important: Always observe that the sync start position of the slave system is
identical with the start position of Samplitude Music Studio. If SMPTE sync start
cannot be set for the other sequencer, you can also enter the start time of the other
system in Samplitude Music Studio in "Synchronization -> SMPTE settings ->
Offset".
Application 4: MIDI time code (MTC) synchronization using a second software

sequencer, Samplitude Music Studio is slave.
This program is generally the same as in point 3 but the master/slave setting has to
be reversed, i.e. MIDI Out from the other sequencer to MIDI In of Samplitude Music
Studio.
Synchronization formats
There are different types of synchronization formats. The synchronization format
contains slave device information about the start position, start and stop signals and,
in extended formats, the precise timing information, which is continuously
transmitted.
Samplitude Music Studio understands and transmits the synchronization formats

MIDI clock (MC), MIDI timecode (MTC) and SMPTE.
MIDI Clock
MIDI Clock only contains the SPP (song position pointer) and the start/stop signals.
There is no continuous timing information embedded in the MIDI clock signal, nor is
this transmitted. This type of synchronization is principally therefore only suitable for
starting and stopping. The greatest drawback of this type of synchronization is the
fact that although Samplitude Music Studio can verify whether the audio tracks are
played back in full sync, MIDI Clock does not provide further continuous time
information to allow the internal position to be compared with the external signal.
You can use this type of synchronization if your system combination shows no timing
changes.
MIDI Time Code (MTC)

If you require reliable integration of the MIDI tracks of an internal sequencer into the
audio tracks of Samplitude Music Studio, use of the MTC format is recommended.
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MIDI Time Code or "MTC” also includes so-called time information in addition to the
MIDI clock signals. However, only start synchronization occurs in Samplitude Music
Studio without subsequent re-chasing. It is therefore important that both systems
have a word clock or are connected to any other type of digital audio clock. This helps
to successfully avoid drifting.
Chase Lock Sync

If fluctuations in speed occur, Samplitude Music Studio can make adjustments in
slave mode that ensure exact temporal synchronization. This function is called "Chase
Lock" and can be changed in the synchronization dialog. This option should always be
used if a part of the synchronization cannot be clocked centrally via black burst, word
clock or the digital input, and Samplitude Music Studio is the "slave". This is the case
if the timecode is located on a track featuring a multi-track cassette player. If the
systems are coupled via a central digital audio clock, then chase lock should not be
activated. Please note that resampling to the recording in realtime according to the
timecode fluctuations will be applied if "Chase Lock" is active. This causes increased
CPU load and may result in unwanted changes to the audio material if this is played
later with other timecode references.
Samplitude Music Studio supports real "Chase Lock" synchronization, i.e. audio
playback can be controlled precisely by a received timecode signal (MC or MTC). In
this case, not only is the starting point of audio playback controlled externally, but
also the playback speed. Samplitude Music Studio is therefore capable of following
analog tape devices or VCRs that always have a certain amount of slip for longer
periods.
SMPTE Timecode
SMPTE Timecode is a conventional synchronization standard for linking different
audio and imaging devices via absolute time reference. Every SMPTE message sends
exactly how much time has passed since the beginning of the projects.
The SMPTE Timecode refers to the units hours:minutes:seconds:frames. The concept

of "frames" originates from the film and video industry, which the SMPTE code was
originally developed for. The different frame rates specify the resolution in the
individual images per second, which is common in the film and video industry.
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Synchronization options
Open the synchronization dialog in "File" > "Program Preferences" > "Synchronization
settings".
MIDI Clock Input

MC input active: Activate the input for the incoming MIDI clock signal by clicking this
check box.
Device: Select the device here that the MIDI clock signal should synchronize.
BPM: Define the desired project tempo for the synchronization project here.
MIDI Clock Output

MC output active: This check box activates the output for the MIDI clock signal
generated by Samplitude Music Studio.
Device: Select the device that should receive the MIDI clock signal for
synchronization.
BPM: Define the desired project tempo for the synchronization project here.
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VIP BPM: This check box defines the project speed set in Samplitude Music Studio for
the synchronization project.
SMPTE/MTC Input
MTC input active: This check box activates the input for the incoming MIDI timecode
signal.
Device: Select the device that should create the MIDI timecode signal for
synchronization.
MTC Output
MTC output active: This check box activates the output for the MIDI timecode signal
generated by Samplitude Music Studio.
Device: Select the device that the MIDI timecode signal should be sent to for
synchronization.
SMPTE settings
Type: Select a suitable frame rate, e. g. 24 for video/movies, 25 for PAL video and
audio synchronization, 29.97 for NTSC video, 30 for HDTV.
Offset: Specify an offset to be deducted from the incoming SMPTE time before the
time is used for synchronization. An offset of 01:00:00:00 (1 hour) therefore allows
you to synchronize a tape with an SMPTE code that starts at 1 hour. The SMPTE offset
behaves relative to the project start time (view page 534).
Pre-roll frames: Enter the number of frames that Samplitude Music Studio should
ignore before synchronization begins. This takes into account the fact that analog
devices normally require a certain amount of time before they reach the correct
speed. Samplitude Music Studio will now synchronize at a valid time since this startup
time can be skipped according to the set pre-roll frames.
FX: This factor allows you to equalize possible irregularities with regard to positioning
in long samples. Perfect synchronization at the beginning of the sample is
nevertheless a requirement.
Chase Lock Sync

Active: Activate chase lock synchronization by clicking this check box.
Sync Velocity: Entering the sync velocity enables you to influence the speed of the
tempo adjustment. The greater the sync velocity value, the faster Samplitude Music
Studio will follow master device tempo changes; however, this also means that the
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pitch deviations in the audio material are greater. The preset value for the sync
velocity is 100; experiment with values greater than 100 if the synchronization does
not run exactly.
Note: Please note that Samplitude Music Studio will apply resampling to the
recording in realtime according to the timecode fluctuations if chase lock is active.
This causes increased CPU load and may result in unwanted changes to the audio
material if this is played later with other timecode references.
If the systems are coupled via a central digital audio clock as master clock, chase
lock should not be activated.
When using the Hardware Pitching feature, chase lock synchronization uses direct
access to the sample rate of the sound card in 1 Hz steps. This achieves particularly
precise synchronization without additional CPU load. However, this feature has to be
supported specially by the sound card.
Shortcut: G
Time Stretch/Pitch Shift Patcher...
Time Stretch/Pitch Shift Patcher - Overview

Use this tool to patch wave files for use in Samplitude Music Studio. In this case,
additional information and settings may be written into the wave project. These
enable the processing of Time Stretching and Pitch Shifting Algorithms at optimum
quality. Without the patcher, you would have to search and set the settings and
additional information for each wave file you wish to edit.
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The following may be patched individually:

• Algorithms for Time Stretching/Pitch Shifting
• Time factor/pitch
• Time factor processing (new length/new BPM)
Timestretch/Pitchshift Patcher - Patching Process

Patching only works when you have opened the audio file in audio editing. It can also
not be open in a virtual project at the same time.
Select the algorithm you want to use from the dialog. You can also specify the tempo
of the wave file using the "Time Factor" controller.
You can now test the selected algorithm in conjunction with the "Play/stop" and "Play
original" buttons. If you click the "Patch" button, Samplitude Music Studio will write
the information permanently to the wave file.
Algorithm for Time Stretching/Pitch Shifting

In Samplitude Music Studio you can use the algorithms élastique Pro, élastique
Efficient, Resample and Monophonic Voice for realtime time stretching and pitch
shifting.
Detailed information about this is available in "Effects" > "Time / Pitch" >
Resampling/Time Stretching (view page 172)". When you find a time stretching
algorithm that meets your requirements you can use the Patcher to save it in the
audio file. This ensures that this selected algorithm will be used automatically when
you apply time stretching/pitch shifting to your audio files.
Beat Markers
Beat markers synchronize the audio material so that the groove remains perfectly
intact. When using the beat marker-based algorithms, the beat markers are also
saved in the wave project.
Note: Unlike with the Time Stretching dialog in the "Effects" menu, the patcher is
non-modal, meaning that you can move the beat markers in the wave project and
simultaneously control the result of the Time Stretching.
BPM Value
The desired BPM value (beats per minute) can be patched here. This is useful for
when the Time Stretching factor must be determined later to adjust the wave project
to the tempo of an existing arrangement. If the "New BPM" field in the dialog is
grayed out, you can change the value using the "Time factor" controller.
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MAGIX Audio Remote

The MAGIX Audio Remote app is for remotely controlling certain functions of
Samplitude Music Studio via smartphone or tablet. Your computer and device need to
be on the same Wi-Fi network for this to work.
This app is continuously under development and will be used as a “universal remote
control” in the future for all MAGIX products.
Here you can download the app!
Connect
Setting up a connection between Samplitude and MAGIX Audio Remote is simple.
1. Make sure that your PC and the mobile device are connected to the same
network. The connection will be automatic if both devices are using the same
internet router.
2. Open the app and click the gear icon in the top right corner. The settings screen
shows the name of the computer on which Samplitude Music Studio is running
under “List of found devices.”
3. Click “Connect.” The connection is now established.
General operation
Settings The small transport console is
visible on every page.
The gear icon opens the settings
screen. This is where you set up the
Loop on/ off
connection to the program. Use the
slider to adjust screen brightness.
To start
Menu: Here you can choose how
many pages you want in the control Stop
area. Currently, there are four pages in
the control area Play / Pause
• Filter
• Reverb Record
• Transport
• Live Pads (only available in
MAGIX Music Maker)
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Filter
Filter is a remote control / modulation source based on physical modeling for the
filters in MAGIX Vita Solo Instruments.
The vertex of a filter curve is controlled by a sphere graphic that hangs from a thread
in a set position (the sun). When the whole thing is set in motion, things start to get
exciting. Depending on how the graphic is manipulated, you can carry out slow filter
changes, LFO modulations or chaotic reflections. Even if you're not an expert, the
interface makes it easy to experiment.
To use the filter, load one of the Vita Solo Instruments with filter. How to set the filter
in motion:
• Click on the graphic and drag it. You can also click in space and drag to
illuminate the sphere with a tractor beam.
• The sun can be moved.
• Zoom between the sun and sphere to change the length of the thread.
• Click on the sun to undo the connection between the sphere and the sun. The
sphere now flies freely through space. It bounces off walls and the sun and gains
energy in doing so. The “ground” is in the lower part of the screen.
• Drag below left or right to the change the gravity.
• Two-finger zooming in free space changes the damping. As damping is
increased, the quicker the sphere comes to a stationary position.
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Reverb
In the reverb page you can control reverb in the Vita synths.
• Set room size in the rectangle

• Zoom with a two-finger gesture to define the amount of reverb (Dry/Wet).
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Transport console
The transport console performs exactly the same function as in Samplitude Music
Studio (and in the small transport console on the edge of the app).
Tip: For anyone creating music and producing at the same time, a recording in a
recording booth can be controlled remotely.
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File Menu 349
File Menu
This allows you to apply comprehensive settings for creating, managing, loading, and
saving projects.
New Virtual Project (VIP)

A new virtual project is created and presented in a new window on the screen. The
first two tabs in the dialog offer useful project templates.
Play virtual instrument
A new project is added when a virtual instrument is already loaded according to the
selection. The last option "virtual band" loads a complete band directly including
percussion, different guitars, and other instruments.
Record instrument/ vocals

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Here you will find templates for recording vocals, instruments, or a complete band.
Suitable effects are preset on these tracks but not activated.
Empty project
If you do not want to use templates, then you can specify your own settings for a new
project here.
Project name: A suitable name for the new VIP should be entered here. A subfolder
with the name of the project is added automatically in the standard folder selected via
the "Target path".
Target path: You can select the folder where you want to save your project here.
Project template: You can choose between previously saved project templates in this
list field. These contain all project settings such as number of tracks, device settings
etc. You can create new project templates with "File -> Save Project as Template".
Sample rate: The sampling rate of the virtual project is preset here.
Note: Independent of the project sample rate, audio material can be opened with
various sample rates, formats and codings in each project.
Number of tracks: The number of tracks of the virtual project is set in advance. You
can add new tracks later at any time with the "Track" > "Insert new tracks..."
command.
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File Menu 351
Open projects
The dialog always display a list of the virtual projects that were recently opened; click
a project to open it. Load project allows projects to be loaded via a file selection
window.
MAGIX Audio Remote: Activate support for the MAGIX Audio Remote (view page
345) app here.
Do not show this window: If this option is activated, Samplitude Music Studio always
adds new virtual projects with the selected settings. This can be reset in program
settings.
Keyboard shortcut: E
Open
You can open various file types here and load them into Samplitude Music Studio. To
load audio files, use the command "Import -> Load Audio File".
Virtual Project (*.VIP)

Use this menu command to load a multitrack project as an arrangement.
Shortcut: O
RAM Wave (*.RAP)

RAM Wave Projects contain audio data in an audio format unique to Samplitude
Music Studio that is loaded into the RAM memory. Additional information for display
of the audio data, marker positions, etc. is contained by this data.
HD Wave (*.HDP)
HD Wave Projects contain audio files that are loaded directly from the hard disk.
Additional information for display of the audio data, marker positions, etc. is
contained in them. The files use WAV audio format.
Shortcut: Shift + L
Note: If a VIP is active, the loaded wave projects are loaded immediately into the
VIP as objects. The range of the active track displays the position. "CD arrangement"
mode is the exception. In this case, the objects are displayed below one another
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independent of the range. The distance between the objects corresponds to the
pause time (CD/DVD menu -> Set start pause time (view page 447)).
Object (*.OBJ)
An object contain playback instructions for the underlying wave project. The object
contains information about the time position as well as the editing steps involved.
Objects are used in virtual projects.
Session (*.SAM)
This command loads a Samplitude Music Studio session. This opens all projects and
arranges the windows as they were distributed on the screen when the session was
saved.
Import
Load audio file
Here you can open a dialog for loading of audio files.
The following formats are supported and read directly by Samplitude Music Studio:
Wave files (.wav), MP3/MPEG files (.mp3, .mpg, .mus), QuickTime files (.aif), MS
Audio files (.asf, .wma), Ogg Vorbis (.ogg), FLAC (.flac), MIDI files (.mid), video files
(.avi), and playlists (.m3u, .cue).
Note: Open all other formats with the import audio function "Import audio" to
convert these to wave files for local storage on the hard drive.
You can also load several files simultaneously. To do this, expand the selection via
"Ctrl + click" (just like with Windows Explorer), or select a range of files via "Shift +
click".
If a virtual project is opened, new objects are created simultaneously in the VIP which
refer to loaded audio files. If an area has been selected in the VIP, the files are
positioned at the beginning of the range or with a separating pause of 2 seconds after
the last object. The length of the pause can be adjusted in the "CD/DVD" menu via
"Set pause index".
If you want to load the audio file as a separate wave project, click the corresponding
check box.
Clicking the payback button enables each audio file to be listened to in advance.
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File Menu 353
Attention: The monitoring function uses the Windows Multimedia MME standard
output device. Many audio cards shut down the Windows MME system when ASIO
drivers are used, which means problems may occur during monitoring. For this
reason, the preview function is deactivated by default when ASIO drivers are used.
The "load audio file" option activates the monitoring function again at any time.
The "options" button opens the options for loading an audio file (view page 353).
Options for loading an audio file
Use selection order of file dialog: If this option is activated, Samplitude Music Studio
remembers the sequence in which the files were selected and then sorts them
accordingly.
Load files in alphabetical order: If this option is activated, Samplitude Music Studio
sorts the selected files alphabetically in the VIP.
Load files to sync positions (timestamp in wave): Broadcast wave files containing
time stamps are positioned precisely at this position in the VIP.
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Load all files to selected track: The selected files are loaded successively in one of the
selected tracks.
Load files to different tracks: The files are now sorted in vertical order from the
selected track to the next one. If necessary, an additional track is added.
Load L&R files as stereo: Here you can load files separated by left and right stereo
channels as stereo files.
Group loaded objects: All loaded files are grouped. They can be ungrouped anytime.
Load multichannel files into a folder track: This option is activated by default. When
loading multi-channel files (i.e. files with more than two channels), it is assumed that
these are Surround files in Interleaved format. A folder (view page 75) track with the
required number of tracks is created and routed to the surround master (that is also
created if necessary). The tracks in the folder track get the surround panning
according to the determined surround format. If this option is not active, the individual
channels are loaded onto the track and the tracks below it.
Other (only present for "Load audio file")

File preview with Windows Media Player Control: Files may be previewed via the
Windows Media Player.
File Management
Copy audio files to project directory: Copies the file to the corresponding project
folder.
Convert compressed files to wave format: Compressed audio formats such as MP3
can also be loaded and played directly in Samplitude Music Studio. This requires
increased CPU calculation. Activate this option to convert files like this into an
uncompressed wave format.
Load MIDI File

This function loads a MIDI file. Detailed information about this topic is provided in
"MIDI in Samplitude Music Studio -> MIDI - record, import, edit -> Importing MIDI
files".
Keyboard shortcut: Shift + M
Loading audio CD tracks

This function allows the import of audio data using most CD/DVD ROM drives. Data
import takes place completely digitally, i.e. without any sound loss. The data are
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File Menu 355
created as WAV files and can also be loaded in other audio programs without any
problem.
To import audio CD tracks, proceed as follows:
1. Insert an audio CD into the drive.
2. Select "CD" > "Load audio CD track" (or "File" > "Import" > "Load audio CD track").
The dialog appears with the list of tracks.
If there is more than one drive, you can select the right one using the "CD drive
options" button.
3. Mark the desired track (with the key combination "Shift" or "Alt" and the arrow
keys) in the track list.
4. Click on "Copy selected tracks..."
5. Select a name for the WAV file being created and click on "Import".
The audio material is then copied from the drive onto the hard disk. A progress
indicator is displayed.
6. Close the dialog.

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You now see the loaded tracks as objects in the project.
The track list dialog

Copy selected track(s): This button starts audio copy. All selected tracks will be
copied in a wav file or an HD wav project.
Play: Starts audio playback of the first selected track in the list (as a test).
Stop: Stops playback.
Pause: Pauses playback By clicking the play button, playback can be continued.
Select all tracks: All audio tracks will be selected, e. g. for copying the complete CD.
Tracks markings can also be created using Shift and Alt and arrow keys. Multiple
tracks can be selected by pressing "Ctrl + mouse click".
Get CD info (freeDB): Compares the created CD to the freeDB data base and fills out
metadata automatically.
Drive and speed selection: Here you can see the name of the current drive and set
read velocity. "Maximum" is the standard setting. If you notice read errors, gradually
decrease writing speed.
CD drive options: If you have more than one CD/DVD drive, you can set which you
want to be displayed here.
Write text file: Opens a TXT file with all information on the currently created CD.
Auto crossfade mode: The auto crossfade mode is turned on during import of audio
tracks. Crossfades will be automatically set between imported titles.
Take over CD track markers: If this option is activated, track markers will be set at
the start of imported tracks.
Save Project
The current disc project is saved with the name displayed in the project window. If
you have not yet specified a name for your project, Samplitude Music Studio will ask
you to do so.
Shortcut: Ctrl + S
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File Menu 357
Save Project as...

A standard dialog will open, where you can specify the path and name of the project
to be saved. If you would like to save wave projects and virtual projects under a new
name and in a different location, the original file will remain untouched. Then you can
continue working in the new project (automatic).
Shortcut: Shift + S
Save Object...
This function allows you to save a single object. This file contains all the data of the
object editor like fades, effects, object names, etc.), but not the actual audio data. The
wave project referenced by the object also has to be available if you want to reload
the object.
Save Session...
A Samplitude Music Studio session is a meta project that includes the file paths and
window positions of all loaded projects upon saving. This is useful for starting to work
again at the same position where you ended, without having to load various projects.
If you save a session with the name "startup.sam" and place it into the directory with
the program folder, Samplitude Music Studio will load that session automatically the
next time you start the program.
Export
This menu point allows you to export projects in various formats.
The export dialogs for the respective formats are almost identical.
1. Selection of path and file name.
2. Format settings: Here you'll find a dialog with a selection and settings options
for the corresponding export format.
3. Export settings: Here you can specify which area of the project should be
exported. You can also export several tracks with beginnings that are indicated
by track markers or some other kind of marker. This enables an almost
automatic export of single files from the arrangement. When exporting a single
file it is possible to save the contained markers as a playlist .cue file with the
same name and burn it to a CD later.
358
Note: The audio data from HD Wave Projects can be further processed or imported
directly as WAV files from HD Wave Projects. The use of the "Export" function is
only necessary when the data is to be copied.
WAV
Here you can export Wave files.
Format settings: A dialog window featuring a list of all compression codecs appears
here. Select the codec and compression rate you require. If you click the "Dithering"
button, the dithering options dialog will open. Detailed information about this is
available in "File > Program Preferences > Dithering Options".
MP3
This exports the project as an MPEG Layer 3 with the included encoder. Clicking on
format settings opens a window for setting encoder options. Here you can set the
export format, encoder quality, stereo coding, VBR (variable bit rate) options and
labeling using the MP3 ID editor.
AAC
Exports the project as an AAC file (Low Complexity or High Efficiency). The encoder
can be set up in the advanced dialog that is opened through "Format Settings". You
can also set the quality and transport format here. AAC export uses the file ending
*.m4a.
Note: During AAC export the sample rate varies depending on the bit rate.
For example, if you load a 44.1 kHz wave file into a 44.1 kHz VIP and then export it
as an AAC with 128 kBit/s, you will get a 44.1 kHz file.
However, if you load a 44.1 kHz wave file into a 44.1 kHz VIP and export it as an
AAC with 256 kBit/s, you will get a 48 kHz file.
Windows Media...
Exports the project in Window Media Format.
This format is an optimized audio/video format for the Internet from Microsoft. This
format also enables streaming playback of audio files over the Internet. Select a profile
for the Windows Media file in the "format settings" dialog. Enter the track and artist
names, copyright details, and descriptions.
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File Menu 359
FLAC...
The FLAC format allows you to compress 16-bit or 24-bit files during export. The
properties of the FLAC encoder may be accessed via the "Format settings" button. Set
the compression degree, bit resolution, format, sample rate, and dithering here.
OGG Vorbis...
Exports the project in OGG Vorbis format.
The "Format settings" button opens an additional dialog to select the desired bit rate.
The scale of compression ranges from 46 kBit/s to 500 kBit/s (for MP3 from 32
kBit/s to 320 kBit/s). In the stereo options, choose between "Stereo" and "Mono" and
also select the "Variable bit rate" mode.
AIFF...
The project will be exported in AIFF format. In the advanced dialog, select the bit
resolution, stereo format, sample rate, and quality level of sample rate adjustments.
Mono / Stereo Convert

Stereo Wave -> 2 Mono
This function saves both the left and right channels of a stereo wave file (file.wav)
separately as a mono file (file_left.wav, file_right.wav).
"Stereo to 2 Mono" may also be applied to objects in the VIP. Stereo objects to be
split are replaced by two mono objects that are arranged one below the other and
which feature panorama settings at the object level to the left or right.
2 Mono -> Stereo Wave

This combines two mono wave projects to one stereo wave project.
After executing this command, a dialog opens displaying all loaded mono files. You
can load additional files with "Load file". From the opened wave projects, select the
right and left files with the "^" keys. With "<->" keys you can switch channels. After
clicking "Link files", specify the name of the new file to be created in the project folder.
Please note that only mono wave projects of the same word width and sample rate
can be linked. The length of both projects are adapted to one another, the longer
mono file sets the total length.
360
LR Wave -> 2 Mono

LR wave projects may be split into two independent mono projects using this
function.
LR Wave -> 1 Mono

The active LR wave project is set to mono mode. In this case, the two channels are
mixed together by adding the corresponding samples each at 100% and then splitting
the sum in two in order to avoid overmodulation. This corresponds to sinking the level
by 6 dB.
2 Mono -> LR Wave

This creates an LR wave project with two channels from two mono wave projects, in
which case one mono wave project in panorama view is positioned to the left, and the
other one to the right. Select both mono files with consecutive mouse clicks. In the
following dialog you can decide to "Link". "Convert to stereo" creates a stereo wave
file.
1 Mono -> LR Wave

In this case, LR wave project with two identical channels is created from a mono wave
project. The original sample is duplicated here.
Save in format
Use this function to save wave projects in various formats.
This can be useful when, for example, RAM projects are to be converted into HD
Wave Projects or LR Wave Projects (two mono samples linked to one another) are to
be converted into Stereo Wave Projects.
In "Area settings", select whether only the selected area or the entire wave project
should be saved in the new format.
Under "General options", select whether the maximum amplitude should be

displayed or not and if the master effects should also be copied when the file is saved.
The Dithering Options can also be adjusted here.
In the "Format" section you can determine in what format the file should be saved
(Wave,MP3, AIFF, Ogg Vorbis orFLAC).
In the case of Wave, AIFF and FLAC projects you also have the options "Stereo", "left
& right", "only left channel", "only right channel", "mono mixdown" and "Mono" and
the selection/quality of the sample rate options open to you.
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File Menu 361
By clicking on the format settings for MP3 format a new window opens, where
encoder options can be defined. Here you can set the Output format, Encoder
quality, Padding-mode, Content options, VBR (variable bit rate)options and tagging
using the MP3 ID Editor.
In the dialog for AIFF you can specify the bit resolution, stereo format, sample rate,
and quality level of sample rate adjustments.
Change Bit Resolution

Select the desired word width/bit resolution of wave projects here.
Working with 8 Bit Wave Projects

A smaller word width may be useful when editing audio for multimedia applications,
since these applications may use a resolution of 8 bits to save storage space.
The downside of such a low bit resolution is that as the quality of the so-called SNR
(signal-to-noise ration) drops, and the quantization noise increases. This quantization
noise is not consistent, but is modulated by the signal and may be unpleasant.
The word width of the project is always indicated in the title bar of wave projects. To
perform manifold destructive editing on an 8-bit project, you should convert it into 16
or 32-bit float before editing. The created calculation precision will then occur in the
16-bit range, this being considerably smaller. After editing, convert the sample back to
8 bits.
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Export MIDI File...
The particular file format may also be specified when exporting a MIDI file. One track
corresponds to format 0, multiple tracks to format 1. In addition, the tempo map may
also be exported, in which case the support point count per beat for tempo runs can
be selected freely.
The standard MIDI file (SMF) export always takes place in the current VIP-PPQ
resolution. The markers are also exported.
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File Menu 363
Track Bouncing
This command can be applied to compile a project, a specific range or selected
objects and tracks of a virtual multitrack project (VIP) into one audio file and save it
under a new name. All realtime editing (cuts, crossfades, mixer settings including
mixer effects and plug-ins, volume and panorama curves, realtime effects in the
object editor, etc.) can be integrated into the new project.
Normalize your project before bouncing using the Master Normalization function in
the mixer ("N" button) in order to get a precisely calibrated file. You can always save
the affected settings as presets.
Track Bouncing Settings: source

Routing:
In this field you determine the outputs to be written to the file.
Only master: The master output of the mixer is written to a file. This is the standard
for all exporting processes.
All outputs: All tracks that are not muted will be mixed down together, independent
of their routing. Suitable for bouncing at object level.
364
Field:
Only selected range: Here track bouncing will be conducted only over the length of
the range selected in the arranger.
From project start to the last object: The bounce process includes all objects from
project start until the end of the last object, including reverberations.
Complete project: If you select this option, the complete virtual project will be
bounced.
Track Bouncing Settings: Generate

Create new wave file: The selected range or the virtual project (VIP) creates a new
wave file.
Open new wave project: The selected range/virtual project (VIP) is converted into an
wave project.
Create new object in VIP: The bounced objects are inserted as new objects in a new
track in the existing VIP.
Replace objects in VIP: The objects used in trackbouncing are removed and the result
is inserted into the selected track.
Create new VIP: A new virtual project (VIP) will open. The bounced audio material is
inserted into the first track of the created project.
Track Bouncing Settings: Format

The target format may be set flexibly. Wave and AIFF files in 16/24-bit mono/stereo
at 4 variable sample rates are supported, as are MP3, Ogg Vorbis, and FLAC files at
variable sample and bit rates. For wave files, you can select special codecs such as
ADPCM by clicking the "Format settings..." button. For other formats such as MP3,
you will find there further format settings.
• The format setting "Stereo" creates a file that contains the stereo information as
an "Interleaved file".
• The format setting "Left & right" may be used to create two files, i.e.
"Filename_L" and "Filename_R", which provide separate information about the
left and right channels.
• The format setting "Left channel only" monitors and outputs the left channel
only.
• The format setting "Right channel only" monitors and outputs the right channel
only.
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File Menu 365
• The format setting "Mono mixdown" calculates the left and right channels
together according to the formula "(L+R)/2" and then outputs these.
• The format setting "Mono" is especially useful for hard left or right tracks, since
it bounces these at the same level. Mono is formed according to the formula
"L+R". If panorama is set in the middle in the format settings, the trackbouncing
process will automatically result in a level reduction of 6 dB per channel
(panning law -6 dB). This will ensure that even centered mono signals are not
bounced at a too high level, but at the original level.
Note: All files created as a result of trackbouncing are opened in Samplitude Music
Studio.
You cannot bounce to the same project twice in succession. You have to close it
first. If you bounce often and do not require any special mastering options, you can
work more effectively by using the "File > Export" (view page 357) command
instead of the trackbouncing dialog.
All formats that cannot be directly opened by Samplitude Music Studio cannot be
created in the trackbouncing dialog. For bouncing into the WMA format, use "Menu
File" > "Export" (view page 357) as well.
Track Bouncing Settings: Options

Skip master effects during bouncing: Master effects are not included during
bouncing.
This option is important in combination with the "Create" functions "Create new
object" and "Replace object(s)". This is set automatically when selecting these
options so that the master effects are not applied twice.
Display maximum amplitude: Display the maximum volume in dB after bouncing in

order to correctly set equipment for additional editing or to correct the master level.
Once bouncing has been completed, the corresponding information window will be
displayed.
Range trackbouncing
Use this function to convert the objects within the currently selected range to a new
WAV file or a HD Wave project. The objects are then replaced in the Arranger. This is
useful if you wish to combine multiple objects into a single object which can then be
further edited easily.
To create performance room, you can render object effects using the range
trackbouncing feature.
366
MIDI bouncing
In another prompt you can choose whether you want to mix the entire project with all
MIDI objects or just the selected MIDI objects within the current area into one single
MIDI object. In this case, the MIDI track and object effects like timestretching, track
MIDI transpose, program change, etc. are bounced into the resulting MIDI object.
Note: Don't confuse MIDI bouncing with the "MIDI object freeze (Object -> Object
freeze)" function, which replaces the MIDI objects with audio objects in the
software instrument's audio return signal.
Rename Project...
The current project may be renamed using this dialog. For HD wave projects, all the
files involved will be correspondingly renamed.
Clean up
Delete Virtual Project (VIP)
Use this menu command to easily delete wave projects from the hard disk. The
integrated wave files may be individually blocked from deletion by removing check
marks under "Delete" next to each file. The remaining files belonging to a virtual
project will be deleted.
Warning: Once the dialog has been confirmed, the data will be deleted without a
repeat query.
Save Complete VIP in...

The complete virtual project and all associated wave files will be saved in the
specified folder. This function is useful for making backups on a different drive, etc.
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File Menu 367
Keep project subdirectories: If you have already created subfolders in your project
directory, e.g. to sort samples, then these will also be copied into the new directory.
Copy unfreeze data: Copies all unfreeze data in the VIP into the new directory.
Copy Revolver track data: Copies all Revolver track data included in the VIP.
Copy ClipStore data (Sequoia only): Copies all of the ClipStore data used in the VIP.
Copy video data: Copies associated video files.
Copy effect used files: Copy the files used by effects into the new directory, e.g. Room
Simulator or the vocoder.
Copy only samples used in VIP: Only the sections of wave projects that are actually
used by objects in the VIP are copied.
This function is practical for saving disk space; however, the objects in the newly
saved project may be only shortened, and not extended. This is because all of the
audio data outside the object edges is not copied with it, and therefore, cannot this
cannot be used.
A security area in may be defined in samples for this purpose. The number of samples
will be left as additional space in front and at the end of the corresponding object
limits to leave a reserve, in case the object may be altered with a fade in/out. A value
of 22,050 samples is preset (this corresponds to 500 ms at a rate of a 44.1 kHz).
Burn Project Backup on CD/DVD

Use this menu command to burn an entire project backup onto multiple CDs or
DVDs. Samplitude Music Studio's burner program, MXCDR, will open for this.
Delete Wave Project(s)...

Use this menu command to easily delete wave projects from the hard disk. All files
belonging to the HD wave project (the wave file containing the audio files, files with
the graphics data, and the HDP file with the project information) will be deleted
together.
Note: An HD wave project may only be deleted once it's closed. As long as parts of
the project are still active as objects in the VIP, deletion is impossible. Once the
dialog has been confirmed, you will be able to delete the data.
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Delete Unused Samples

This function lets you edit all wave projects belonging to the current virtual project in
such a way that all ranges that aren't used are deleted. It basically deals with the part
of the audio data to which the objects in the arranger do not refer and don't get played
at any point. The objects in the virtual project are customized automatically so that
nothing changes in the arranger view.
This function deletes physical data and does not feature an "Undo" option. You should
therefore apply this command carefully.
If multiple virtual projects refer to the same wave files, all of these projects should be
open as well. This is the only way to monitor and prevent data loss.
Using the "Remove unused samples" function saves storage space, but corrections to
the objects' lengths are limited, since all audio data outside the object borders are
removed. For this reason, specify backup reserves with "Save additional samples for
each object". This number of samples is left in front and behind the object borders in
the audio material. The default value is 22,050 samples, which corresponds to 500
ms at a 44,100 kHz sample rate.
The dialog lists all of the wave projects used in the virtual project. You can see the
total memory space used by the wave projects in the "Size" column here, and beside
this the free space in the "Unused" column. In the "Edit" column, you'll find a check
box for each file that may be used to add files to the process. Only those files that
contain unused sections of audio data are selected. To keep these, remove the check.
Note: The list may also contain files not actually referenced by the VIP, but
referenced by the VIP's undo chain. These files are 100% unused samples and will
be deleted completely when checked.
For example, if you have discarded an entire recording session, you can delete the
unused files as well. However, if you had opened audio material from other sessions
or your private sample library and didn't use them any more after that, you should
uncheck these files so that they don't get deleted.
We recommend deleting the "Undo" chain and closing all unused wave projects
before using the function.
Tip: If the relevant audio files are required later on for additional production work,
the following procedure is recommended for archiving the finished production:
Save your entire project in a new folder ("File -> Save complete VIP in..."). In the
save dialog, select the command "Copy only samples used in VIP". Now only those
audio files/samples that are actually required by your archiving project will be found
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File Menu 369
in the few folder. You can now save the content of this folder to a backup medium
(e.g. CD-ROM or DVD).
Delete Freeze Data

Use this function to delete unused data that was created when freezing but is no
longer needed after "unfreezing".
Close Project
This menu point closes the active project.
Project Properties
Snap and Grid Setup
In the general project options dialog you can choose the kind of grid and its activation.
Shortcut: I
Virtual projects have an object grid, area grid, beat grid, and frame grid. In the object
grid, the objects may only be moved to the start, end or the hotspot ("Object -> Set
hotspot/delete hotspot (view page 409)"). The reference point is normally the front
edge of the object that is to be moved. As soon as a hotspot has been defined for the
object, this is what will be used. If several objects are selected, alignment takes place
at the forward edge of the hotspot of the object that was selected last, and is currently
located under the mouse cursor. The intervals between the selected projects stay
constant.
370
Grid: Checking the tick box turns snap on globally.
Object grid: This option activates the object grid. This lets objects snap exactly to
the edges of other objects.
Snap to range: Activates the range grid with the option to use the current range as
the basis for snapping.
Grid/bars: Activates a grid with bars as the basis. The objects snap to the the next
beat grid.
Grid/bars (Relative): Activates a grid with bars as the basis. This means that the
relative distances between the objects adhere to the beat grid when you move them
about.
Grid/frames: Activates the frame-based grid.
Snap offset to project start: Here the snap offset can be set relative to the beginning
of the project. "Use current position for offset" specifies the current position as the
grid's zero position.
Use snap offset also for grid: The snap offset is used as a reference size for the grid.
Mixer Settings
In this dialog you can easily configure, save and load project and mixer settings.
Shortcut: Ctrl + Shift + M
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File Menu 371
Project and Mixer Configuration

Here you can set the number of tracks, AUX buses and submix buses. You can also
determine the effects and signal routing for the tracks and the master section.
Automatic Latency Compensation: Activate this option for automatic latency

compensation of VST plug-ins. This is active by default.
Master Routing
• Keep Current Setting: Each track is assigned to an audio device (or a submix
bus). The final mix then takes place in external equipment or on the sound card.
• Stereo Master: Normal mixing in the Samplitude Music Studio Stereo Master. If
the sound card has several outputs, select one in the mixer (in the "out" bar
below the volume faders) or in the playback parameters (shortcut: "P").
Keep Current Number (Tracks, AUX and Submix Buses)

Check this box to prevent the current settings from being overwritten when loading a
mixer preset. The current status of this checkbox is also saved along with a preset. If
you quickly want to add a few tracks, (e.g. 4 AUX buses and 4 submix buses), you
only have to load the "4 Busses 4 AUXes" preset.
When loading a preset, the respective tracks and buses will be added where the box is
not checked. In other words, place a check for settings that shouldn't be included in
the preset before saving.
Device Settings
In this section you can conveniently select the input and output device assignment for
several tracks simultaneously.
I/O Devices: Here you can define the routing for playback, recording or both.
Number of tracks (0 for all) / Start with track (0 for active track): This option
permits a change to I/O routing for a certain number of tracks. If you set the number
of tracks to 4 starting at track 8, the selected routing setup is applied to tracks 8-11.
Note: To be able to switch these commands to active, you must first replace the
"Keep current setup" option in the neighboring "Routing" field with another option
from the selection menu.
Routing
Keep current setup: No routing assignment takes place if a preset is loaded.
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Assign all tracks to stereo master: All tracks (incl. AUX and submix buses) are
routed to the master. L/R panning sets the panorama settings for the tracks to
alternate between left and right. Use this option if stereo sources are recorded as
mono pairs.
Assign tracks to available stereo/mono devices: All tracks are assigned to the
individual output devices. In the system options window (shortcut: "Y") you can
define which devices are available in Samplitude Music Studio and which are not.
When routing in mono, the tracks are set alternately right/left in panorama
Use setup from preset: The settings saved in the preset are used.
Playback Options
More information is available in "Playback -> Playback parameters (view page 521,
view page 413)".
Shortcut: P
Project Information…
Enter information about the project here.
There is also a text field for comments. These may be set to show each time the
project is opened.
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File Menu 373
Project Status…
This indicates all project status information like the name, path, number of ranges,
markers and objects, wave files used in the current project, or the date of creation.
You can also create a text file which includes all of this information.
CD Arrange Mode
If this is activated, Samplitude Music Studio arranges recently added objects to insert
a Red Book Standard-compatible pause between the objects.
Detailed information about "CD arrange" mode is provided in "CD arrange mode
(view page 447)".
Destructive Wave Edit Mode

Wave projects can be edited destructively as well as virtually. You can select the
desired editing method here. More information about this can be found in the chapter
"Audio editing in Samplitude Music Studio" (view page 76).
Program Preferences
System / Audio
This menu item opens the system/options (view page 465) dialog where most
general project settings can be made for Samplitude Music Studio.
Keyboard shortcut: Y
Varispeed / Scrub Settings

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In this part of the dialog you can make changes to the playback tempo for virtual
projects. Right-click the scrub control button in the transport controls.
Sample rate: The preset project sample rate is displayed here. If you want to change
this value, a dialog window appears where you can optionally adjust all audio objects
to the new sample rate. The customizing is conducted, if necessary, through moving
and resampling. MIDI objects can also be adapted to the new sample rate. These are
also moved if necessary without changing the musical position.
Autoscroll / Scrubbing: See "Playback Options (view page 521, view page 413)".
With Stop at current position, the playback marker stays at the current position when
the "Stop" button is pressed and doesn't jump back to the original position.
With "Device" you can specify the driver of the sound card that you want to use for
playback.
Varipitch / Varispeed Mode

Vertical slider: This controller defines the playback from -200% to +200%, in which
case negative values cause the project to play in reverse.
Pitch: Double-clicking on this field enables the speed factor to be input directly, e.g.
0.5 for half speed, 2.0 for double speed.
Halftones: This field specifies pitch changes according to semitones; a value of -12
causes the project to play an octave lower at half speed, and a value of +12 plays back
the project one octave higher at double speed.
Internal rate: Here you can specify the sample rate for the Varispeed calculation. At a
sample rate of 44100 kHz, a value of 22050 plays the project an octave lower at half
the speed.
BPM orig: Displays the original speed in BPM.
BPM out: Enter the target speed in BPM. Samplitude Music Studio calculates the
Varispeed pitch factor from the quotient from the target to the original tempo.
Active: Checking this box activates Varipitch/Varispeed.
MIDI Options...
More details about MIDI settings are provided in "System settings -> MIDI
settings".
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File Menu 375
Synchronization Active
This command activates synchronization.
Shortcut: G
Synchronization
Opens the synchronisation dialog (view page 341). Here you can specify whether
Samplitude Music Studio should operate as master or slave, which protocol to use,
and which interface should be used to send or receive synchronization data.
Editing keyboard shortcuts and menus

Here you can open the dialog for Editing keyboard shortcuts, menu entries and mouse
functions (view page 525).
Edit toolbars
see Customize Toolbar (view page 53)
Reset Toolbars
Resets the toolbars to default settings. Select whether individual toolbars should be
reset or if all of them should be reset via "Reset all toolbars". If the file "Samplitude
Music Studio_TB.ini" is deleted from the Samplitude Music Studio folder, then the
default settings will be reset.
Recent File
In the last section of this menu the 10 projects opened last will be displayed.
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Edit Menu
This menu features functions that are applicable only to wave projects (e. g. „Copy “ >
„Copy as“), and others that are only for VIP projects (e. g. „Insert Silence“).
Edit functions like "Delete > Extract" require a selected range; other functions like
"Copy" are available only for active objects. The start and end points of the selected
range determine the start and end points of a cut, and the vertical position indicates
the tracks that are affected by the edit.
Activate the auto crossfade function and all the newly created fade edges will
automatically be made soft or disappear.
Mouse mode
Here you can find available mouse modes You can find detailed information in
"Mouse functions and mouse modes" (view page 79).
Note: Not all mouse modes are available in Wave projects.
Object Mode
Detailed information about object modes can be found under "mouse functions and
mouse modes > object modes (view page 90)".
Undo
Samplitude Music Studio offers a secure way of tracking your changes in Virtual and
Wave Projects, which makes it easier to undo work steps. Up to 100 changes can be
kept in the memory using the undo function in "Menu > File > Program Preferences
> Undo Definitions". When editing audio material with destructive effects ("Offline
Effects menu"), the Undo option only works when the option "Create copy" is
activated in each dialog.
Shortcut: Ctrl + Z
Restore
"Redo" (undoes) the most recent Undo command.
Shortcut: Ctrl + Y
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Edit Menu 377
Undo List
A list with the last undo commands will open.
You can return to any work stage.
Copy
Copy
The current range is copied into the clip, but is not deleted from the project. The
sample or track length remains unchanged. Please note that any previous clip
contents are deleted. The properties of the project will be applied to the clip.
Shortcuts: C
Ctrl + C
Ctrl + Ins
378
Copy as… (Wave-Project)

This function copies the selected range from a wave project into a new file.
Shortcut: Shift + C
Copy + Clear
Copies the current range to the clipboard (clip), removes it from the project, and
replaces it with silence.
Shortcut: Ctrl + Alt + C
Cut
Cut
Virtual Projects (VIP)
In the case of virtual projects, the selected area will be copied into the virtual clip
(VirtClip) and removed from the active project. The VirtClip, like the virtual projects,
does not contain the actual audio files, just the links to them. The VirtClip spans over
the same number of tracks as the selected area.
Keyboard Shortcut: X
Wave projects
The data of the selected range is copied into the clip and removed from the current
project. Data behind that range takes its place. The Wave project is reduced in size by
the length of the removed segment.
If you cut a piece out of a mono wave project, the clip will be a mono wave project,
and if you cut out a piece from a stereo wave project, the clip will also be a stereo
wave project. Similarly, the bit resolution and the sample rate from the project are
applied. The old content of the clip is overwritten.
After the function has been carried out, the playback marker will be at the cut edge of
the removed segment. You can now place the clip back into the wave project with the
command "Paste from clip".
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Edit Menu 379
Split
Split Objects
Use this option to split all selected objects at the cursor position and separate them
into individual objects.
If the range is selected, the cut will be made at each border. Ensure that the object
that is to be edited is contained within the active range. If necessary, all objects may
be activated by double clicking on the range selected in the range bar. In this case, it is
not necessary to select the objects beforehand.
Shortcut: T
Split objects at the project marker position

The selected objects are spilt at the positions of the project markers. The newly
created objects will be named after the previous markers.
Split Objects at CD Track Indices

The object is split into separate objects at the marker positions within the object
borders. The newly created objects will be named after the previous track markers.
Insert
Paste/Insert Clip
The data contained in the clip or VirtClip is inserted at the current position of the
playback marker (position line) or at the beginning of the current range.
In the "Link objects" modes, objects behind the insert point are moved to the end. In
all other modes, the inserted material replaces the existing objects.
A new area will automatically be defined for the inserted files.
Shortcut: V, Ctrl + V, Shift + Insert
Overwrite with Clip

The current range will be overwritten with the contents of the clip. The length of the
clip will not be reduced. The data previously located at this position will be
overwritten.
380
In virtual projects, the selected range determines the start position and track for the
clip contents.
Shortcut: Alt + V or Insert
Mix with Clip

The content of the range is mixed with the content of the clip. This command is
available only in the destructive wave edit mode. Please note that with this function
both components are entered into the mix at 100%, being added together. This can
cause overmodulation. You may have to adjust the amplitude of the project by
normalizing prior to this.
Crossfade with Clip

The content of the range is crossfaded with the content of the clip. This command is
only available in the destructive wave edit mode. In this case, the position of the
playback marker specifies the end of the clip to be faded with the wave project. The
length of the clip sets the length of the crossfade.
Delete
Delete
The data in the current range is deleted. The sample data after the deleted range is
added at the position the deleted range started. The sample length becomes shorter.
Please note that this command will not save the deleted data to the clip. If you want
to preserve the deleted sample data, use the “Cut” command. Using this the “Delete”
command will delete the data from the current sample and preserve the contents of
the clip.
Key: Del
Extract
Press "Extract" to trim your project by deleting the areas outside of the selected
segment.
Virtual projects (VIP)

The extraction function results in all objects outside of the selected segment in a
virtual project being deleted. All tracks stay unchanged, even if no object is found in
the selected segment. This function is not track-specific.
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Edit Menu 381
Individual objects can be cropped using "Object -> Trim Objects".
Extracting Audio Files

In Wave Editing Mode only the part of the audio file below the selected area remains.
The data before and after the range is deleted.
Silence
Insert Silence
This command inserts silence to all tracks at the position of the current play or at the
start position of the selected range. The objects will be split at this position and the
files after it will be added after the silence.
If a range is selected, its length will be adapted as default. The selected range is not
adjusted after the operation. It's possible to change the value in the input field. The
project is extended by the length of the inserted object.
Replace with silence

The data in the selected range will be deleted. The data behind this will not be moved,
silence will be added behind the affected range. The length of the track stays
unchanged.
Keyboard shortcut: Alt+Del
Tempo
Tempo map...
Detailed information about the tempo map dialog can be found in the chapter
"Tempo editing > Tempo map dialog" (view page 324).
Tempo map BPM mode/grid adjustment mode

Detailed information about the tempo map grid fit mode can be found in the chapter
"Tempo editing > Grid tapping" (view page 327).
Insert tempo change

This opens the Tempo and time signature dialog (view page 329) to insert a tempo
change.
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Insert time signature change

This opens the Tempo and time signature dialog (view page 329) to insert a time
signature change.

Here you can insert grid position markers (view page 324) at the current playback
marker position.
Change Global Tempo

Using the command „Edit“ > „Tempo“ > „Insert Tempo Change...“ You can scale all of
the BPM values on selected tempo curve points by a set factor simultaneously.
Ignore all tempo markers, use project tempo only

All tempo markers are ignored, only the project tempo is used.
Metronome active
Activates/deactivated the metronome. This function can also be activated via the
"Click" button of the transport console.
Metronome settings
This menu item opens the metronome settings (view page 519).
Range
Range All
This expands the range to include the entire project. Double clicking the timeline or
pressing "A" selects the range in the selected track; double clicking again or pressing
"A" again selects the range over all tracks, and double clicking or "A" once again
restores the simple timeline selection.
Shortcut: A
Manipulate Range
Move Range Start Left
This function moves the beginning of the range in the current arranger window one
grid unit to the left. The length of the movement depends on the set grid value. This
may be adjusted via "Project options -> General" (shortcut: "I", "Ctrl + Shift + #").
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Edit Menu 383
Shortcut: Alt + ÷ (number block), right arrow
Move range start to right

This function moves the beginning of the range in the current arranger window by one
grid unit to the right. The step size is defined by the set grid value.
Keyboard shortcut: Alt + * (number pad), right arrow
Move range end to left

This function moves the beginning of the range in the current arranger window one
grid unit to the left. The step size is defined by the set grid value.
Keyboard shortcut: Alt + - (number pad), Shift + left arrow"
Move range end to right

This function moves the end of the range in the current arranger window one grid unit
to the left. The step size is defined by the set grid value.
Keyboard shortcut: Alt + + (number pad), Shift + right arrow
Range to Beginning
Choose this option to extend the currently marked range to the beginning of the
project (Wave Project or VIP).
Range to End
Choose this option to extend the currently marked range to the end of the project
(Wave Project or VIP).
Flip Range Left

Choose this option to flip the currently marked range to the left (this swaps the start
of the marked range to the end of the marked range.)
Shortcut: Ctrl + Shift + left arrow
Flip Range Right

Choose this option to flip the currently marked Range to the right. (What used to be
the end of the marked Range is now the beginning of the marked Range.)
Shortcut: Ctrl + Shift + right arrow

384
Find zero crossings

Beginning of Range -> 0
Choose this option to move the beginning of the currently selected range to the next
zero amplitude crossing. "Zero" is the next sample value featuring a ZERO value or
that indicates the boundary between a positive and a negative sample value (or vice
versa). This function is especially useful when searching for loop points. Remember to
zoom into the waveform display far enough so that you'll be able to see the actual
changes in the arranger window.
Shortcut: Ctrl + Page up
Beginning of Range <- 0

Choose this option to move the beginning of the currently marked range left to the
previous zero amplitude crossing.
Shortcut: Shift + Page up
End of Range -> 0

Choose this option to move the end of the currently selected range to the next zero
amplitude crossing.
Shortcut: Ctrl + Page down
End of Range <- 0

Choose this option to move the end of the range left to the previous zero amplitude
crossing.
Shortcut: Shift + Page down
0 -> Range <- 0

Choose this option to move the beginning of the range right to the next zero
amplitude crossing, and to move the end of the range left to the previous left zero
amplitude crossing.
Range start to left marker

Choose this option to extend the Range to the next marker on the left.
Shortcut: Shift + F2
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Edit Menu 385
Note: This command also takes set object audio markers into account as soon as
they have been selected via menu "File > System preferences > System/audio ->
Design -> View options".
Range Start to Left Object Border

The start of the range is set to the next object edge on the left.
Range end to right marker

The end of the range is set to the next marker to the right.
Note: This command also takes set object audio markers into account as soon as
they have been selected via menu "File > System preferences > System/audio ->
Design -> View options".
Range End to Right Object Border

The end of the range is set to the next object edge on the right.
Area Above all Selected Items

Choose this option to extend the range over all selected objects.
Remove Range
This command removes the current range from the grid and marker bar. This function
is also available by right clicking in the grid and marker bar.
Range Not Over Tracks

This command selects the selected range from the grid and marker bar only, and not
in the tracks. Switch between the "Range not over tracks", "Range over current track",
and "Range over all tracks" functions by double clicking in the selected range in the
grid and marker bar.
Range Over Current Track

This command selects the selected range from the grid and marker bar as well as in
the selected track.
386
Range Over All Tracks

This command selects the selected range from the grid and marker bar as well as in
all selected tracks.
Range Length
Set the range starting from the playback marker to lengths of 1, 2, 4, 8 or 16 beats
here.
Split Range
Use this function to split the arranger window into three sections. In this case, the
upper section displays the entire project in an overview, while the left lower section
displays the start of the range and the right lower section displays the end of the
range (enlarged sections).
The range borders may be set precisely in the lower sections, provided the grid setting
"Grid/frames" is set in the "Project options" beforehand (shortcut: "I").
Shortcut: B
Back to range: "Shift + B"
Store Range
Samplitude Music Studio enables ranges to be stored by selecting the corresponding
range number.
All current ranges in a project may be viewed via "Tools -> Manager -> Range
manager".
Shortcut: Alt + F2 ... F10
"Alt + F4" however, should not be used, since this is a Windows command that closes
the current screen. Similarly, "Alt + F9" should not be used either, since this is used
for the 4-point cut command in Sequoia.
The "Other..." dialog may be used to define additional ranges featuring freely assigned
names.
Shortcut: Alt + F11
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Edit Menu 387
Get Range
Open previously saved ranges via this command. Getting a range is also possible
during playback. This enables you toggle between various ranges in order to compare
them acoustically.
Shortcut: Ctrl + F2 ... F10
Ranges may be named and accessed via "Tools -> Manager -> Range manager".
Get Range Length

Use this function to set the current range to the length of the corresponding saved
range.
Shortcut: Ctrl + Shift + F2 ... F10
Range manager
All saved ranges of the current project are displayed in the range manager.
A colored bar highlights the current range.
By selecting a range name, the corresponding range in the project is

selected/activated.
In the lower line you can enter/modify the range name. You can also delete ranges
and save new ranges in the range manager.
With the "Play once" button you can play the selected range once, "Play loop"
activates looped playback. This makes the range manager particularly useful as a
jingle player.
Recall Last Range

Use this function to recall the last selected range. Repeated application accesses
ranges up to five levels back.
Shortcut: Shift + Backspace

388
Crossfade
Crossfade Editor
This menu entry opens the Crossfade Editor (view page 298) that allows you to easily
set and edit crossfades.
Auto crossfade active

If this option is turned on, then all newly recorded or cut material in a VIP or material
copied from a wave project into a VIP track has an automatic crossfade applied to it.
Global settings for fade-in and fade-out parameters are assigned to the object. These
settings can be changed with the crossfade editor via "Edit -> Crossfade editor".
If two objects which had an automatic crossfade applied to them are overlapped, a
real-time crossfade is the result.
Auto crossfade mode is an excellent tool to easily perform a linear cut of a spoken
voice track, jingle, etc. requiring a soft passage without unwanted sounds. If needed,
each crossfade can be edited using the editor or by manually manipulating the
handles.
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Track menu 389
Track menu
Insert new tracks

Add one track
The virtual project is expanded by one empty track.
Add several tracks

The virtual project is expanded by one empty track (inserted below the selected
track).
Insert empty track

The virtual project is expanded by one empty track (inserted below the selected
track).
Insert Several Tracks…

To add multiple tracks, select the command "Insert several tracks". A dialog window
appears to select the desired number of new tracks.
New MIDI track

A track is added to the project which is already set for MIDI recording.
New Folder Track

This command adds a folder track in front of the selected track. If a range across
several tracks is selected before creating the folder track, each of these tracks will be
added to the new folder track.
You can find detailed information about folder tracks in the section "Working in the
Project Window" > "Folder Tracks" (view page 75).
New submix / AUX bus

In the "New submix bus" menu item you can add a new submix bus as a new track.
The "New AUX bus" option is identical. The new bus is always inserted after the
active track.
390
Cut tracks
All of the tracks that are affected by range selection are copied to the clipboard and
deleted from the project.
Copy tracks
All of the tracks that are affected by range selection are copied to the clipboard.
Paste Track(s)
This function inserts all tracks copied into the clipboard under the selected track.
At first a dialog with several options is opened. By this options you can use this
function also to transfer properties of one track like plug-ins, automation or routings
to another track, keeping the objects on this track untouched.
The dialog remembers the settings, therefore, for further insert operations with the
selected settings you can skip the opening of the Options dialog box by setting the
check mark Don't show this again in the lower right corner of the dialog box. To reach
the options dialog again, hold the Shift key while chosing the Paste Track(s) menu
item.
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Track menu 391
Copy: Here you can specify which track properties and contents are to be inserted.
• Objects: Any objects including their effects and automations
• Automation: all automation curves of the track. Note that all automation curves
are inserted. If you have automated plug-ins in the copied track but do not copy
the plug-ins, you get automation curves without a target. These are displayed in
the automation menu with ???.
• Aux sends and routing: The values of the aux send faders as well as the audio
and MIDI input and output routing. Note also the "Insert missing tracks, busses
and VSTi" options below.
• Plugin-ins and EQ: All track effects as well as the plug-in instruments and effects
loaded into the track.
• Track names and colors: The track names are important in that the assignment
of the copied routing is based on the track names.
Insert new tracks: If you uncheck this box, no new tracks will be inserted, but the
target project will be overwritten with the clipboard content. If exactly one track is
selected in the target project, the target project will be overwritten with all the tracks
from the clipboard. However, if multiple tracks are selected in the target project, only
these selected tracks will be overwritten.
Add missing tracks, buses and VSTi: If you paste the copied tracks into another
project and the "Aux sends and routing" option is active, this option ensures that the
routing targets, aux and sub-mix busses are created if they are not copied with. All
track settings of the additional tracks (e. g. plug-ins in the AUX busses, VSTi plug-ins
as MIDI Out targets of tracks with MIDI objects, audio tracks for single outputs of
VSTis) are taken over.
Attention: AUX and SubMix busses are only created if there aren't already busses
with the same name in the target project. Otherwise these will be used, but the
effect settings of the busses from the original project will not be taken over!
Note: The audio tracks of VSTi single outputs are also created including their insert
and aux send effects, with additional AUX busses with effects if necessary.
However, if these tracks are again routed to busses, these busses are no longer
copied.
Delete track(s)
All selected tracks are deleted from the actual VIP.
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Track Type
Here you can specify whether the track should be an audio track or a MIDI track. The
track can also be defined as a submix and/or AUX bus.
Input
Stereo in: The channel input is switched to stereo and the signal will be recorded on
two channels.
Mono in: The channel input is switched to mono and the signal will be recorded on
only one channel.
Mono In / Stereo FX: The track input is switched to mono and a single-channel input
signal is recorded, but the track itself remains a stereo track in which the effect
calculation is performed in stereo.
MIDI track record: If you click this menu entry the MIDI section of the track editor will
open, allowing you to record MIDI files.
VST MIDI out recording: By activating the option "VST MIDI Out recording" on a
track you can record all received VSTi MIDI Out data in the corresponding track.
Track size
Minimize none
This option maximizes all tracks.
Maximize track
This option minimizes all tracks except the selected track.
Track Freeze
Track freeze
The selected track is rendered into a wave file which replaces all objects on the active
track. Object and track effects are added to reduce the PC's processor strain of having
to process effects and plug-ins.
The advantage of track freeze is that the frozen track is saved in a separate VIP and
can be edited/recalled at any time. This way it's also possible to work flexibly and to
keep resource usage at a minimum even when working with less powerful computers.
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Track menu 393
Track freeze for AUX buses/submix buses
Bus/Aux bus tracks can be frozen just like regular tracks. This enables a complete
group of tracks to release the required CPU load including all effects, fades,
crossfades, and automation settings in one step.
Submix bus
• Tracks routed onto the submix bus are not changed but remain instead.
• The submix bus is muted ("Track -> Track options -> Mute bus input").
• The file created while freezing is inserted into the AUX track as an audio object.
• Changes made to the tracks after freezing which are routed to the submix bus
have no effect on the signal output while playing.
AUX bus
• Only AUX send settings in tracks are taken into account (not in objects).
• Tracks routed onto the frozen AUX bus are not changed but remain unchanged
instead.
• The AUX bus input is muted ("Track -> Track properties -> Mute bus input").
• The color of the AUX send fader (mixer) in the affected tracks is blue.
• An asterisk is added before the name above the AUX send faders (mixer).
• The file created while freezing is inserted into the submix track as an audio
object.
• Changes made after freezing to the tracks transmitting to the AUX bus are not
updated in the file created while freezing. Therefore, if objects are moved into
tracks transmitting to an AUX bus, the audio signal on the corresponding AUX
will remain the same.
Track unfreeze
This menu item removes the wave file created during "Track freeze" and brings back
the track that was saved in the temporary trackbouncing VIP.
Changes made in this project are applied to the track as well.
Note: If tracks were added in the reference project (the project created while
freezing), "Track unfreeze" is not possible.
Track effect settings

Copy / Paste track effects settings
With this command you can copy the complete effects settings of the active track
into the clipboard.
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Copy / Paste track effects settings

With this command you can copy the complete effects settings of the active track
into the clipboard (to paste it on another track).
Reset track effects settings

Reset all track effects settings to its defaults, i.e. no effects are applied at all.
Track Options...
Audio
Change settings for recording and playback of audio tracks here. These settings also
include settings for audio created by VST instruments.
Record: Select the sound card device to record this track here.
All Tracks: Applies the same recording device selected for this track to all tracks.
Track/Dev+: Sets the recording device for this tracks to the next, e.g. if inputs 1 + 2 of
the sound card are set, it will be switched to 3 + 4. The button with the "+" sign to the
right sets the recording and playback devices to the next ones simultaneously.
Playback: Select your sound card device to record this track. You can also select a bus
track.
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Track menu 395
All Tracks: Applies the same record device chosen for this track to all tracks.
Track/Dev+: Sets the playback device to the next, e.g. if set earlier to outputs 1 + 2 of
your sound card, this will be switched to 3 + 4. The button with the "+" sign to the
right sets the recording and playback devices to the next ones simultaneously.
Track Type: This indicates if the track is a aux/submix bus. One track may also be
both.
Color: Select a color for the corresponding track and its objects.
Effects/Routing: This button opens the effects routing dialog for the corresponding
track.
Track Name: Use this field to change the name of the current track.
MIDI
Recording device: Set up the MIDI interface to be recorded.
Playback device: Set up the MIDI interface on which the track's MIDI information will
be output.
All tracks: Applies the settings to every track.
Play/Thru parameters
In Channel: If a MIDI channel is set here, then ONLY this will be used for recording.
Out channel: If the MIDI object includes multiple MIDI channels, then you can use
this option to filter out other MIDI channels than the one set. Only events for the
MIDI channel set here will be output via the MIDI interface.
Transp.: Transposes the played pitch in semitones up or down. Set the value here to 2
and play C2, for example: D2 will be played or recorded. The value 12 transposes an
entire octave up; -12 correspondingly transposes down.
Program: Sets the MIDI program for the current track.
Bank Hi (MSB): According to MIDI specification, "Bank Hi" is required if a bank

number should be addressed which exceeds the 7-bit MIDI range (0-127 or 1-128).
Bank Lo (LSB): Enter a bank number. If it exceeds 127/128, remove 128 and enter 1 in
the "Bank Hi"-field; if higher than 255/256 enter a 2, and so on.
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Note: If you need to switch banks and programs within a track, it's recommended
that you set this in the MIDI object editor (view page 183), and that you separate
(view page 403) the objects at the corresponding positions.
MIDI Thru active: The incoming signal is immediately forwarded to the set output
device.
Recording
The section "recording" contains settings for recording from audio and MIDI.
File: Indicate the name of the file to be recorded here.
Assign file name automatically

Click "All tracks" on the right of the file name box and then select the desired
command from the popup that opens:
• File name_track number: Transfers the file name of the track to all other tracks
and adds the corresponding track numbers to them, for example, funky_01.wav,
funky_02.wav, etc.
• Project name_track number: Transfers the project name to all tracks and adds
the corresponding track number to them, for example, demo_01.wav,
demo_02.wav.
• Track name: Sets the track name of each track as file names for the audio
recording, for example, Drums.wav, Bass.wav, etc.
• Track number_track name: Sets the track number and the track name of each
track as file names for the audio recording, for example, 01_Drums.wav,
02_Bass.wav, etc.
• Project name_track name: Transfers the project name to all tracks and adds the
corresponding track name to them, for example, demo_Drums.wav,
demo_Bass.wav, etc.
• Get track name from first object name: This option gives the track name the
same name as the first object in that track.
• Get track name from first object file: This option gives the track name the same
name as the first file in that track.
REC: Specify whether or not you want to record MIDI or audio here.
Audio options
You may also choose between recording in mono or stereo on the selected track. A
mono mix of both device channels is also possible.
The option "Recording only in RAM" allows recording to be done directly in the
system RAM.
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Track menu 397
More
Track effects
Please read the chapter “Menu effects”.
Track properties
This submenu enables access to all track properties.
Note: These menu entries are used to operate Samplitude Music Studio using the
keyboard. Use the mouse to access these functions faster via the associated buttons
in the mixer, track header, or track editor.
Mute: Mutes the active track
Shortcut key: Alt + M
Solo: Switches the active track to Solo mode
Keyboard shortcut: Alt + S
Solo exclusive: This setting switches the active track to exclusive solo mode, i. e. only
this active track is audible. All other tracks are silenced in solo mode.
Keyboard shortcut: Alt+Shift+S
Record: Arms track for recording.
Keyboard shortcut: Alt + R
Monitoring: Switches manual monitoring for the corresponding track on/off
Keyboard shortcut: Ctrl + Alt + Shift + F
Lock: Locks the active track.
Shortcut key: Alt+L
Edit volume: Here you can enter a numerical value in dB for the volume.
Shortcut: Ctrl + Shift + K
Pan panorama: Here you can enter a numerical value for the panorama curve.
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Shortcut: Ctrl + Shift + P
Global mute: The mute settings for all tracks are switched on/off
Global solo: Enable/disable all solo states of the tracks
Track properties
Here you can edit the properties of the active track. These are:
Mute: The mute button mutes the active track.
Solo: Switches the active track to solo mode.
Solo exclusively: This setting switches the active tack to solo exclusive mode, i. e. you
will only hear the activated track. All other tracks are muted, unlike solo mode.
Record: Activates record mode.
Lock: Locks the activated track.
Volume/Pan-curve active: Displays the volume or pan curve of the activated track.
Submix/AUX bus: If the activate track is a bus, it can be defined as a submix and/or
AUX bus.
DirectX plug-Ins
Please read the corresponding explanations in the "Effects" chapter.
Activate Previous/Next Track

Use this command to activate the next (lower) or previous (upper) track in the VIP
from the view of the currently activated track. With the cursor keys you can
conveniently scroll up or down.
Shortcut:
Activate next track Alt + cursor down
Activate previous track Alt + cursor up
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Object menu 399
Object menu
In contrast to the "Edit" menu, all functions in this menu exclusively manipulate
selected objects in virtual projects. Selected ranges have no effect with these
functions.
Ranges are used to determine insertion points or cut positions of objects. When
inserting material into a virtual project, the range beginning has the same function as
the play cursor.
Object editor
Use the object editor for object-oriented editing. This way you can quickly and easily
edit each selected object independent of your general settings.
Shortcut: Ctrl + O
MIDI editor
This menu point opens the MIDI editor. Here, the content of the MIDI object selected
in the VIP can be displayed and edited. Here, you can choose from the matrix editor,
drum editor, score editor, event list, and velocity/controller editor.
If a MIDI object is not selected, you will be asked if you wish to create one. If you
confirm this with "YES", a MIDI object in the current track is created at the cursor
position/start of the range.
Read more about the MIDI editor in the "MIDI editor" chapter.
Wave Editing
This opens the audio file associated with an object in the wave window. The range
corresponds precisely to the part of the audio data that the object accesses.
More information about this can be found in the chapter "Samplitude Music Studio
Basics" > "Audio editing in Samplitude Music Studio" (view page 76).
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Destructive Editing
Destructive audio edit mode is the standard mode when the command "Edit a copy of
wave content" in the Object menu is used to open audio files that belong to a VIP
object.
Audio files (e. g. Wave files) opened directly through "File -> Open -> HD Wave" are
opened in the virtual wave editor by default. This can be changed in the program
settings (Y key, "Program" > "General > Open wave projects in destructive editing
mode").
Regardless of the mode you load your wave project in, you can switch between
destructive and virtual wave editing through "File -> Project Properties ->
Destructive Wave Edit Mode". If the box is checked, the extension "destructive" will
appear in the title bar of your project.
In destructive mode audio files are edited directly on the hard drive. Changes made in
the editing window are immediately applied to the audio file. To be able to undo
actions in the opened file in this mode using "Ctrl + Z", you have to activate the undo
function for audio files in the program settings ("Y -> Program -> Undo").
Note: At any time, a selected range from an audio file in destructive mode can be
transferred to a VIP using "Copy" and "Paste".
Real-time Audio Editing

You can also load audio files without a VIP and edit them in a virtual real-time mode.
To do this, deactivate "Open wave projects in destructive editing mode". in the
program settings (Y key, "Program" > "General). Now the files that are loaded
through "File > Import... > Load Audio file" can be opened in an audio file that works
virtually similar to a VIP.
The advantage of this editing mode is that it combines real-time editing of the audio
material with the features of non-destructive virtual editing that are the standard in
VIPs.
In contrast to destructive editing you will notice the following differences:
The features "Cut", "Copy", "Delete", and "Insert" are non-destructive. The positions
where these operations are performed are marked with dotted lines. These operations
can be performed in real-time because it is no longer necessary to copy data to the
hard drive for undo functions. The edits performed are only applied to the audio file
when it is saved.
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Object menu 401
"Wave editing" mode – volume and panorama curve

Volume and panorama editing is also virtual in "Wave editing" mode. Activate
"Volume Draw/Automation Draw" Mode. You can now draw level and panorama
curves with the mouse, just like in the VIP.
Real-time Audio Editing - Master Section

If you open the mixer window by pressing the "M" key, you will see a minimized mixer
on the master channel. All of the real-time effects that you are already familiar with
from the VIP master section are now available for real-time audio editing.
This allows you to use several effects simultaneously during real-time editing.
However, during destructive editing only one effect at a time can be written to the
audio file.
"Wave editing" mode – auto-crossfade

The auto-crossfade option may be activated during any cut or insert operation in
non-destructive wave projects
New MIDI object

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

This function creates a new MIDI object in the current track within the selected range.
New synth object

Please read the "Synth objects" chapter!
402
Edit
Cut objects
The currently selected object is replaced with empty space and copied to the VirtClip.
The length of the current project remains and all other non-selected objects remain in
their positions. The previous contents of the VirtClip are replaced with the cut object.
Copy objects
To place a copy of the currently selected object into the VirtClip select this option.
The contents of the VirtClip can then be inserted into the project using the “Insert
objects” option (see below). The previous contents of the VirtClip are replaced.
Insert objects
Objects in the VirtClip can be inserted in the project at the current play cursor
position. The other objects in the project maintain their positions. Please note that the
newly inserted object might cover portions of existing objects.
Delete objects
The selected objects are deleted from the current project. The length of the current
project however remains the same. Previously unselected objects keep their positions.
The contents of the VirtClip remain unchanged.
Keys: Ctrl + Del
Duplicate and move

Duplicates all selected objects, that is, a copy is created in the original project at the
same point. The original object is underneath (covered). The duplicate can be moved
to the new desired position using the mouse (in Object/Universal Mode). Duplication
is also possible using drag & drop (in Object/Universal Mode):
If multiple objects were selected before duplication, the Ctrl key should be pressed
before moving so that all objects remain selected and are moved together.
This way, you can quickly duplicate objects.
Duplicate objects multiple

This function duplicates multiple objects and places them in a sequence. Another
dialog is displayed which allows you to determine how many copies of the selected
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Object menu 403
objects are to be duplicated, the separating distance, and the overall length of the
duplication.
This is also another way to build loop objects.
The following parameters are available:
Number of objects: Determines the number of objects created.
Group created objects: All created objects are grouped together when checked.
Delta time: This determines the relative position of each created object to the next
(from the beginning of one object to the beginning of the next). The default setting is
the length of the selected object. The default setting lines up the duplicated objects
without any gaps between them to create a seamless loop.
Duration: Alternatively, the duration can be specified, i.e. the combination of the time
difference and the number of duplicated objects.
Build loop object

A loop can be defined within an object with this function. An area which indicates the
loop length must be selected in the object first.
The object becomes the loop object, and the number of loops can simply be “raised”
using the “length handles” at the bottom of the object.
Loop objects generated like this are ideal for generating long drum sequences from
only one drum loop! Loop objects also help to save memory, since in the VIP only one
object is handled rather than multiple objects or copies of the same material or very
long samples!
Split objects
This function splits or separates selected objects so that individual object sections can
be manipulated further. All selected objects are separated at the current play cursor
position, resulting in two independent objects.
If a range is selected, the cut occurs on both range boundaries. It is not necessary to
select objects prior to choosing the range and using the "Split objects" function. If an
underlying object is separated, then the newly created object covers the original
underlying object.
Keys: T
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Split objects at project marker positions

The object will be split into partial objects at the marker positions located within the
object borders; the new objects will be named using the project marker names.
Split objects at track marker positions

The object will be split at the position of the markers located within the object
borders; the new partial objects will be named after the track marker names.
Trim objects
This function trims the object borders to the currently selected range borders. The
selected range needs to be located within the confinements of the object you want to
trim.
Keys: Ctrl + T
Trim MIDI objects

This function moves the object borders of a selected object to the edges of the
current range. For this to occur, the range must be fully within the object's borders.
Mute objects
The selected objects will be muted.
Lock objects
Use this option to protect objects from accidental shifting. First, select the objects you
want to “lock” in place and activate the lock function. A diagonal line is placed across
the locked object.
In the "Options" menu you can specify the functions you want to lock.
Unlock objects
An object can be unlocked so that it can be moved again. All of the objects selected
will be unlocked.
Separate MIDI objects according to channels

If a MIDI object contains several channels, you can use this menu item to split it up
into several MIDI objects.
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Object menu 405
Hint: Please note that the created tracks have to be allocated to the corresponding
instrument/MIDI device.
Quantization
MIDI Quantization (Standard)
This command conducts standard quantization of the lengths of the MIDI notes of all
selected MIDI objects according to the MIDI quantize settings.
Detailed information about quantization can be found in the chapter "MIDI in

Samplitude Music Studio > Quantization (view page 216)".
MIDI Humanize Q
This command applies the current Humanize value in the quantization options.

MIDI quantization settings

This command opens the dialog for MIDI event quantization. To find out more, read
"Quantize" (view page 216).
Advanced
Start Q / MIDI Start Quantization
This command quantizes the start positions of the MIDI notes for all selected MIDI
objects according to the MIDI quantization settings. The grid view corresponds to the
start quantization value.

Start and Length Q / MIDI Quantization (Start and Length)

This command quantizes the start and length of the MIDI notes for all selected MIDI
objects according to the MIDI quantization settings.
406

Length Q / MIDI Length Quantization

This command quantizes the length of the MIDI notes for all selected MIDI objects
according to the MIDI quantization settings.

Soft Q (approximation quantization)

This command lets you can take the current Soft Q (power) value into consideration
while quantizing.
Quantize Note Ends

This command quantizes the end of the MIDI notes for all selected MIDI objects
according to the MIDI quantization settings.

Reset MIDI Quantization

Use this command to restore the original offset of start and length values of MIDI
notes for all selected MIDI objects. This enables you to undo quantization at any time
(even after the VIP has been saved).

MIDI Input Q (global)

Use this option to quantize the MIDI recording destructively. The original position
may be restored via the menu item "Object -> Quantize -> Reset Quantization".
Object effects
Please read the chapter “Menu effects”.
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Object menu 407
Select objects
Select objects under playback marker/range
Selects all objects found under the playback marker or selected track ranges.
Select objects
Selects all objects located partially or entirely in the selected range, or at the current
play cursor position.
Select all objects

Selects all objects in the arranger window.
Shortcut: Ctrl + A
Object lasso
The normal way to select several objects at once is to click on the free space to the
right of the object in the lower area of the track and drag a window out around the
selected objects.
Sometimes, however, there is not enough space between the objects. The object lasso
solves this problem.
Once activated, you can click on an object and pull up a selection frame without
moving the object you clicked on.
Once you selected the objects you want, the mouse returns to the standard mode,
and that you will have to reactivate the object lasso each time you want to use it.
Select previous object

Use this command to select the previous object on the same track.
Shortcut: Ctrl + Alt + Q, <
Select next object

Use this command to select the next object on the same track.
Shortcut: Ctrl + Alt + W, >

408
Select objects > Switch selection

Selects all objects located partially or entirely in the selected range, or at the current
play cursor position.
Unselect objects
Unselects the object selection.
Shortcut: Ctrl + Shift + A
Groups
Create group
Orders all selected objects into groups. As soon as an object is selected in the group,
all objects in the group become highlighted so that you can work on them collectively.
Shortcut: Ctrl + G
Dissolve group
Turns all selected objects into free-standing objects again.
Shortcut: Ctrl + U
Move object
This menu contains functions for moving the objects themselves and also for moving
the wave project within the object. There are also other functions for moving a
crosswire between two objects and for changing the loudness of the object.
This menu mainly exists for issuing keyboard commands (visible next to the entries
themselves in the menu) and can be changed using the “Keyboard shortcuts and
menu editing” function.
In the picture shown here the menu contains the standard settings for the keyboard
commands.
Commands for moving objects can also be found in the lower toolbar (range bar).
Object to play cursor position

This moves the selected object to the actual play cursor position.
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Object menu 409
Move objects step-by-step

Samplitude Music Studio contains a complete set of functions for object and
crossfade editing. Simply select two overlapping objects; only select the
corresponding object for object editing. Use the "Ctrl" key to select the left object and
the "Alt" key to select the right object.
Object(s) to the left Ctrl + Alt + 1

Object(s) to the right Ctrl + Alt + 2
Object start to the left Ctrl + 3
Object start to the right Ctrl + 4
Object end to the left Alt + 3
Object end to the right Alt + 4
Crossfade to the left Ctrl + Alt + 3
Crossfade to the right Ctrl + Alt + 4
Increase volume Ctrl + Alt + 8
Reduce volume Ctrl + Alt + 7
Object content(s) to the left Ctrl + Alt + 9
Object content(s) to the right Ctrl + Alt + 0
Please note the useful "Object content to the left/right" functions. Here, object
length and object position are kept, the assigned audio material from the
corresponding wave project is moved into it.
Snap point (Hotspot)

Hotspot
The current play cursor position is turned into a reference point for the snap function.
Instead of the object’s beginning, the hot spot is now used when the object is snapped
to the grid. Stroked vertical lines illustrate hot spots, and hot spots may stand outside
an object (in front of or behind the object). This function is very useful for a case
where the portion of an object to be synchronized does not line up with its beginning.
Delete hotspot
The set hotspot is removed, the object snaps again to the object start when the object
grid is switched on.
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Object color / name

Object name
The selected new name is applied to all selected objects.
Object foreground color

After selecting the desired color, all selected objects in the project will have the same
foreground color.
Object background color

The background color selected in the color grid is applied to all objects.
Tempo and beat recognition

This menu entry opens the Tempo and beat recognition (view page 301, view page
301). Tempo and beat recognition is a powerful tool for determining the BPMs (beats
per minute) and the time position of quarter note beats of any song. This is important,
for example, when a track on an audio CD has been imported into Samplitude Music
Studio and other sounds like drum loops, effects, or synthesizer voices are to be
mixed in.
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Playback / Record menu
Play once
The project or the range is played once.
Key: Space bar
Play loop
The project or the range is played in a loop.
Key: Space bar
Play in range
If you have specified a range, selecting this menu option (or button) will start
playback of the sample from the beginning; enter the range and continue to loop
through the range until you press stop. This mode is very useful for testing loops for
instrument samples.
Key: Space bar
Play with preload

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

Only selected objects will be played. All not selected objects will be muted. If the play
cursor is not located at the beginning of the first selected object, it will be moved
there.
Shortcut: Ctrl + Spacebar

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Restart playback
Choose this option to restart playback from the original play cursor position.
Stop
The playback is stopped for all projects types.
Stop and go to current position

The playback is stopped; the play cursor goes to the current position.
Playback mode
Loop Mode
This mode plays the selected ranges in a loop. This corresponds to switching on the
"Loop" button in the transport control.
Change play direction

The playback direction can be changed even during the actual playback.
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Playback parameters
This option opens the playback parameter window.
Keyboard shortcut: P
Check the "Stop at current position" option if you want the playback marker to
remain at the same position after stopping playback. If this option is not active, the
playback marker will jump to the original position or back to the start of the range
when playback is stopped.
The option "Spacebar (Play/Stop) also functions when in background" allows the
spacebar to be used for "Play" and "Stop" in Samplitude Music Studio while using a
different software application.
An additional function can be used in the case of CPU overload, i.e. "Escape key stops
playback and recording (for overload situations)".
The pre-roll time is a necessary parameter for editing in Samplitude Music Studio.
Pre-roll time is used to define the time section in seconds which is to be played before
the start of the selected range.
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Here the Maximum reverb time for objects with no fade-out (sec.) can be set up to
60 seconds.
Note: Please note that long reverberation times can lead to performance problems.
To use cue mode you have to specify whether playback control will be carried out at
the object edges or the CD track indices (track markers). You can also ensure that
the the first track in cue mode is set to „Solo“. Here you can enter the pre-roll in
milliseconds which determines the delay between the execution of the record
command and the actual start of the recording.
Detailed information about Cue Mode is available in "Play / Rec > Playback mode >
Cue Mode".
With Autoscroll the graphical display constantly moves even before the playback
marker leaves the visible section. This provides a constant overview. Switch to
Autoscroll Mode by checking "Active". "Active for zoom < 1 s" causes autoscrolling to
begin at very high zoom levels of less than a second.
You can choose between "Page" and "Soft" autoscroll modes. With page scrolling,
the section changes before the playback marker moves outside the section, while with
soft scrolling, the playback marker always remains in the middle of your chosen
section and the arrangement moves along beneath it. At smaller buffer sizes (e.g. <
4096 samples), scrolling will be softer.
Note: The autoscroll process can overload the processor in some cases which may
lead to dropouts during playback. Deactivate Autoscroll Mode if this happens.
Scrubbing
If you press "0" on the number pad or the key combination "Alt + Shift + Page down"
and hold these keys down, Samplitude Music Studio switches to "Scrub Mode".
This provides special control via the mouse over the selected track's playback speed.
The keyboard shortcut for scrubbing to the left is "Alt + Shift + Left arrow"
The keyboard shortcut for scrubbing to the right is "Alt + Shift + Right arrow"
There are four different scrubbing modes to choose from:
Shuttle: The relative distance between the playback marker and the mouse position is
used to control the speed. The playback marker follows the movement of the mouse.
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The further you move the mouse from the playback marker, the faster playback will
be. This means:
Scrub control faders at the left edge = double speed backwards,

Scrub control fader in the middle = no movement,
Scrub control faders at the right edge = double speed forwards.
Absolute: Use the absolute position of the mouse in the window to control the speed.
Two speed: Two speeds are provided for scrubbing. The object plays back slower or
faster depending on the distance between the scrub control fader and the mouse
position, in which case slow scrubbing at a speed of 0.25, or 1/4 of the original speed
is preset, and fast scrubbing is set to 1.0, i.e. the original speed. Change the value for
slow playback in the "Speed" field.
One speed: The preset scrubbing speed is 1.0, i.e. original speed. The "Shift" key
reduces this value by half. The "Ctrl" key uses the speed set in the "Scrubbing speed"
field.
Scrubbing speed: This specifies the factor of the original speed applies to the
scrubbing speed. The range of values stretches from 0.01 to 10.0, i.e. 1/100 of the
original speed up to ten times the regular speed.
Scrubbing only on active track (1 track): If this check box is active, Samplitude Music
Studio will only scrub the active track.
Global play device: Specifies the sound card driver for playback.
Record
Start audio recording according to the Recording options.
Shortcut: R
Record mode / Punch in

Play while recording
This option corresponds to the option in the recording options with the same name.
Record without playback

Use this option to record without playing the VIP.
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Punch in mode active

This option activates the punch mode. Punch in and punch out are processes for
automating the recording start and end of an audio segment. Once punch mode is
active, the punch in record feature can be used to record audio segments without
stopping playback.
The requirement for this mode is an armed record track. Use the “Rec” button on each
track to select it for punch recording!
Punch recording can be done in two ways:
1. Punch in/ out “On-the-fly”: This allows you to start the recording (punch in) at any
time during the playback. Once the recording commences, it can be stopped at any
time (punch-out), while the playback continues.
This is very similar to tape based multi-track recorders, which allow you to correct
mistakes during previous recording takes by overwriting segments of the tape.
Simply start the playback with the space bar. Punch-in recording can be started by
clicking "Punch record" in the toolbar.
2. Punch in/ out with markers: The second method is to punch in and out of
recording using special markers. This is a more automated way of dealing with
punch-in/-out recording. This is useful when specific punch in and punch out points
are determined and you don’t want to take any risks in possible punching in or out of
the recording. "Punch in and out with markers" lets you specify the exact points
where the recording should start and stop. To operate in this mode, a range has to be
selected which defines the beginning and end of the recording. The "Set punch-in
marker" and "Set punch-out marker" functions are used to tell Samplitude Music
Studio where to punch in and where to punch out. Next, set the play cursor to an
appropriate position prior to the punch-in point and start playback/recording with the
"Punch record" button in the "Punch" toolbar.
Important: When working with the punch in/out functionality, make sure that "Auto
crossfade" mode is activated by clicking on the corresponding button in the toolbar.
The auto crossfade will create smooth transitions between the takes. This helps to
prevent little pops and clicks!
There is also a way to perform looped punch-in recording. Simply select a range over
the desired punch region. The range is played back until you stop the playback with
the space bar. Each time the program loops through the range, new takes are
recorded at the punch markers. To find the best take after the recording is
completed, use the take manager!
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Recording Options
This menu option opens the Record window. All recording settings can be changed
here.
Shortcut: Shift + R
Format: Set the corresponding recording file format (Wave, MP3, MPG, WMA,
Real Audio, AIFF, Ogg Vorbis, and FLAC). In the infobox below, you'll find information
about each of the formats available. This way you can see if the format is editable in
Samplitude Music Studio as well as the compression it uses.
Bit rate: Select the desired bit rate here for your recording.
Recording mode: Choose between stereo, mono, and mono mix.

• If you select "Stereo", the channel input will be switched to stereo, and the signal
will be picked up on two channels.
• If you select "Mono", the channel input will be switched to mono, and the signal
will be picked up only on one channel.
• If you select "Mono (Mix)", the channel input will be switched to mono, and the
signal will be picked up on two channels, and then mixed together.
Preload: The recording is prepared and all buffers will be loaded. Thereafter, the
message "Data loaded. Waiting to start..." appears. As soon as you press "OK", the
recording starts without any delay.
Sample rate: This option allows you to select the sample rate of the recording. Take
note that your audio card must support the selected sample rate.
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Resampling to 44.1: If you have set a sample rate of 44,100 Hz and then activate this
option, Samplitude Music Studio will apply resampling at 44.1 kHz. The quality of
resampling may be set via "System options -> Effects -> Resampling/Bouncing.".
Recording start: Set the recording start time in this field. The recording is then
controlled automatically by the internal system clock to a specific time.
Recording length: Specify the recording length in this field. Using "Recording start"
and "Recording length" you have the option of executing timed recordings even when
away. "Recording" is armed as soon as Record has been activated and starts at the set
time for the set length. If no length has been selected, recording continues until the
hard disk is full and then stops automatically.
Record device: Here you can select the sound card driver that should be used for
recording. If there is no entry here, or a wrong one, then the card is not installed in
Windows correctly. Use the "Info" button to find out the recording properties of the
recording device.
File path: Specify the path to the files where the data should be recorded. The yellow
folder button opens a query for selecting the path and file name.
Further Recording Options

Monitoring Mode
Detailed information about monitoring can be found in "System Options" >

"Monitoring Setup" (view page 467).
Monitor: Use this button to activate the LED control displays. Please note that the
recording device must be selected prior to beginning this. During recording the LED
level displays move slower, but still show each maximum level.
Play while recording: Activate synchronous recording and playing here if this
supported by your sound card.
Note: If you want to record and play over multiple sound cards, small differences
may result during playback of longer passages. This is a result of sample rates of
cards which are not 100% synchronous. Ideally you should use the same card for
recording as you do for playback if possible. If your card creates a delay between the
start of recording and the start of playback, you can balance it out in the "Record
Offset" field. To do so play a sample with a noticeable impulse and record it using a
loop from the sound card's output to the sound card's input. Then zoom into the
Arranger to such a depth that you can precisely pinpoint the offset value.
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Create VIP object: Specify via this mode whether or not all recordings should be
integrated automatically into a virtual project. The created objects are named with the
specified object names.
Update object during recording: This object updates the graphical display of the
object while recording.
Recording offset (samples): If recordings exhibit a constant, undesired shift in

relation to the existing audio material in the arrangement, set an offset here which can
be used for positioning all recordings.
Advanced options: Detailed information about advanced options is available in File >
Program Preferences > System/Audio > Record".
Recording information: This area provides information about the last recording that
was made, i.e. Recording time (length of the recording), Remaining time (remaining
recording time), and Drive space (remaining storage space on the hard disk being
used).
Visualizer: Opens or closes the visualization window.
Reset Pk.: Reset the visualization's peak hold display.
Record: Click this button to start the actual recording.
Note: Please note that during active external synchronization as a "Slave", recording
does not start immediately, but rather when the master starts.
Stop: Ends a running recording process (keyboard shortcut: S)
Recording pause: Use this button to interrupt the recording process. The playback
marker continues to run. Pressing "Recording pause" again restarts the recording from
wherever you want it to continue.
Take +: Each object or take number (Take 1, Take 2...) is given a marker so that it can
be found again quickly.
The Take Manager (view page 317) is ideal for managing the individual takes.
Marker 1: While recording, the option is available to select a marker at the current
position of the playback marker, e. g. to mark a take with errors for correction later on.
Close: Use this button to exit the recording options window.

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Monitoring
New, more flexible input signal monitoring is now available via ASIO driver support.
Monitoring > Input monitoring on/off

This function activates/deactivates the input monitoring (corresponds with “Rec M”
button on the transport control). When actively monitoring, the input signal of the
tracks for active monitoring (loudspeaker button in the VIP or mixer is activated) are
played according to the selected monitoring type at the output. Furthermore, the LED
peak meters in the VIP and mixers react according to the input signal.
Note: If the "Rec" button is activated on a track, then the loudspeaker button is
activated simultaneously in order to switch on monitoring.
Monitoring > Tape player monitoring

The preset method for monitoring, similar to tape players and familiar from earlier
versions of Samplitude Music Studio:
When "Stop" is displayed, the input signal is rendered, "Play" renders the track
contents, "Record" renders the input signal. If the option is deactivated, the user has
to choose whether the input signal is shown or not. Use the "Force monitoring" button
(small loudspeaker symbol beside/above the peak meter in the VIP/mixer).
No audio monitoring (only peakmeter)

This corresponds with the normal characteristic of the VIP: The peak meter of the
tracks displays the level at the sound card input.
Monitoring > Software monitoring / Software FX

monitoring
Software monitoring for cards with ASIO drivers is also possible if the card does not
support hardware monitoring (ASIO direct monitoring).
Software FX monitoring also calculates the track effects into the monitoring signal
with the exception of all high latency-affected FX inserts. The amp simulator,
however, is applicable. Samplitude Music Studio can therefore also be used as an
effects device to play live directly.
If you need all of the mixer effects, then use the conventional live input mode
(functions without ASIO, but is afflicted with higher latencies).
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Furthermore, software or software FX monitoring must be active to be able to play

VST instruments live using the "MIDI in" port.
Move Play Cursor

to Beginning
This option positions the playback marker at the beginning of the project.
Shortcut: Home
to End
This option positions the playback marker at the end of the project.
Shortcut: End
to Range Start
Sets the start position of the playback marker at the beginning of the currently
selected range.
to Range End
Positions the start position of the playback marker at the end of the currently selected
range.
to Start of Section
This option positions the playback marker at the beginning of the visible section.
Left/Right Move in Page/Scroll Mode

Use these commands to move the playback marker to the right or left.
In "Page" mode, the playback marker moves across the screen to the end of the visible
section; at that point, the window view shifts to the start of the following section.
In "Scroll" mode, the playback marker jumps to the middle of the section and remains
there as the project moves through it.
Shortcuts:
Movement in "Page" mode: Right arrow/left arrow
Movement in "Scroll" mode: Alt + left/right arrow
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Note: Once a range open is open, use the "left/right arrow" keys to control the
beginning of the range.
Object Border Left

The playback marker jumps to the left to the next object edge in the selected track.
Shortcut: Ctrl + Q
Object Border Right

The playback marker jumps forward to the right to the next object edge in the
selected track.
Shortcut: Ctrl + W
Marker Left
The playback marker jumps to the left to the next marker in the arranger window.
Shortcut: Alt + Q
Marker Right
The playback marker jumps forward to the right to the next marker in the arranger
window.
Shortcut: Alt + W
Section to play cursor/last stop position

If you have not selected the option "Stop at current position" in "System options >
Playback", then the play cursor may be set to the last stop position with this
command.
Shortcut: Ctrl + Alt + ,
Repeat Last Position(s)

This command jumps the playback marker to a maximum of 5 previous stop
positions.
Shortcut: Backspace
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Marker
Marker with name
Sets a marker at the cursor position. In the dialog that opens, you can give markers
names.
Shortcut: ?
Markers with auto numeration

Sets a marker at the cursor position. Every marker set in this way will be number
consecutively.
Shortcut: Shift + ´
Place marker at recording position

If this option is activated, a marker will automatically be set at the positions where
recording starts.
Shortcut: Alt + ?
Set marker
An indefinite number of positions can be saved at the start position of the playback
marker (position line). This enables you to set markers.
Shortcut: Shift + 1 ... 0
Jump to marker
The new start position of the playback marker (position line) is set at the saved
position of the corresponding marker number. Playback continues from the new start
position. Please note that the range between the new start position and the end of the
sample is played back.
Shortcut: 1 ... 10 (via the alpha keyboard)
Markers on range borders

This function sets two markers to the beginning (S) and the end (E) of a selected
range.
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Set markers on silence

This function sets markers on silent regions in the sample (only in wave projects, i.e.
HDP or RAP). You can choose the minimal length of the pause, a threshold level, the
start number, and a prefix for the marker name.
This is very useful to select the regions of sample CDs, etc.
Min. time (ms): This is the minimum length in ms of a ”silent” area.
Threshold (dB): This is the maximum volume of a ”silent” area. The level of the area
in the project will be set on the level of the threshold in the graphic display!
Starting number: The markers will start to count from the number you type in this
dialog box.
Prefix: This allows you to insert additional symbols (letters would be appropriate),
which will be placed in front of the marker-numbers. By doing this, you will able to
distinguish between new and older markers.
Rename Marker
If a marker is selected in the marker list (by clicking it), then this function may be used
to rename it.
Delete marker
The selected marker will be deleted.
Delete all markers

All markers of the project will be deleted.
Delete Markers in Range

All the markers in an activated range are deleted.
Set start marker

This function/button sets the punch-in marker
Set end marker

This function/button sets the punch-out marker.
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Remove punch markers

This function/button deletes the punch-in and punch-out markers.
Insert tempo change

This opens the Tempo and time signature dialog (view page 329) to insert a tempo
change.
Insert time signature change

This opens the Tempo and time signature dialog (view page 329) to insert a time
signature change.

Here you can insert grid position markers (view page 324) at the current playback
marker position.
Ignore all tempo markers, use project tempo only

All tempo markers are ignored, only the project tempo is used.
Marker manager
The marker manager lists all of the markers contained in the current project and
makes it possible to jump directly from the list to them or to play them.
Shortcut: Ctrl + Shift + Alt + M
MIDI record modes

The MIDI record modes define how the newly recorded MIDI data is inserted into the
VIP if there are already MIDI objects at the recording position.
Normal
In this recording mode, a new MIDI object is created over the existing object for each
recording. All objects are maintained. This way, you can record multiple takes of a
passage and then compare them to the object with "Alt + right click".
Overdub
In this mode, the data for each new MIDI recording is mixed with already existing
takes.
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Replace
In this mode, MIDI files of the existing object will be replaced with newly imported
ones. If you record over several objects, these are combined into a single new object.
MIDI panic – All notes off

This command sends a note off command to all MIDI devices which are not
deactivated in the MIDI options for all 128 notes on all 16 channels. Furthermore,
sustain (Controller 64) is switched off and the pitch wheel and modulation are set to
0. In addition, an all notes off command is sent to all VSTi's used in the project.
If MIDI tracks or objects exist in the project, the same function is also accessible by
clicking the stop button in the transport console or toolbar when the project is in
"STOP" state.
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Automation menu 427
Automation menu
The content of the "Automation" menu corresponds to the Automation context menu
of the selected track. For a description of the menu items, see chapter "Automation",
section Automation context menu.
First entries in the automation context menu

The first entry indicates which parameter you have automated, e.g. Effect 0 volume or
Effect 1 pan. By checking the corresponding entry you can activate the corresponding
automation curve. If you haven't activated an element, No effect (track) will be
displayed.
Edit selected curve

Curve generator
This menu item opens the curve generator.
Invert
This command inverts the activated automation curves.
Thin Out
This function "thins out" the activated automation curve by reducing the number of
automation events. During recording, the automation events are placed in very short
intervals. The "Thin out" command reduces the number of curve points. The course of
the automation is then displayed and reproduced more accurately.
Inactive
Use this command to deactivate the selected automation curve.
Curve Color...
This command displays a color palette to specify the color of the active curve.
Copy, Paste, Delete

The active automation curve may also be copied, pasted into other tracks, and
deleted.
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Delete All Curves

This command deletes all automation curves in the corresponding track.
(Track) Automation Mode

Specify the track automation mode here. "Copy to All Tacks" applies the currently
selected automation mode to all tracks/channels. Select "Write Only Existing
Curves" to apply the automation data to existing automation curves only.
Detailed information about the automation modes is available in the chapter

"Automation -> Automation modes".
Hide Automation
Use this option to deactivate the display of automation curves for all tracks.
Show Track Automation

Select this display option to display only the track automation.
Show Only Selected Curve

Views only the selected curves for the corresponding track. This helps to maintain a
clear overview if several automation curves have been created.
Show all curves (not selectable)

The deselected automation curves are grayed-out. They cannot be activated with the
mouse.
Show all curves (selectable)

The deselected curves are also shaded, but may now be activated with the mouse.
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Effects Menu 429
Effects Menu
This menu entry provides fast access to the relevant real-time effects at object level.
Correspondingly, menu entries for all object effects are provided here.
Note: All effects opened using this menu are calculated destructively, provided the
option "Apply effects offline" is active. The option to work with a copy is available in
order to preserve the original audio material. The "Create copy" option is already
selected in the corresponding dialog.
Amplitude / Normalize
Normalize
Use this function to change the amplitude of the sample data. It will be amplified in
such a way that the highest amplitude that appears in the range is set to 100% (or
another value between 1% and 400%) of the value range. In this case, the maximum
is first detected and calculated with the selected percentage value. All values are then
weighted by the new factor.
Use this function to fully modulate samples or overmodulate targeted audio

segments. Note that the noise level also rises during normalizing.
This function is especially useful when converting from high to lower bit rates. This
guarantees that the otherwise low dynamic range is used to its full extent at lower
rates.
Shortcut: Shift + N
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Note: If you experience very slight clipping during recording and then proceed to
normalize the material, you won't achieve the same quality as when you produce an
overmodulated recording! For example, if you only modulate half of the material,
then your recording will have a quality of 15-bit samples – normalizing to 100% will
not change anything.
Normalize to: Set the value which the audio material should be normalized to by
entering it into the input field, moving the fader, or selecting one of the presets (50,
95, 100, or 200%). The value will be shown in % and dB (100% = 0 dB = max.).
Values above 0 dB will cause digital clipping.
Level maximum: This indicates the highest resulting volume for the selected range or
object in the corresponding setting.
Level change: Displays the level change in dB according to the selected normalize
level and the detected level maximum.
Quick Access
Set parameters: Use this button to make the settings of the normalization function
accessible via quick access.
Get parameters: Use this button to get the current quick access parameters in the
dialog.
Normalize (Quick Access)

This function enables the specified settings in the "Normalize" dialog under "Quick
access -> Set parameters" to be used immediately.
Shortcut: N
Amplitude / Normalize > Loudness adaption

This function raises the sound volume of all objects to the maximum level without the
clipping the material. Unlike the master normalization function, each object is
normalized separately. It serves the purpose of reconciling finished songs (each as
one object) in volume. This makes the volume of the songs uniform.
Titles with full volume control can still sound different, since a crucial factor in the
perception of volume is also the relationship between the soft and the loud parts of a
piece of music. The average loudness (RMS) of the song therefore has to be identified
in addition to the absolute level (which is the loudest part of the song) and the object
level has to be adjusted accordingly.
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Effects Menu 431
Therefore, it may happen that songs with high peak values but a lower level of
loudness are normalized to a value above 0dB (full volume). In order to avoid clipping,
the limiter (see MultiMax) is activated automatically.
Tip: Volume fluctuations within a song can be removed with the “Leveler” presets in
MultiMAX.
Amplitude/Normalize > Fade in/out

This function allows sample ranges to be faded in or out. The amplitude is varied
according to time characteristic from the beginning start value to the range's final end
value. When the function is activated, a window appears to specify the operations's
parameters.
A simple fade-in operation would be performed with the parameters from 0% to

100%, whereas normal fade-out requires specification from 100% to 0%. Of course,
you can also try other values to achieve interesting results. The transitions can be
created with different curve types, from logarithmic to exponential.
Please note that high-performance real-time fade and crossfade options exist in
virtual projects, which normally eliminate the requirement of using destructive fade
routines.
Key: F
Amplitude/Normalize > Set zero

Sample data values in a selected range are set to zero to eliminate noise and
imperfections in a sample (reversible).
Dynamics
Rack Compressor...
Access the compressor from the FX rack.
Multimax (Offline)
The Multimax effect from the mastering suite can be accessed here. As an object
effect, this elaborate effect module can only be used offline, i.e. the effect is calculated
destructively into a file copy.
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efx_Compressor
The (essential) eFX Compressor (view page 158) is a simple, efficient tool for
reducing dynamics with soft characteristics and adaptive control processing. It is a
very musical compressor.
AM-Track SE
The AM-Track SE (view page 125) vintage compressor can be accessed here.
Frequency/Filter
Rack equalizer
Access the graphical equalizer of the FX rack here.
Parametric EQ
Access the parametric equalizer (view page 110) of the FX rack here.
Vintage Filter
Opens the Vintage Effect Suite Filter (view page 138)=.
Delay / Reverb
Delay/Reverb
Access the echo effect (view page 112) from the FX rack here.
Reverb
The reverb effect (view page 115) from the FX rack.
eFX_StereoDelay
Opens the Stereo Delay (view page 157) in the essential FX (view page 439).
Vintage Delay
Opens the Vintage Effect Suite Analog Delay (view page 139).
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Effects Menu 433
Time / Pitch
Resampling/Time stretching
The "Resampling/Time Stretching/Pitch Shifting" dialog for changing the pitch or
speed (view page 172) can be accessed here.
Vocal Tune
The Vocal Tune effect (view page 169) can be accessed here.
Distortion
Vintage Distortion
Opens the Vintage Effect Suite distortion effect (view page 141).
Vintage BitMachine
This opens the BitMachine (view page 142).
Vandal SE
Vandal SE is a high-quality guitar amplifier simulation that will raise the heart rate of
any guitar fan!
Restoration
Remove DC offset (offline)
This function removes the DC offset of an audio file/object. This is useful if the
sound card overlays a recording of your sample with a constant DC offset, which may
cause clicks during cutting or editing.
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Options: Here you can enter a minimum DC offset threshold, which would indicate
where DC offset removal will kick in. If you unclick the corresponding check, stereo
channels will be edited together. This serves to save computational time, especially
when working with long files.
DeClipper
If the input level of an audio recording is too high, distortion may result at the louder
parts (the signal peaks). This digital distortion is also called "clipping". At the
overmodulated area, the values that are too high are simply cut off and the typical,
annoying crackling and distortions are heard.
Samplitude Music Studio has a special function for dealing with digital clipping.
Distorted sections are discovered and filtered out based on the material in the
selected object. Lastly, the master volume of the material can be reduced so that the
interpolated parts can be played back without distortion.
The declipping algorithm is particularly good for audio material with clearly audible
clipping, e. g. distorted piano or vocals. The sound of distorted drumbeats on the other
hand is hardly ever improved.
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Effects Menu 435
Peak meter: The peak meter displays the input signal, the output signal, and the level
of the declipping.
Clip level: Enter the level at which the algorithm registers the samples as distorted
and corrects them if necessary here. This is important, as different sound cards show
different clipping methods.
Stereo / Phase
Switch channels
This function switches the left and right stereo channels.
This is useful for correcting recordings with switched channels. This function can be
reversed if you don't re-select the range; opening it again will bring back the original
material.
Stereo processor
Access the stereo processor from the mastering suite, which may be used here as an
object effect,.
436
Invert phase
The sample data is inverted along the amplitude axis, which means that negative
values become positive and vice versa. This function allows you to adjust recordings
with different phases to one another.
An incorrect phase occurs if during an analog recording parallel cables are switched.
To correct such errors, some mixers have a switch that can be used to invert the
phase of an input. If you press the switch by mistake, errors might occur as well.
This function is reversible, so if you repeat it, the original signal is restored.
Modulation / Special
Vocoder
The vocoder (view page 119) can be accessed here.
eFX_ChorusFlanger
This opens the Chorus/Flanger effect in the essential FX.
eFX_Phaser
Opens the Phaser in the essential FX.
eFX_Vocalstrip
Opens Vocal Strip (view page 168) from essential FX.
Vintage Chorus
Opens the Vintage Effect Suite chorus (on page 147). Chorus is one of the most
familiar and popular effects.
Vintage Flanger
The Flanger (view page 148) is a relatively unknown effect, but it is useful in many
areas and is an indispensable part of the Vintage Effect Suite.
Vintage Tape Simulation

Using Tape Simulation you can give digital recordings the missing warmth of the tape
saturation effect produced by analog equipment.
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Effects Menu 437
Reverse
The sample data in the selected range is reversed along the time axis, i.e. the file will
now play backwards with the end placed at the beginning. This can create very
interesting effects, not to mention hidden messages frequently rumoured to be in
various songs....
This function is reversible: if you do not select a new range, activating this function
again resets the original material.
The option is only available when working in destructive editing mode, i.e. on an HD
wave file directly.
Sample manipulation
Change sample rate
Use this function to change the sample rate of a whole audio file. This may be needed
to convert a DAT recording at 48 kHz to 44.1 kHz for use on an audio CD.
After choosing the new sample rate you can select a file name for the new project.
If the resolution is increased the sample rate change will take place without any
quality loss, and the sample material will not experience fidelity reductions, but the
required hard disk space will increase.
If the resolution is reduced, then the overtones or high frequencies may be lost during
the sample rate change. For example, if the resolution of a 44.1 kHz sample is reduced
to 22.05 kHz, the frequency response of the resulting sample is reduced to 11.025
kHz. The frequency response is always half of the resolution specified. For a
conversion from a 48 kHz sample to 44.1 kHz, this loss in quality is not significant,
438
since the human ear only recognizes frequencies up to 20 kHz. (A resolution of 48

kHz is often only used because the digital to analog conversion can take place with
much higher precision without a lot of effort.)
Please note that resampling to 44.1 kHz can also be done while recording in real-time.
The "Playback parameter" window ("P") contains a "Vari-speed" option for real-time
resampling during playback. The "Record" window ("R") lets you resample to 44.1
kHz in real-time from any of the selected sampling rates.
Reverse
The sample data in the selected range is reversed along the time axis, i.e. the file will
now play backwards with the end placed at the beginning. This can create very
interesting effects, not to mention hidden messages frequently rumoured to be in
various songs....
This function is reversible: if you do not select a new range, activating this function
again resets the original material.
The option is only available when working in destructive editing mode, i.e. on an HD
wave file directly.
Build physical loop

This function utilizes a complex algorithm for optimizing loops in wave projects. It is
useful when samples are to be used for instrumental sounds as well as the wave table
synthesizer.
Before you can process a sample you need to select a range in your sample that
already defines the rough edges of the sample loop. Remember that you can shift and
vary a range during playback to find the best loop position. A comfortable way to look
at the loop positions is by activating the split range mode (“B”). The sample will be
displayed in 3 sections.
To gain an interruption-free loop, the outer limits of the range will be set to zero. By
applying a crossfade to the material at the loop end containing the sample data in
front of the loop beginning, Samplitude Music Studio will create a "smooth" transition
between loop's end and beginning.
When a marker is set in front of the selected range, the range between the marker
and the beginning of the loop will be used for the crossfade. This offers you a feature
found in professional hardware samplers. To achieve a short crossfade set the marker
close to the loop beginning. To receive a long crossfade position the marker further
away from the loop beginning.
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Effects Menu 439
Notice that the distance between marker and beginning of the loop range needs to be
smaller than the loop range itself to make a crossfade possible.
plug-ins
Use this menu item to insert plug-ins quickly as object effects without opening the
object editor.
If "apply effects offline" is active, a special dialog opens. This provides you the option
to use multiple plug-ins.
essentialFX
MAGIX essentialFX (view page 152) is a collection of “bread and butter effects” for
the most important applications.
These are simple but solid tools with clear feature sets for daily application. They
include fewer controllers and require less resources.
440
Waveform Generator
This menu entry opens the Waveform Generator (view page 300).
Process only left (right) stereo channel

Only the left/right channel of a stereo wave project will be affected by effects when
”Left/Right processing only” is activated. This options is only available when in wave
editing /destructive editing mode.
The same effect have the L/R buttons in the lower left corner of the wave project
window.
Process Effects Offline

All effects opened using this menu are calculated destructively, provided the option
"Apply effects offline" is active. The option to work with a copy is available in order to
preserve the original audio material. The "Create copy" option is already selected in
the corresponding dialog.
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CD menu 441
CD menu
The CD menu contains all special functions for audio CDs and CD mastering
processes, e.g. setting CD tracks and subindexes as well as the "Create CD" function.
The options at a glance:
Load audio CD tracks

This menu entry opens the dialog for loading audio CD tracks (view page 354).
Make CD
This opens the dialog for burning audio CDs (view page 294).
Indices (Track markers)

Set CD title index
Use this function to set a track marker at the position of the playback marker (index
makers). The numbers of previously set markers are adjusted automatically. Each title
of a CD requires a track marker, which is typically placed shortly before the track
starts.
Use the function "Set Track Indices on Object Edges (view page 443)" to create a
track marker automatically at each object in the virtual project.
To manage the markers or rename them, use the "CD track/index manager (view
page 443)".
Shortcut: Ctrl + Alt + I
Set CD Sub Index

Choose this option to place a sub-index marker at the current playback marker
position. The numbers of the subsequent sub-index markers are customized
automatically.
Sub-index markers are not required for CD creation, but they allow CD players to cue
to specific points within an audio track.
442
Set CD pause index

The CD pause index is a special Sub index (Index 0). Choose this option to place a
pause marker at the current playback marker position.
Pause markers allow CD players to switch their output to absolute silence until the
next Track Marker. and to count backwards to the start of the next track.
Set CD End Index

This command marks the end of the CD. Setting an end marker corresponds with two
main applications:
1. It may be the case with some projects that the last object reverberates after its
actual ending. To prevent Samplitude Music Studio from cutting this section of audio
during burning, you can place the CD end marker at an appropriate distance after the
last object.
2. If you only want to burn a project partially to a CD, place the first track marker at
the desired position in the arrangement and mark the end of the burn process with
the CD end marker. Remove all track markers prior to the first track to be burned and
then set the end marker after the last track to be burned.
Set Track Indices on Silence...

If you are working with a longer audio file that contains multiple tracks, this function
can be used to set track markers between the titles automatically.
Min time: Period that the signal must be below the set level before a marker is set.
Threshold db: A marker is set at the positions in the arrangement where the signal
sinks below the threshold volume for the set period of time.
Start number: Marker number after which automatic indexing starts.
Prefix: Enter additional characters which will precede the marker numbers set by this
function. This makes it possible to easily differentiate them from markers that may
already exist.
Add time (ms): Use this value to specify how many milliseconds will be set in front of
the markers in the arrangement.
Delete all markers with prefix: Deletes all markers in the project featuring the set
prefixes.
Delete all markers: Deletes all project markers.
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CD menu 443
Set Track Indices on Object Edges

Choose this option to place a track marker at the beginning of every object in the VIP.
Set Track Indices on Object Edges - Options

Set also Pause Indices on Object Ends
This option automatically generates pause markers at the object ends. This option
allows you to set an offset for the generated track markers.
Time Offset for Indices on Object Edges

This dialog provides options for adding an offset before the object edges when placing
indices.
No indices on Object Crossfades

This option prevents track indices from being placed between objects that are
connected by a crossfade.
Remove Index
This function deletes a previously set track or sub-index marker. First, click the marker
and access this function.
Shortcut: Del
Remove All Indices

Choose this option to delete all previously set track and sub-index markers.
Shortcut: Ctrl + Alt + Shift + I
CD track/index manager
This dialog displays all the CD tracks and sub-indices in the current project in a list.
444
If you select the markers, you can change

their numerical position in the list via the
corresponding time input field and name or
rename them.
CD Index Settings: Here you can set

several options for the individual CD tracks,
including Copy protection (SCMS)
,Pre-emphasis or Second generation
protection: These settings can be
transferred to all indices.
Pre-emphasis means that high frequencies
are accentuated before A/D conversion
when creating a CD's. Even during A/D
conversion high frequency quantization
noises will emerge. Now the Audio signal
with high accentuation will be written to
the CD. When playing the CD player itself
will use "Emphasis Bit", which means that
the frequency accentuation (highs) will be
curbed. This guarantees a 'true to original'
sound, likewise Pre-emphasis leads to a
reduction in quantization noises.
In practice Pre-emphasis is rarely used
owing to the fact that the signal noise gap
in the CD creation process already large
enough (16 Bit) that quantization noises
are negligible anyway.
"CD text" opens a separate dialog field for entering CD text information.
You can set new markers, CD tracks, CD sub-indices, and CD pauses by clicking on
the corresponding buttons.
Use the double arrow buttons to jump to the previous or next marker.
"Delete selected" Deletes the selected markers.
"Delete all Markers" Deletes all markers.
"Play marker" starts playback from the position of the selected marker.
"Play loop" plays a loop around the marker.
"Stop" stops playback.
"OK" Applies your settings.
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CD menu 445
CD disc options
This dialog opens the settings for the current CD.
CD title: The title which will be written to the CD with the CD text.
UPC/EAN Code: The EAN code (European Article Code) is a 13 digit number which is
used in retail. The 12 digit UPC (Universal Product Code) is exclusively used in
Canada and America and can, if necessary, be extended with a final '0'.
Number of first CD track: Under some circumstances (such as "track at once"

writing), the title number of the first CD track may be set. This is not important in
"disc at once" mode, since the CD will always start with title no. 1.
Allow bonus tracks before track 1: If this option is active, a so-called "hidden track"
may be burned on the CD. The first track marker will now be applied to the second
audio object. The "hidden track" may only be accessed on standalone CD players via
the "STEP BACKWARD" button.
446
CD-Text/MP3-ID-Editor
Here you can enter text information for the CD you are going to burn. The CD track
names are adopted from the CD track marker's labeling in the VIP. All information is
also contained in the project, but in this dialog window you also have the possibility to
save all entries in a separate file. (*.cdt)
Note: The number of maximum available characters for the entire CD is 2824.
If you can used MP3s in a VIP that have ID3 tags then using of the "Write ID3 tags to
original file" button you can ensure that data made in the CD text/MP3 ID editor is
written back to the corresponding MP3 file without separate export. This will be
applied to all corresponding MP3s by pressing the "All" button.
Set Pause Time

Use this function to set the preset pause duration between objects. Audio files that
you load into your virtual project will be ordered sequentially on one track. The value
specified here will be set as standard pause.
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CD menu 447
Set Start Pause Time

Use this function to set the length of the pause in front of the first track. A regular
value for the start pause would be about 2 seconds.
CD Arrange Mode
If this is activated, Samplitude Music Studio arranges recently added objects to insert
a Red Book Standard-compatible pause between the objects.
• Open a new project.
• Activate "CD arrange" mode.
• Load wave files, audio tracks, or make a recording using a microphone.
You will see gaps between the individual objects in the project. These are the inserted
pauses. The duration of inserted pauses may be specified in the "Set pause duration"
dialog.
Get freeDB Title Info

Use this command to start a search request where the freeDB database searches for
and provides information on tracks from you project.
freeDB acquires information on CD track names and artists.

• In the CD import dialog, you can request information about the desired CD.
• In the CD burning dialog and in the CD/DVD menu, you can search based on
the set track markers.
• An inverse search is also possible with "Online CD search" in the arranger. You
can set track markers automatically for known albums.
448
freeDB Options
Submit CD to freeDB
Enter all of the CD's information into the dialog. Press the "Submit" button to transfer
the data to freeDB.
freeDB User Data

The entries for username, local computer name, and email address are used for
communication with the freeDB server.
freeDB Proxy Options

Enter server data like server, port number, server list, and timeout here.
Clear freeDB Cache

With this function you can delete the cached data from freeDB.
Show CDR Drive Information…

Choose this option to display information about the burner.
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CD menu 449
This includes the manufacturer, drive name, hardware revision, cache size, and the
features supported by the drive mechanism:
• Supports disc-at-once
• Supports indices
• Supports second generation copies
• Supports catalog numbers
• Supports ISRC
• Supports CD text
• Supports CD RW
The "disc at once" feature is extremely important for Red Book-compatible audio CD
production. CDs burned in this way are accepted as masters by CD manufacturers.
Show CDR Disc Information…

This dialog displays information about the blank CD inserted into the drive, including
type, track count, session count, total disk space, remaining space, and status.
The most important value is the maximum length under "Total memory" in minutes
and audio frames, which cannot be exceeded during production (e.g. 359995 audio
frames or 79 minutes and 59 seconds and 70 MSF).
450
View Menu
This menu contains tools for changing the screen view of Samplitude Music Studio.
Mixer
Use this menu item to open the mixer.
Detailed information about the mixer is available in the chapter "Mixer".
Shortcut: M
Transport control
The transport control window contains the most important commands for playback,
recording, and positioning.
"Start", "Stop", "Forward", and "Rewind" buttons: These allow positioning similar to
that of any audio player.
Right clicking the "Playback" button opens the playback parameter window for the
stereo master operation. This lets you determine the sample rate, playback device,
and the scrubbing/varipitch options.
Record: Starts recording for all active tracks. This means that tracks with the red REC
button enabled need to be configured with the proper recording devices prior to
starting the recording. Right click on the REC button for each track to select the
device.
Right clicking "Record" displays the record parameters window. This lets you make
settings such as "Playback during recording", and also lets you record material directly
from the record parameter window.
Time display: This displays the current playback position of the project. Double
clicking on the window lets you numerically enter a new playback position. Clicking
the green arrow lets you set various units of measurement.
L/R time display: This displays the length of a selected range and is editable by
double clicking the display.
Marker 1-12: Clicking on one of the marker buttons saves the current playback
position to the button. If it already contains a previously saved position (marker
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View Menu 451
appears in light color), the program will place the playback position to the saved
position. A right click clears the button memory and allows you to store a new
position to the button.
Marker: This button open the marker manager for more detailed marker editing.
Punch: This button switch Samplitude Music Studio into punch record mode. This
means that the recording process can be started any time during playback. This is
also called "On-the-fly recording". This can be repeated numerous times. Punch-in
and out markers are set automatically. You can stop a punch in recording process
with another click on the record button. However, this does not stop the playback of
the project.
Punch in: This sets the punch in position.
Punch out: This sets the punch out position. If the both the punch in and punch out
markers are set, the punch recording can be started with the "Playback" button. The
program will play back the project until it reaches the punch in point.
Sync: This button opens the synchronization window.
Loop: The loop button activates loop mode, meaning that playback continues to loop
through a previously selected range.
RCMON: This button activates Samplitude Music Studio's "Record monitoring"

feature. All tracks that have their REC buttons activated are monitored with the peak
meters. The inputs of the audio device(s) are directly routed to the outputs of the
sound card, if the sound card offers this functionality (check with your sound card
manufacturer). This offers the same functionality as with audio players.
Scrub >> <<: These buttons allow you to scrub through your project. During
scrubbing the playback of the project continues with varying speed while the playback
direction can be changed. This also offers a convenient way of finding audio sections
such as clicks or mistakes in the audio material.
Jog & shuttle wheel: The transport control includes a jog & shuttle wheel which you
can use to "scrub" over the files. The "Scrubbing" function behaves like the editing
function of an audio player. The motor is switched off, the tape, however, remains at
the sound head. With a digital system it is more difficult to realize scrubbing as there
are no mechanical moving parts. Turning the tape reels manually moves the material
slowly along the player. Using the scrubbing function in Samplitude Music Studio is
similar to using a tape player, since playback follows the movement of the mouse.
Quickly moving the mouse increases the playback speed, while slowly moving it
decreases the speed accordingly.
452
Tempo: In the tempo section of the transport console you can change the playback
speed and the beat of the whole arrangement. All objects in the VIP are adapted to
the speed of your choice with timestretching.
"Tap tempo..." opens a dialog where you can "tap in" the beat by clicking on the "Tap"
button, or by pressing the "T" key on your keyboard.
In addition, you can fade in the bar grid with the "SNAP“ button and switch on the
metronome click with the "CLICK“ button.
Time display
Shows or hides the time display window
This lets you read the current position while externally synchronizing large sections.
Fonts and colors of the display can be selected in the context menu (right click on the
time display).
In the context menu of the time display the number of lines/fields that are to be
displayed can be set between 1 and 5. For each line/field the size that is to be
displayed can be selected from the menu.
Double clicking lets you edit the sizes (with the exception of the current mouse
position and the current mixer value).
The most important options:
Position/Start of range: Displays the current position of the current play cursor, or of
the beginning of the range. When moving the objects, you can see the starting
position of the object here. Should you enter a negative number into the range when
editing, the play cursor will be set to the end of the range.
Range length: "Object -> Object Length; negative number" saves the end of the range
instead of the start of the range.
End of the range: "End of the object, negative number -> Start of the range".
Current mouse position: Not editable
Current mixer value: Value of the mixer fader which was just changed, or the volume
or pan fader in the VIP; not editable.
Time Display - Current Field

Background color: Lets you change the background color for the time display.
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View Menu 453
Standard color: Here you can reset the default color for the time display.
Position/Start of range: Displays the current position/current playback marker or the

beginning of the range. When moving the objects you can see the starting position of
the object here. By entering a + or - before the number, the change in position or
range start will take place relative to the entered value.
Range length: Specify the range length here. If a new range length is entered, the
range start remains the same. In contrast, if you enter a negative value, the range end
will remain the same.
Range end: Display of the range end.
Object: Display of the start and end position as well as the length of the last clicked
object.
Cue times: Here you can set the current playback time as well as the current
remainder playback time of your cue recording.
CD position: Here you can view the following current positions:

• Position starting at the CD start
• Position until CD end
• Position from the current CD track
• Position until CD track end
• Current CD title number
Mouse position: This value displays the current mouse position and cannot be edited.
Mixer value: This value displays the mixer fader that was just changed, as well as the
volume or pan fader in the track header (cannot be edited).
Recording position: This value displays the current recording position.
Take length: This value displays the length of the current take.
Remaining recording time: This value indicates how long recording can continue until
the hard disk is full.
Sync timecode input: This value shows the timecode that is applied via
synchronization.
Total length: This value shoes the total length pf the project.
External length: This value shows the external length.

454
Lyrics: The content of the current and upcoming lyrics marker is displayed.
Time Display
Shortcut: Ctrl + Shift + Z
This function shows a zoom-enabled time display.
This lets you read the current time position, even if you're further away from the
computer. Font and colors of the display may be selected in the context menu by right
clicking on the time display.
The number of lines/fields displayed may be set between 1 and 5 in the context menu
for the time display.
Right clicking lets you select and edit most sizes.
Visualization
The visualization screen displays the audio material graphically. You can integrate the
visualization interface into the Docker or open it in its own window.
You can choose between the following display options via the context menu: peak
meter, oscilloscope, phase correlator, spectroscope, and spectrogram.
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View Menu 455
Peak meter
The peak meter provides an exact display of the volume level.
Phase correlation
Spectroscope
In the Spectroscope the signal is divided up into individual frequency ranges. The level
amplitude of each frequency band displays volume of the relevant frequency range.
This is a way of telling whether certain frequency bands are being strained.
Spectrogram
In the Spectrogram the signal is displayed as frequency proportions in a time curve.

The volume of frequencies is visualized by its brightness.
456
The spectrogram is designed to be able to immediately detect noise in your

recordings. Audible distortion noises are mostly louder than the music, and are
usually limited to a certain frequency spectrum. They are highlighted with colors in
the spectrogram.
Oscilloscope:
The oscilloscope displays the signal amplitude over the time curve.
Spectrogram
In the Spectrogram the signal is displayed as frequency proportions in a time curve.

The volume of frequencies is visualized by its brightness.
The spectrogram is designed to be able to immediately detect noise in your

recordings. Audible distortion noises are mostly louder than the music, and are
usually limited to a certain frequency spectrum. They are highlighted with colors in
the spectrogram.
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View Menu 457
Tuner
Tune guitars and other instruments with this option.
It makes sense to use the tuner only when the visualization is opened from the
recording window, since it is the input signal that should be analyzed.
1. Select the track to which you would like to record your guitar.
2. Open the Recording options dialog.
3. Make sure that the "Monitor" option is activated. At the least, the Software FX
Monitoring (view page 420) mode must be used for acoustic monitoring.
4. With the "Visual" button you can open recording visualization. As default, this
window will open as a peakmeter to monitor the input signal.
5. Right-click the visualization window and select "Tuner".
In the middle you will see the note name of the pitch being played. A calibration mark
shows the deviation of the played note from the right pitch, and red triangles to the
right and left show whether the string should be tuned up or down. If the tuning is
exact, the triangles turn green. By default, the tuner will try to recognize each note
(display: "chromatic"). You can select the conventional tunings for guitars, basses and
ukuleles from the list. Then, only the notes relevant in each corresponding tuning will
be recognized.
Track Editor
This menu item opens the track editor on the left edge of the arrangement window.
This enables access to all important track parameters for the selected track.
Detailed information about the track editor is provided in "Screen elements -> Track
editor"
Shortcut: Ctrl + Alt + Shift + E

458
Keyboard
Use the keyboard (view page 182) to access an on-screen keyboard to play MAGIX
synth sounds and record them directly.
Manager/Docker
You can open the Manager/Docker here. In addition to the Manager windows (view
page 308) now Visualization, Time display, Transport console, Sound pool, Object
Editor and MIDI Editor are grouped as a tab window by default in a "Docker".
Manager
Offers direct access to the various Samplitude Music Studio managers.
Shortcut:
File manager Ctrl + Shift + B
Soundpool manager Ctrl + Alt + Shift + P
Object manager Ctrl + Shift + O
Track manager Ctrl + Shift + S
Marker manager Ctrl+Alt+Shift+M
Range manager Ctrl+Alt+Shift+B
VSTi manager Ctrl + Shift + V
Control bars
Main Toolbar
Use this command to hide or show the toolbar. A check behind the menu item
indicates that the toolbar is visible.
Main Toolbar 2
Use this command to hide or show the second toolbar. A check behind the menu item
indicates that the second toolbar is visible.
Statusbar
Use this command to hide or show the status bar. A check behind the menu item
indicates that the status bar is visible.
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View Menu 459
Autoscroll
Switches Autoscroll on/off
See "Playback -> Playback Options (view page 521, view page 413)".
Rebuild Graphic Data

The graphical display of a project is recalculated in this case. This is usually
unnecessary, but does help with errors or inaccuracies in the display after offline
editing.
Sections
These Menu items allow you to take advantage of Samplitude Music Studio's ability
to simultaneously display one two or three different "views" of the same project.
If you select the option "2 (sections)", two view windows, each of which can be
worked in independently, open one under the other. This way, for example, you can
view the complete sample in one window, while magnifying a specific area in the
other.
The "3 (sections)" mode can be especially helpful when searching for loop points in
the wave window. In the top large window the entire sample can be viewed, in the
bottom left window area the beginning can be viewed and in the bottom right
window area the end of the loop is displayed. This view can also bee seen by using
the shortcut "B". The corner values of the three windows can be independently
adjusted.
You can determine the areas through window borders once and for all by selecting a
start of a segment by clicking the clip bar at the corresponding position, and then
selecting the end of the segment in a different clip with the Shift key held down.
460
When using the zoom function on a specific clip, it is necessary to first select it by
using scroll bars to the right or to the bottom.
Shortcuts:
Show range: Shift + B
Split range (shows 3 sections) B
Hide Submix/AUX Busses

Use this command to remove the buses from view in the arranger window. This may
improve the display in case you are working with numerous tricks.
Attention: This function keeps bus tracks hidden, even if a check is set in the track
manager next to the "Arrangement" column.
Grid view
Grid
This command activates the coordinate grid for the project window.
Grid Lines
This provides a choice between various line layouts for the grid display. The display of
the grid helps makes the positions in the arranger window more legible.
Units of Measurement
Specify the units of measurement for the grid view here.
The following units are available: samples, milliseconds, hours/mins/secs, SMPTE,

SMPTE/milliseconds, CD-MSF, feet and frames 16 mm (40 fpf) and feet and frames
35 mm (16 fpf), noise reduction (meter).
The units of measurement selection will affect the start and length of the current
range in the project window, the grid width and the details of the position of the
playback marker (position line).
Snap active
This functions turns the grid on or off.
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View Menu 461
Snap/Grid
Here you can set the grid type. You can choose from:
• Objects
• Range
• Beats/Bars
• Bars (relative)
• Grid/Frames
• Frames (relative)
Detailed information on snap and grid settings can be found under "File > Project
Properties > Snap and Grid Setup (view page 369)".
Snap and Grid Setup

Detailed information on snap and grid settings can be found under "File -> Project
Properties -> Snap and Grid Setup (view page 369)".
Show 2nd Grid Line

This command displays a second grid.
Exchange Grids
This command exchanges the upper and lower grids.
VIP display
Mode 1
Mode 1 has been selected for displaying virtual projects
Mode 2
Mode 2 has been selected for displaying virtual projects
This mode also includes an enlarged display of volume and panorama points, and you
can quickly switch between normal and enlarged display modes with "Tab".
Change mode
Switches the display of virtual projects between both modes.
Key: Tab
462
WaveColor Waveform display

With WaveColor, two additional properties of the audio material are visualized in the
waveform display via the color.
• The pitch is represented by the hue: Low tones are red, mid tones are green,
high tones are blue.
• The sound characteristic of the audio material is represented by the color
saturation: The more tonal and harmonic the signal, the more saturated the
color, the more noise there is, the less saturated the color will be.
This allows you to quickly find important parts of a recording, such as the beginning of
the individual tracks of a live recording based on the applause. Problems in the audio
material can also be quickly identified, such as wind noise or the typical "rumble" in
the bass range of a vinyl recording.
Activate the WaveColor display in the "View" menu > "VIP Display".
Overview Mode
Detailed information about Overview Mode can be found in the chapter „Working in
the Project Window“ > „Zoom“ > „Zooming with Overview Mode“.
Zoom Into Selected Objects

This command displays the selected object at a zoom level that optimally fills the
section. This option is also available as a button.
Horizontal
This menu contains all the functions of the horizontal (red) position bar.
Vertical
This menu contains all the functions of the vertical (blue) position bar.
Tile
This function arranges all open windows one one top of the other.
Shortcut: Enter
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Help Menu 463
Untile
This function arranges widows in the same way as they were prior to "tile vertically".
Shortcut: Shift + Enter
System Information
Use this function to open a new window with the system information.
Display the date/time, number of open files, the free memory on all connected hard
drives, the configuration of Windows resources, and the amount of memory used by
Samplitude Music Studio.
Help Menu
Contents and Index

This command displays the overview page of the help feature. You can jump to
specific commands or read instructions on this page.
Shortcut key: F1
Help Index…
Choose this option to display a list of available help contents.
Context Help…
This command turns the mouse cursor into an arrow with a question mark. Click any
menu item or button in one of the toolbars to receive more information.
Manual
Use this command to open the Samplitude Music Studio manual (PDF document).
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About Samplitude Music Studio

This displays copyright information and the version number of Samplitude Music
Studio. At the very bottom, you can see the serial number required for support
purposes.
MAGIX auto-update
Automatically searches the Internet for updates to Samplitude Music Studio. An
Internet connection must first be provided for this purpose.
Deactivate Program
This menu item deactivates Samplitude Music Studio with immediate effect. After
deactivation, it is possible to immediately install and activate Samplitude Music
Studio on another computer
Product registration
This option opens the MAGIX homepage for online registration where you can
register as a MAGIX user. Registration grants you access to the MAGIX support
website where various program updates and help programs can be downloaded.
Download more
instruments/Sounds/Soundpools
Use this menu item to access the MAGIX website "Producer Planet - the online store
for audio & video content", where you can download additional Vita Solo Instruments,
Sound Pools, and individual sounds.
Restore original program settings

Resets Samplitude Music Studio to its default values.
Language:
Here you can select the language for the program interface. Samplitude Music Studio
restarts in the updated language.
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System options 465
System options
The project-independent Samplitude Music Studio settings can be found here. These
settings are also global.
"Quick Setup" (view page 532) displays a simplified dialog with the most important
basic settings.
Keyboard shortcut: Y
System / Audio
In the “System” menu, you have options to fine-tune Samplitude Music Studio.
In detail, these are:

• Audio playback settings (playback devices)
• Audio record settings (recording devices)
• Program options
• Paths/Skins
• View options
• Color setup (colors)
• Metronome settings (MIDI options)
Most of the dialogs can also be activated separately via the different menus and are
explained at a the corresponding position. In the following, you can find the
explanations on system settings directly via the system/audio dialog.
466
Audio settings
Driver:
You may select MME and multi-channel MME (WDM-compatible), WASAPI, or

ASIO for the necessary communication between Samplitude Music Studio and your
sound card. In order to take full advantage of the program, we recommend that you
use WASAPI or ASIO.
MME is the standard Windows multimedia driver system with the best compatibility.
It also supports 16-bit playback. If you are recording 24-bit audio material, you can
use MME/WDM. This driver system is suitable for multitrack recordings of up to 64
tracks that don't place severe requirements on the monitoring processes. For
performance critical recordings, this provides greater security compared to ASIO
drivers but with many sound cards, multitrack recordings will not be synchronous.
ASIO: Use a sound card model fitted with ASIO drivers if possible. This offers a
number of decisive advantages over the MME/WDM driver system:
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System options 467
• This results in lower latency (input/output delay). Resulting response times

during realtime editing are clearly reduced. This makes it possible to use
software monitoring for inputs and VST instruments.
• ASIO is intended for editing multitrack recordings featuring several sound cards
that are all using the same ASIO drivers. The sound cards are synchronized by
the ASIO driver.
• Advanced hardware monitoring options are also available by using ASIO direct
monitoring.
"MAGIX Low Latency 2016" is included, a universal ASIO driver which can be applied
by many sound cards which do not feature ASIO drivers.
WASAPI is a new Windows (native) driver model for low latency and can be used as
an alternative to ASIO drivers. WASAPI is recommended for Windows Vista or later
Windows versions when the sound card does not have its own ASIO driver and the
MAGIX Low Latency driver isn't compatible.
Drivers: Choose the sound card driver that you would like to work with. The drivers
for all ASIO devices installed on the system will be listed here. Clicking the "Control
Panel" button opens the settings dialog for the sound card driver. In the display field
beside "ASIO buffer", you'll see the buffer size and bit rate set for the driver.
16/24-bit wave/driver communication: If your sound card is able to play 24-bit

audio, your project will be played at this higher resolution (internal 32-bit float
calculation). This is applicable only to wave drivers.
Buffer settings: The VIP object buffer displays the buffer size for the internal
processing of object effects and economy tracks in hybrid mode. In every other
monitoring mode, it also determines the buffer size for editing track effects. With a
smaller VIP object buffer size, the amount of playback delay also decreases (latency).
However, the processor can still be overloaded which may result in dropouts during
playback. Large buffer sizes actually increase stability, but they also increase the
latency of the system. The field below displays the resulting latency in relation to the
buffer settings.
Tip: The VIP object buffer size should normally be bigger than the ASIO buffer size
and be set between 1024 and 8096 samples.
Monitoring settings
Monitoring is essentially the process of making the input signals audible, e.g. so
musicians who are playing on the recording can hear what they are doing. The routing
of monitoring signals is an important and complex application that has various
requirements.
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The dialog can be found in the system options (keyboard shortcut: Y) under "Audio
Setup > Monitoring Setup".
For each selected monitoring setting a matrix display also opens which shows which
buffer sizes are used and what effect the currently selected engine mode has on the
latencies.
Overview of monitoring and engine modes

No Audio Monitoring (peak meter only): Displays the input level, but cannot be
heard. This monitoring option is useful if you are using an external mixer for audio
monitoring.
Software Monitoring: Audio monitoring that takes into account the recording track
levels and the playing of software instruments. This monitoring option is only
available when using ASIO drivers. No effects are applied to the input signals which
means that latency and CPU load remains the same even in complex projects.
Track FX Monitoring: Audio monitoring including the track effects of the recording
track. This monitoring option is only available when using ASIO drivers. Effects
applied directly to the recording track are included in the monitoring signal, but bus
and master effects are not.
Mixer FX Monitoring: The audio monitoring applies for the entire mixer and also
calculates playback tracks in the mixer with short latency. This way you can also mix
data from the hard drive with the lowest possible playback delay. We recommend this
mode for input signals as well as for live mixing with hardware controllers because
access to all bus and master effects is guaranteed.
The following applies to all monitoring modes: The set track effects on the recording
track are not included in the recording, i. e. the track actually recorded does not have
the effects that have been applied to the track. Depending on the monitoring mode
used during the recording process – and during playback of the recording, of course –
you will hear the recorded signal with the effects applied to it. For example, it is not
possible to record the vocal signal directly with reverb. However, you can save the
recorded track afterwards along with all track effects using the "Track Bouncing (view
page 363)" function.
Tip: In most cases, we recommend using the "Mixer FX Monitoring". This

monitoring mode enables audio monitoring throughout the entire mixer and also
calculates playback tracks in the mixer with short latency. This also gives you access
to all the bus and master effects.
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System options 469
If the CPU load of your system becomes too high when using "Mixer FX Monitoring",
switch to a monitoring mode that is most suitable for your requirements and that your
system can handle.
For example, if you want to do without effect monitoring of input signals, "Software
Monitoring" might be the right mode for you.
If you want to include the monitoring of track effects of the input signals and to do
without the bus and master effects in the monitoring path, we recommend the "Track
FX Monitoring" mode.
Monitoring switch behavior
Tape Device Monitoring is the preset monitoring behavior and, thus also, the
monitoring behavior familiar from earlier Samplitude Music Studio versions, that
works like a tape device: In stop status, the input signal is played back; in play status,
the track content is played back. During a recording, the input signal is played back,
except for punch-in recordings; here, outside the punch marker, the track content is
output and inside the punch marker, the input signal is output.
Manual Monitoring: For each track you can manually specify whether the monitoring
is active for the track using the loudspeaker button in the track header, Track Editor or
mixer. This switch behavior is only available when the ASIO driver system is used.
Mix Input and Playback: If you set the check here, the input signal can also be heard
when playback is running if track monitoring is active.
The monitoring settings and switch behavior can be set in "System Options > Audio
System" and can also be accessed directly by right-clicking on the "Mon" button.
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Record devices
The installed sound cards are listed in the large window at the top of the dialog. With
"Device info" you can open the small dialog for information on the sound card
activated in the adjacent window (supported sample rates, manufacturer, etc.).
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System options 471
MIDI
MIDI IN / MIDI OUT: Here you can define which devices should be available for
Samplitude Music Studio and which should not. "Device Info” provides additional
information about the corresponding device; with "Rename” you can give it a name of
its own; "Reset device name” restores the original name again.
Global recording device: Select the device here that you want Samplitude Music
Studio to use for recording MIDI tracks.
Global playback device: Select the device here that you want Samplitude Music
Studio to use as standard for playing back MIDI tracks. Of course, you can select an
individual device or one of the installed software instruments for each track.
Recording offset: Here you can enter the delay in milliseconds to be used when
starting recording.
Audio/MIDI synchronization: With sync. Reciprocation On faster systems, this

setting should be 100% in order to achieve the closest sync between the MIDI tracks
and the audio tracks. On fast systems this setting should be set to 100% in order to
get the closest synchronization possible between MIDI and audio. If your system
experiences difficulties synchronizing the MIDI tracks with the audio tracks, select a
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lower sync reciprocation value. Normally you will also want to use sample-exact
reference times from your audio device (e. g. sound card) for audio/MIDI
synchronization.
Activate SysEx input: Selecting this option enables Samplitude Music Studio to
receive SysEx data from external devices.
System time as MIDI timestamp: If this option is activated, the MIDI device driver's
time stamp will be ignored. This is helpful if drivers provide a timestamp that is not
synchronized with the audio or is completely incorrect. This function recognizes
invalid driver time stamps and then provides automatic fallback to the system time.
This helps fix MIDI recording problems with MIDI devices.
Link VIP-Q and MIDI Editor Q: This option links the grid or quantization settings
between the VIP and MIDI editor, i.. e. changing the grid/quantization settings in the
VIP will automatically be assumed for the grid/quantization settings in the MIDI
editor and vice versa.
Deactivate all MIDI functions: This allows you to disable all MIDI functions
completely.
Note On Chasing: "Note On Chasing" has the effect that held MIDI notes are also
played back when they receive their "Note On" command before playback starts.
At a (monitor) stop, sending "All Notes Off" to VST instruments: To prevent missing
note-off signals, normally an "All Notes Off" MIDI command is sent to all MIDI
synthesizers in the event of a stop. In contrast, with VST instruments a special
mechanism is used because the normal command is ignored by some VST
instruments. You can completely shut off "All Notes Off for VSTis" in the MIDI
system settings.
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System options 473
Hardware Controllers
Basic Settings
The following tasks are performed in the basic settings:
• Adding a hardware controller using a factory-preset (view page 501)
• Specifying MIDI ports for the hardware controller
• Determine the order and dependencies of the hardware controller:
Hardware controllers can be operated independently or together as a unit.
• Adding a new hardware controller preset
Adding a Hardware Controller using a Controller Preset

Tip: Many hardware controllers have a Mackie emulation mode. In this mode, most
functions that are available in the Mackie Control are supported. If you are using this
type of Mackie control emulation, simply select the preset "Mackie Control".
1. Click the "Add New" button in the controller settings.

This opens the preset menu:
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2. In the „Factory Preset“ list (view page 501) select your hardware controller or a
compatible device.
Result: The selected device appears in the list of hardware controllers.
Note: when you load a "Factory Preset", Samplitude Music Studio saves this
factory preset in a separate folder. Changes to this preset will then only be saved
in this separate folder. This ensures that the factory presets are not changed and
can be accessed again at any time.
Factory presets that have been loaded once appear additionally in the first level of
the "Add New" menu. It is possible that adjustments have already been made to
these presets.
3. Select the MIDI In and MIDI Out ports that your controller is connected to.
4. Click on the "Apply" button to confirm the changes.
5. If you want to edit the controller preset, open the "Customize Controller" view
and edit the control elements as necessary (view page 486).
6. If you are using several controllers, repeat this procedure until all of the
controllers have been edited.
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System options 475
Adding a New Empty Hardware Controller Preset

1. Select "#New" to create a new template.
2. Select the MIDI In and MIDI Out ports that your controller is connected to.
4. Select the option "Save As..." and give the file a clear name.
5. Switch to the „Customize Controller“ (view page 475) view and map the control
elements for your controller.
Removing a Controller from the List

Prerequisite: The list of used hardware controllers contains at least one entry.
Note: When a hardware controller is removed, the preset configuration remains. If

you load the corresponding preset later, all of the settings for the
hardware controller will be restored.
1. Simply click on the hardware controller that you want to remove.

2. Now click on the "Remove" button.
Result: The selected hardware controller is removed from the list and is no
longer used by Samplitude Music Studio.
Customizing Controllers
In the "Customize Controller" view you can make the following adjustments:
• Adjust already learned control elements
• Learn new control elements
• Apply or remove Easy Learn functions
• Remove already learned control elements
Note: when you load a "Factory Preset", Samplitude Music Studio saves this
factory preset in a separate folder. Changes to this preset will then only be saved
in this separate folder. This ensures that the factory presets are not changed and
can be accessed again at any time.
Factory presets that have been loaded once appear additionally in the first level of
the "Add New" menu. It is possible that adjustments have already been made to
these presets.
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Controller Customization - Setup and Functioning
Controller
This is where you select the hardware controller that will be edited. When the
"Customize Controller" view is opened, the controller that was last set in this view
will be selected by default. Clicking on the dropdown menu opens a list of all
currently available controllers.
Filters
Here you can specify whether sub-functions and modifier functions (view page
481) will also be displayed. Both of these options are activated by default.
Sub-functions: These are functions that belong to the control element but are
accessed with a separate MIDI command.
• Push Function for Encoders
• Touch Function for Touch-Sensitive Faders
Modifier functions: Additional assignments to control elements. The modifier

functions can be accessed by simultaneously pressing the assigned modification
button and the corresponding control element key.
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System options 477
List of Mapped Control Elements: This list contains all of the control elements
that have already been mapped.
The list is made up of several columns where the entries can be sorted by clicking
on the column headers:
* : If the control element has sub-functions or modifier functions, they will be

displayed in this column.
Note: If the list is sorted according to this column (*), the assigned or new
control element will be displayed at top of the list when a MIDI command is
received.
Element: Automatically numbered list of the control elements. Sub-functions and

modifier functions are displayed here in color and with a corresponding short
description:
Sub-functions: Touch/Push - Displayed in green
Modifier functions: Shift / Control / Option (also in combination) – Displayed in
red.
Type: Displays the control element type (view page 478) that is assigned to an
entry.
Function: Displays the function that is assigned to the control element.
Right-clicking opens the "Edit Function" dialog. The program functions that should
be assigned to control element are set in this dialog.
Options: Displays whether various options for this control element are active.
Right-clicking opens the context menu where the available options can be
selected.
MIDI: If the function is already assigned to a control element, the MIDI message
that opens the assigned function is displayed here.
Right-clicking opens the "Select MIDI Data" dialog.
Easy Learn Function: If a control element is assigned an additional function with
Easy Learn, the function will be displayed here.
Right-clicking opens the context menu where the function can be permanently
assigned or deleted.
MIDI Monitor (view page 482)
This button opens the MIDI-input monitor.
When the Shift key is pressed during opening, the HWC MIDI-output monitor is
also opened.
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Dropdown Menu Function

The program functions that should automatically be assigned to the next newly
added control element are set in this dialog. The "Program Function for New
Elements" checkbox must be activated for this.
Raise Automatically (Track/Slot)
The track or slot assignment of new control elements to be mapped is
automatically raised when the previous control element is mapped.
This option is suitable for mapping control elements with which the same function
should be controlled on different tracks/slots.
Program Function for New Elements
When this checkbox is activated, the next new added element will be assigned to
the set underlying function.
New Element
This button sets a new entry in the list. The entry appears at the very bottom of
the list.
Delete Element
This removes the selected control element from the list.
Types of Control Element

Value Input
• Absolute: Control elements with absolute values.
This type should be selected when using a fader or knob.
• Relative: Control elements with relative values.
This type should be selected when using an endless encoder, the jog/shuttle or
a similar control element.
Note: Control elements for the values are already assigned tomodifier functions
(view page 481).
Keys
• Button: Simple keys
Select this type of key when the keys on the hardware controller send a Note On
command when pressed and a Note Off command when released.
• Push Button: Keys without a MIDI-command when released
Select this type of key when the keys on the hardware controller ONLY send a
Note On command when pressed.
• State Button: Key with a rest function
Select this type of key when the keys on the hardware controller send a Note On
command when pressed and a Note Off command when pressed a second time.
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System options 479
Other
• LED: Display function on the hardware controller
LEDs or status lights are often integrated into other control elements or assigned
to them. For this reason the "LED" status is most often changed using the same
MIDI command that sends the corresponding superordinate control element to
Samplitude.
If a status display is not assigned to any control element, or is changed with a
different MIDI command, please refer to the hardware controller manual to find
out the correct MIDI command for the LED.
Select Dialog Function
Function selection: This is where the function assigned to the control element is
displayed.
The function that should be assigned to the control element is selected in the
dropdown menu.
For certain functions there are several slots per track, e.g. for AUX sends, the
equalizer (one slot per EQ band respectively) and the insert effects.
Slot: Determines the number of the slot that the assigned control element affects.
For functions that are only present once per track, this parameter does not cause
any change.
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Parameter: Additional dimensions for the selection of specific track parameters. If

an effect has several parameters, the actual parameters are numerically ordered
in this field.
For example, the following scheme would be used for the track equalizer:
• Slot: Selection of frequency band (= 4 Slots)
• Parameter: Selection of parameter in the respective frequency band
(Gain/Frequency/Q)
Modifier: The control element is only active when the set modifier key or the set
combination is pressed.
The function opened by the modifier is called the modifier function (view page
481).
OK: The dialog is closed and the changes are applied.
Close: The dialog is closed without applying the changes.
Track: Track-based functions are assigned to the track through this parameter.
• Controller Track: The track allocation of the assigned function is controlled
by the setting „Synchronize with“ (view page 492) in the „Options“.
• Global Track: The assigned function always affects the entered track.
• Active Track: The assigned function always affects the active track.
• Master: The assigned function always affects the master track.
Function Selection
The upper area contains the functions that are typically controlled with
hardware controllers.
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System options 481
The lower area displays the complete Samplitude Music Studio menu structure.
You can use this to assign each menu command to a controller key.
Note: Please note that when working with menu commands, the key LEDs of the
controllers remain inactive.
Modifier Functions
Modifier functions are multiple allocations of control elements that are only active
while the modifier key is being pressed. These hardware controller modifier keys first
have to be mapped (view page 489) in order to function. Any key on the
hardware controller can be used as a modifier key.
The following modifier keys are available.

• Shift (alternatively locked)
• Option
• Control
Note: „Shift Lock“ has the same effect as „Shift“ but the corresponding key remains
"snapped" when the key is released. Pressing the "Shift" key again turns the lock off.
"Shift Lock" is particularly useful when combined with other modifier keys or when
the status of the Shift key is displayed by the hardware controller.
As soon as one or more modifier keys is pressed, the respective additional allocation
of the correspondingly mapped control element becomes active. After releasing the
modifier key, the standard function becomes active again.
Combinations of Modifier Keys

The modifier keys can also be used in combination which increases the scope of
remotely controlled commands even further.
The following combinations are available:

• Shift (Lock) + Option
• Option + Control
• Shift (Lock) + Control
• Shift (Lock) + Option + Control
Preset Modifier Functions

For Control Elements for Value Entry (view page 478) there are preset modifier
functions:
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• Shift (Lock) + FaderTouch (without moving the fader): The allocated parameter
is reset to the default value (e.g. track volume: 0.0 dB).
• Shift (Lock) + Moving endless knob: A finer value gradation during a change to
the value.
MIDI Monitor
The MIDI monitor shows either MIDI input data or MIDI ouput data.
• MIDI Input Monitor: Shows all MIDI data being sent to Samplitude Music Studio
from the hardware controller.
This dialog is modal, i. e. no other dialogs can be used when the MIDI monitor is
open.
• HWC MIDI output monitor shows all MIDI data being sent from Samplitude
Music Studio to the selected the hardware controller.
This dialog is not modal. This means that Samplitude Music Studio is fully
operational while the MIDI monitor is open.
The MIDI data that is displayed depends on the settings.
Open
• MIDI Input Monitor: Activate the „MIDI Monitor“ button.
• HWC MIDI Output Monitor: Activate the „MIDI Monitor“ button while holding
down the Shift key.
Setup and Functioning
Selection of Hardware Controller for MIDI Monitoring: Clicking on the entries

activates or deactivates the hardware controller for MIDI monitoring.
Delete Display: This deletes the values in the display field (4).
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System options 483
Options
• Hide already learned commands: MIDI commands that have already been
mapped in Samplitude Music Studio won't be shown in the list.
• Interpret individual messages: The MIDI commands are interpreted as 7 bit
values.
• Interpret double messages: 2 MIDI commands are interpreted as 14 bit
values.
• Ping: If this option is activated, the display of the MIDI Ping command
entered under "Options" (view page 491) is disabled.
• SysX: If this option is activated, SysEx data is displayed.
• Hexadecimal: The MIDI commands are displayed in hexadecimal format.
If this option is deactivated, the MIDI commands are displayed in decimal
format.
• Pause: If this option is activated, no new data is displayed.
Display range for MIDI data: The MIDI data that is sent and received from the
hardware controller is displayed here.
New MIDI data is displayed at the top of the list.
Controller Learning with Easy Learn (Plug-in and Mixer Elements)

The respective active mode can be adjusted for individual settings. The mixer system
menu features the option "Hardware Controller Easy Learn" for this. Right-click on
the title bar in the mixer or click on the icon to open this function.
Note: For assignment using Easy learn, only control elements that have been learned
in the hardware controller dialog can be used.
Assignment using Easy Learn changes the active mode until the option "Restore
Modes" is selected in the „Options“ (view page 491) menu.
1. Click on the command „Hardware Controller Easy Learn“.

2. Activate a mixer element with the mouse.
3. Now move the desired control element on the controller.
Result: The controller control element now controls the newly assigned mixer
element.
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The plug-in menus also include the option "Hardware Controller Easy Learn". The
parameters of a plug-in can also be mapped to a controller in the same way.
The changes remain available until

• the option „Restore Modes“ is selected in the hardware controller dialog or
• a change is made to the hardware controller dialog settings.
Here are the instructions for mapping a hardware controller:

1. Select the ports you used to connect the controller under MIDI input and MIDI
output.
2. If there is already a template for your controller in the "Factory Presets", you can
select this and your controller will be instantly ready for use.
In this case you can skip the following steps.
3. Create a new controller entry by clicking on „Basic settings“ then „Add New"
and selecting the option "#New". If a prompt for activation of the MIDI SysEx
input then appears, answer this with "Yes".
4. If you haven't yet set up any connection between your controller and the PC, do
that now. Most controllers are either connected by USB or MIDI.
5. In the "Options" tab, select "Generic MIDI" as the protocol and enter the
number of control elements on your controller as the number of tracks (e. g. if
your controller has 8 faders, enter "8").
Note: If you are not sure, leave this value set to "0". You can also leave the other
values in their default settings.
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System options 485
6. Now switch to the "Customize Controllers" tab.

7. Here you can first assign all of the control elements that you want to use. The
following process is the same for every control element:
- Open the mixer or plug-in you want to control and move the desired
parameters with the mouse.
- Now move the desired control element on the hardware controller. After 1 or
2 seconds it will appear in the Element List. The assigned parameter now
appears in the "Easy Learn function" column of the control element.
- Then check that the type has been correctly set and correct the setting if
necessary (e. g. non-motorized faders and knobs should be set to the
"Absolute" type).
Notes and tips:
 As soon as you have opened the hardware controller settings, you are
automatically in the Easy Learn Mode, i.e. every mouse movement of a mixer
or plug-in parameter causes the assignment of this mixer or plug-in
parameter to the last touched control element of your hardware controller.
 When you are finished assigning the controls be sure to shut "Hardware
Controller Easy Learn" off to avoid making any unwanted changes to the
settings.
 If it is not possible to assign a control element, first check in the "MIDI
Monitor" ("Customize Controllers" tab) whether MIDI data is being received
at all when moving the element. If this is not the case, your controller is either
wrongly configured (wrong MIDI connection or incorrect internal mode of
the controller) or the relevant control element is not sending data (other
elements work). If the latter is the case, unfortunately you cannot use the
element.
 In addition to the normally assigned "function", every control element can
also have the "Easy Learn Function".
 The normal function is permanently assigned to the element whereas the
"Easy-Learn Function" is a temporary function that has priority over the
normal function if present.
 - You can also apply this after mapping an "Easy Learn Function". To do this,
click with the right mouse button on the relevant element in the "Easy Learn
Function" column. The "Easy Learn Function" is now transferred to the
normal function.
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Adjusting the assignment of a control element

Assigning a new function
1. Right-click on the desired entry in the "Function" column.
The "Select Function" dialog will open.
2. Open the dropdown menu and select the desired function.

3. Click "OK" to close the dialog.
5. Test the assignment by moving the control element on the hardware controller.
Mapping control elements

Mapping mixer or plug-in control elements
All of the control elements on the mixer or plug-ins that should be controlled by the
hardware controller can be mapped using the Easy Learn function.
Requirement: The „Hardware Controller Setup“ dialog is opened in the "Adjust

controller" view.
To do this, proceed as follows:

1. Select the mixer element that will be assigned to the control element.
2. Now move the control element on the hardware controller.
Result: A new entry will be added to the list of control elements. The MIDI
command that will be sent from the hardware controller is displayed in the
"MIDI" column.
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System options 487
Note: If the control element on the hardware controller is touch-sensitive, a fader

touch message will be sent when it is touched and when it is released. In this case
2 new elements are added.
3. Repeat this procedure for all of the control elements that should be mapped.
4. Select all of the entries in the list.
5. Move the mouse pointer over the entries in the "Easy Learn Function" column.
6. Right-click to open the context menu and select the option "Apply Easy Learn
Function".
The entries will be assigned automatically.
8. When additional fader touch messages were added (button): Assign
subfunction (view page 489).
Adding the same control element to multiple tracks/slots

Hardware controllers capable of simultaneously controlling multiple tracks/slots can
be mapped quickly and easily.
1. Activate the option „Hardware Controller Easy Learn“ in the Mixer's menu.
2. Activate the option „Program Functions for New Controls“ .
3. Activate the option „Increase Automatically: Track/Slot“ .
4. Assign the desired function:
1. Click on the field for the function selection .
3. If necessary, activate the desired modifier key in the dialog.
The mapped function is then only activated when the set modifier key is also
pressed.
The modifier key must also be mapped (view page 489).
4. Click „OK“ to close the dialog.
Note: Hardware controllers with touch-sensitive faders send a message whenever

they are moved and released (FaderTouch). In this case 2 entries are
automatically added, but the entry for the fader touch message is not assigned.
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5. Move all of control elements of this type on the hardware controller.

When the control elements are moved, a new entry is added and the track/slot
number is increased by 1.
6. If additional fader touch entries are generated, assign these as subfunctions
(view page 489).
7. Deactivate the option „Hardware Controller Easy Learn“ in the Mixer's menu.
Mapping individual control elements

Control elements can be mapped individually, e.g. for special program functions. The
modifier keys are also mapped individually.

1. Manipulate the desired control element on the hardware controller.
A new entry will be added to the list of control elements. The MIDI command
that will be sent from the hardware controller is displayed in the "MIDI" column.
Note: Hardware controllers with touch-sensitive faders send a message whenever

they are moved and released (FaderTouch). In this case 2 new elements are
added.
2. Assign the desired function:

1. Right-click on the list entry in the "Function" column.
3. If necessary, activate the desired modifier key in the dialog.
The mapped function is then only activated when the set modifier key is also
pressed.
The modifier key must also be mapped (view page 489).
3. Repeat this process for all of the control elements that should be mapped.
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System options 489
Mapping modifier keys

Mapping modifier keys is exactly the same as mapping individual control elements
(view page 488) of a hardware controller.
The modifier keys can be found in the "Select Function" dialog in the function
selection menu under "Modifier" .
Assigning subfunctions
Tip: Assigning elements can be simplified if they are displayed in the order in which
they were detected.
Select the "Elements" column to sort the detected control elements in this order.
1. Manipulate the control element on the hardware controller without moving it.
The corresponding entry will be selected in the list.
2. Now drag & drop the entry onto the corresponding entry for the movement, e. g.
„TrackVolumeFader (Global Track 1) (Slot 1)“.
A popup menu will open.
3. Here you can specify the subfunction:
- When dealing with a touch-sensitive control element such as a
touch-sensitive fader:
Select the entry „Insert as touch element“,
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- When dealing with a control element with additional key function such as an
encoder that can be additionally pressed:
Select the entry „Insert as push element“,
Assigned touch function of a touch-sensitive fader
Correcting incorrectly recognized control elements

In rare cases some control elements might be improperly recognized during mapping,
e.g. as "relative" instead of "absolute". This can be caused by various factors, e.g. large
value jumps when moving the fader.
You can correct these incorrectly recognized control elements as follows:

1. Select the incorrectly recognized control elements:
- with <Shift> for multiple control elements positioned one after the other
- with <Ctrl> for multiple control elements
2. Position the mouse pointer over one of the entries in the "Type" column.
3. Right-click to open the context menu.
4. Select the appropriate type for the control element (view page 478).
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System options 491
Options
Received MIDI messages are interpreted differently depending the the type of
controller being used. In the "Options" view you can adjust the settings for the
controller behavior to fit your personal workflow.
General Options
Controller
The hardware controller whose options will be edited is selected here. The list
contains all hardware controllers that have been set in the "Basic Settings" view.
Protocol
The protocol determines how Samplitude Music Studio communicates with the
hardware controller. This determines the structure as well as the number and the
order of the MIDI messages that make up a command.
The following protocols are available:

• Generic MIDI
• Mackie Control
• HUI
• JLCooper
• Tascam 2400
• FaderPort
492
Samplitude Music Studio options

Number of tracks
Number of tracks: Specifies the number of tracks in a bank available to the controller.
This is usually eight tracks. Mackie Control and HUI protocols can only communicate
with eight channels per bank. However, some controllers have a native mode which
lets you learn several channels (64 max.). For single track controllers, the value is "1".
Number of tracks for bank switch

A project in Samplitude Music Studio can include more tracks than are available to
the controller. In this case the controller can only display a section of the available
tracks. To change this section you can perform a channel switch or bank switch. A
channel switch changes the section by one track while a bank switch changes the
section by several tracks. You can set different step sizes for each bank depending on
the number of tracks on your controller and your preferred working method.
Synchronize with
The following options deal with the synchronization between the controller area,
mixer area, and the active track. The controller area corresponds to the section of
available tracks in the project that can be operated with the controller. The mixer area
is the section of available tracks in the project that can be controlled with the
Samplitude Music Studio mixer.
Synchronize with Active Track: If the active track is changed, the controller area will
be adjusted so that the active track is within the controller area.
Synchronize with Mixer: If a change is made to the controller area, the beginning of
the mixer area will be adjusted according to the beginning of the controller area.
Note: Make sure that the synchronization of the view in Samplitude Music Studio
with the hardware controller is dependent on the control element settings (Track)
(view page 479).
Fader touch activates track

This option activates the track that belongs to the fader in the application when a
touch-sensitive fader is affected.
Use assignment display

Some controllers have an additional display field for showing the current operational
mode (track, EQ, AUX, etc.). If a controller does not have this kind of display, you can
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System options 493
deactivate this option to prevent the control commands from incorrectly influencing
other controller elements.
Process messages when dialog is open

Normally, when hardware controller dialogs are open, MIDI messages are no longer
processed so that unwanted changes are avoided. When a controller is being
customized or programmed it is sometimes necessary to send back messages to the
controller. In this case, you can activate incoming messages while the dialog is open.
Make sure to deactivate this feature when you are finished customizing the controller.
Options for controlling the hardware controller

Display mode
Many hardware controllers have LCD displays which differ in size and the number of
lines and which need to be controlled differently. For hardware controllers without a
display you can simply set the display control to "Off".
The following display modes are available:

• Off
• JLCooper
• Mackie Control
• HUI
Display interval (ms)

Display control occurs in certain time intervals and not continuously. This is meant to
limit the amount of display information. A short interval accelerates the display on the
controller but increases the amount of MIDI data that must be transferred.
Show track numbers instead of track names

If this option is active, track numbers will be shown instead of track names in the
controller display.
Time display mode

Some hardware controllers have a special display for the current time position
(Locator). The time display mode can be set for the following types of display:
• Off
• JLCooper
• Mackie Control
• HUI
494
Time display interval (ms)

Locator display control also takes place in time intervals. If the time position changes
within an interval, only the last current value will be sent to the controller. If you
shorten the interval, the locator display will react faster and more directly.
Peak Meter Mode

Some hardware controllers have a special peak meter display. The peak meter mode
sets the controls for this display.
The following peak meter modes are available:
• Off
• Mackie Control
• HUI
• Tascam 2400
Output
• Deactivate: Hardware controller data is received and processed, Samplitude
Music Studio doesn't send any data back to the controller.
• Normal Send: The same as „Deactivate“, but changes in Samplitude Music
Studio are sent to the hardware controller.
• Echo Send: The same as "Normal Send" except that the received
hardware controller data is immediately sent back and end at the controller, e.g.
data for status LEDs.
• Echo Send (without fader touch): The same as "Echo Send", but no fader values
are sent while the faders are being moved. The fader value is only sent back to
the hardware controller when the fader is released.
Note: Some controllers (e. g. „Logic Control“) have problems receiving echo
messages (termination). In this case select the setting "Normal Send".
Do not send SysEx data

Samplitude Music Studio sends different messages via SysEx. Exactly what is sent
depends on the selected display mode, locater mode etc.
If SysEx messages start to cause problems, you can prevent these kinds of messages
from being sent to the controller.
No fader update after release (Motorized Fader)

When you move touch-sensitive faders, the fader messages to the controller are
normally ignored by the controller. After release the hardware controller expects a
position message as termination.
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System options 495
If this message is not sent, the fader will slide back to the position it was in before it
was moved. Some controllers do not need this new position message. When they
receive the new position they first jump to the old position and then to the new one.
If the fader update after release of the fader should not be sent, you can deactivate
this sending of the new position here.
Control LED knobs

Some controllers have LED displays that are assigned to the knobs. These can be used
to visually display the current parameters of the knob. If you are using a controller
with no knob LEDs, you can deactivate this option.
Options for the interpretation of hardware controller demands

Hardware Controller - Internal Mode ("Options" tab)
Note: The parameter „Internal Mode“ is only available for hardware controllers that
have been added to the "Basic Settings" view on the first level and therefore act as
the "Main Controllers".
The "Internal Mode" determines how Samplitude Music Studio reacts to incoming
remote commands from hardware controllers and enables adaptation to
conceptually different hardware controllers.
Depending on the mode, different information is displayed on the controller and

Samplitude Music Studio interprets the controller messages correspondingly. The
effect is that a particular physical control element controls different parameters in
Samplitude Music Studio, depending on the internal operating mode.
These data structures can be manipulated using the function „Hardware Controller
Easy Learn“ in the mixer menu and the menus of the VST plug-ins (view page 483). In
this case, the active operating mode can be changed so that it is able to function
differently than its preset. The changed data structures are saved accordingly and are
496
immediately available the next time the program is launched. This ensures that you
are able to continue working with the most recent settings.
Note: If you are using a hardware controller that is not listed in the hardware control
setup, select one from the list that is most similar in concept and design.
The following internal modes (Mapping Modes) are available:
Frontier AlphaTrack_Set
Track
Press first time: Panorama mode

• Panorama control
• Navigate to markers
• Move selected track
Press second time: Active control mode

• Changes the value of the selected element in the mixer with the fader.
AUX
• Select other track
• Select other slot
• Change AUX send of the selected track/selected slot
EQ
Controlling the input volume, frequency, and quality bands of the selected EQs. The
individual bands are selected with "Mixer track up/down".
Plug-in
• Select track
• Select plug-in slot in the track with "Mixer track up/down" key
Now you can control 3 parameters of the corresponding plug-ins with the vpots. The
display page is toggled with the keys "Mixer track up/down".
Default Set
Presonus FaderPort_Set
Active control
The currently active mixer element (recognizable by red highlighting) is controlled by

the first fader.
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System options 497
Mackie HUI_Set
Track
Track mode
Active control
The currently active mixer element (recognizable by red highlighting) is controlled by

the first fader.
EQ (Phat Channel EQ mode)
Controls the EQ for the selected track via the knob controllers.
AUX (Phat Channel AUX mode)
Controls all AUX sends in the selected channel.
AUX [slots] (1 - 8) (Track AUX mode)
Controls AUX sends for the different tracks in the selected slot.
JLCooper_Set (MCS)
Track
Press first time: Track mode

• Each activated mixer element (recognizable by the red marking) is controlled by
the first fader
AUX
Controls all AUX sends in the selected channel.
EQ
Controls the EQ of the selected track via the knobs.
Mackie Multitrack
Track
Press first time: Track mode

498

• Each activated mixer element (recognizable by the red marking) is controlled by
the first fader
PAN
• Pan mode (like track mode, except for the display)
EQ
Press first time: EQ Phat Channel Bandwise mode

• Gain, frequency, and quality accessible via the knobs
• Use the bank switch keys to access the other bands
Note: The bank switch functions have to be learned, which is usually the case
Press second time: EQ Phat Channel Typewise mode

• Gain, frequency, and quality accessible via the knobs (differently grouped than in
Bandwise mode)
• Using the bank switch keys, each of the other EQ functions can be accessed
AUX
Press first time: AUX track mode

• AUX 1 to 6 of the active track using the knobs
Press second time: AUX slot mode

• Set AUX for each track
• Select number of AUX tracks to be controlled using the Bank Switch keys
Plug-in
• The VST plug-in slots are listed for the active track (flip through via bank switch
keys)
• Selection of the VST plug-in to be adjusted by pressing the corresponding knob
• Thereafter the parameters for the selected plug-ins are shown
• Changing the parameter using the knob
• Page through the parameters
Frontier Tranzport_Set
Functions: For transport only
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System options 499
Request hardware ID
Activate or deactivate the automatic hardware ID request. Deactivate this function if
you aren't using the "Mackie Control" display mode. This helps to avoid incorrect
interpretation of the request message.
Manual Hardware ID
For display in "Mackie Control" display mode, an additional parameter is necessary:
The hardware ID. This can be automatically requested with new firmware versions or
manually entered
MIDI Ping to controller

Most controllers expect a periodic incoming MIDI message (ping) to ensure that
there is communication with the application. Different messages can also change the
operating modes of a controller. Here you can enter the message that should be sent
to the controller.
MIDI Ping from controller

In response to ping messages, controllers usually send a ping message back. To
ensure that these are not falsely mapped as MIDI commands you can enter these
explicitly so that they are ignored by the application.
MIDI Ping interval (ms)

Here you can specify the time period between the two ping messages in milliseconds.
Ignore SysEx input data

SysEx data from the hardware controller will not be processed by the application.
Fader Scaling
Fader scaling offers you the option of calibrating the scale on the hardware controller
to the volume fader values in Samplitude Music Studio.
Control with a hardware controller can take place in a range from +12 dB to -100dB.
Normally at +12 dB the fader position is at the very top and at -100 dB at the very
bottom.
500
Note: Calibration of the fader scale only makes sense when the fader scale on the
controller actually includes numerical values.
Add scale values

1. In the „Controller“ section select the hardware controller whose printed scale
should be calibrated in Samplitude Music Studio.
2. Delete all previous entries. Click on the entry in the list and then press "Delete
scale entry".
3. Enter the value "6" into the "Scale entries on controller" and move the fader all
the way up (to the scale value +6dB). Next, click "Set scale entry" to set the new
entry.
4. Move the fader all the way to the bottom and enter the lowest scale value (at
least „-100“) in the field „Scale entry on controller“. Click "Set scale entry" again.
5. Enter further scale positions in the same way (e. g. -12, -24, -48...).
Test the mapped scale

2. Compare the entered fader position of the hardware controller with the fader
position in the program mixer.
Changing entered scale values

1. Select the incorrectly mapped value
2. Click on the button "Delete scale entry"
3. Add the correct scale value.
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System options 501
Hardware Controller Presets

The following is a list of the most important presets for hardware controllers including
their integration and configuration.
Frontier AlphaTrack
1. The "AlphaTrack" is supported in Native Mode. For this reason you should set
the device to „AlphaTrack Native“ by right-clicking on the "AlphaTrack" button
in the taskbar.
2. In Samplitude/Sequoia go to „System Settings/Hardware Controller“, click on

the "New" button and select "AlphaTrack" from the list.
3. Now set the right side of the MIDI port to "AlphaTrack".
4. Close the dialog. Your controller is now ready to use.
502
Controller configuration
Control element Function Shift- SHIFT function
Label
Foot switch Recording
FADER Track volume

ANY SOLO Indicates that at least one
(LED) track in the arrangement is
switched to SOLO
AUTO WRITE
(LED)
AUTO READ
(LED)
REC Record track Monitor track
SOLO Track solo Global solo
MUTE Mute track Global mute
SHIFT Shift
PAN Press first time: Pan mode
Second pressing: Active
Control Mode
(see table 2)
SEND AUX mode
(see table 2)
EQ EQ mode
(see table 2)
Plug-in Plug-in Mode
(see table 2)
AUTO Track automation Copy automation
mode to all tracks
F1 Touch automation F5 Read automation
F2 Latch automation F6 Automation off
F3 Overwrite automation F7 Restore
F4 Trim automation F8 Undo
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System options 503
Control element Function Shift- SHIFT function

Label
< TRACK Previous track IN Punch Start Marker
TRACK > Next track OUT Punch End Marker
LOOP Loop Mode PUNCH Punch Marker Mode
FLIP Mixer WINDOW Delete punch
marker
<< Fast rewind RTZ Playback marker to
project start
>> Fast forward END Playback marker to
project end
STOP Stop Esc Cancel
PLAY Playback Enter Enter
RECORD Recording MODE
TOUCHPAD Positioning
Special modes
Mode Control element Turn Press
Pan mode KNOB 1 Track selection
KNOB 2 To the marker Set marker
KNOB 3 Pan Reset pan

ACTIVE FADER
CONTROL
(controls the active element in
MODE
the mixer, track editor, or plug-in
that must be selected with the
mouse beforehand)
KNOB 1 Pan
KNOB 2 Pan
KNOB 3 Pan
AUX mode KNOB 1 Track selection
KNOB 2 AUX level
KNOB 3 AUX selection
EQ mode KNOB 1 Intensity
504

KNOB 2 Frequency
KNOB 3 Quality
< TRACK Previous
EQ band
TRACK > Next
EQ band
Plug-in Mode KNOB 1 Track selection
Plug-in slot
selection
KNOB 2
KNOB 3 Slot selection
< TRACK Select plug-in
TRACK > Select plug-in
Plug-in KNOB 1 Change
parameter parameters
KNOB 2 Change
parameters
KNOB 3 Change
parameters
< TRACK Previous
parameters
TRACK > Next
parameters
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System options 505
Frontier TranzPort
1. „TranzPort“ is supported in „Native Mode“. For this reason you should set the
device to „TranzPort Native“ by right-clicking on the "TranzPort" button in the
taskbar.
2. In Samplitude/Sequoia go to "System Settings/Hardware Controller, click the

„Add New“ button and select „Frontier_TranzPort (Native)“ from the list.
3. Now,set the right side of the MIDI port to TranzPort.
Control element Function SHIFT function
< TRACK Previous track
> TRACK Next track
REC Record track Monitor track
506
Control element Function SHIFT function

MUTE Mute track Global mute
SOLO Track solo Global solo
ANY SOLO (LED) Indicates that at least one track
in the arrangement is switched
to SOLO
UNDO Undo Restore
IN Punch Start Marker
OUT Punch End Marker
PUNCH Punch Marker Mode Delete punch marker
LOOP Loop Mode
SHIFT Shift
PREV MARKER Previous marker Metronome
ADD MARKER Insert marker
NEXT MARKR Next marker Scrub mode
<< Fast rewind Playback marker to project
start
>> Fast forward Playback marker to project
end
STOP Stop Cancel
PLAY Playback Enter
RECORD Recording
DATA WHEEL Positioning Track volume
DATA WHEEL + Selected range
STOP
Foot switch Recording
Logic Control
1. In Samplitude Music Studio go to „System Settings/Hardware Controller“, (view
page 465) click on the "Add New" button and select "Logic Control" from the
list.
2. Now set up the MIDI ports with the respective inputs and outputs of your MIDI
interface.
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System options 507
TRACKS
Control element Function Modifier Modifier function
KNOB 1~8 Pan; Eq; Aux
(see special modes)
REC/RDY 1~8 Activate track SHIFT Monitor track
SOLO 1~8 Track solo
MUTE 1~8 Mute track
SELECT 1~8 Select track
FADER 1~8 Track volume
(with fadertouch)
MASTER FADER Master volume
ASSIGNMENT
Control element Function
1 Press first time: Track mode

Press second time: Active Control mode
(see special modes)
2 Press first time: AUX mode
Press second time: AUX mode (phat channel)
(see special modes)
PAN/SURROUND Pan mode
(see special modes)
Plug-in Plug-in Mode
(see special modes)
EQ EQ mode
(see special modes)
INSTRUMENT
FADER BANKS
< BANK Mixer track 8 to the left
508

BANK > Mixer track 8 to the right
< CHANNEL Mixer track 1 to the left
CHANNEL > Mixer track 1 to the right
FLIP Flip mode: Exchange functions of knobs and faders
GLOBAL VIEW Mixer
DISPLAY
NAME/VALUE
SMTP/BEATS Timecode switch
FUNCTION BUTTONS
F1-F8 Set / jump to SHIFT Move markers 1-8
marker 1-8 CNTRL Delete markers 1-8
GLOBAL VIEW
MIDI TRACKS
INPUTS
AUDIO TRACKS
AUDIO INSTRUMENT
AUX
BUSSES Select previous object.
OUTPUTS Select next object
USER Crossfade Editor
MODIFIERS
SHIFT Control
OPTION Option
CONTROL
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System options 509

# / ALT Shift
AUTOMATION
READ/OFF Read automation SHIFT Automation off
WRITE Overwrite automation
TRIM Trim automation
TOUCH Touch automation
LATCH Latch automation
GROUP Copy automation mode to all
tracks
UTILITIES
SAVE Save
UNDO Undo SHIFT Repeat
CANCEL Cancel
Enter Enter
Special modes
Track mode KNOB Pan Reset
ACTIVE FADER
CONTROL
(controls the active
MODE
element in the mixer,
track editor, or plug-in
that must be selected
with the mouse
beforehand)
Pan mode KNOB Pan Reset
EQ mode KNOB 1 Level EQ band 1
KNOB 2 Level EQ band 2
510

KNOB 5 Frequency EQ band 1
AUX mode KNOB 1~8 AUX level
AUX 1~8
selectable using
BANK
AUX mode (phat KNOB 1 AUX 1 level
channel)
KNOB 2 AUX 2 level
depending on
selected track KNOB 3 AUX 3 level
KNOB 4 AUX 4 level
KNOB 5 AUX 5 level
KNOB 6 AUX 6 level
KNOB 7
KNOB 8
Plug-in Mode KNOB 1~8 Select plug-in
Plug-in KNOB 1~8 Change parameters
parameter
< BANK Previous parameters
BANK > Next parameters
Marker mode REWIND Previous marker
FAST FWD Next marker
Object mode REWIND Previous Object
FAST FWD Next object
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System options 511
Logic Control XT
the "Add New" button and select "Logic Control XT" from the list.
2. Position Logic Control XT under Logic Control
If you have set up Logic Control XT to the left of Logic Control, the entries in the
list will look like this:
interface on the right side.
The functions correspond with the Logic Control.
Note
The number of tracks to be jumped when a bank switch is pressed can be changed
in the hardware controller setup options. These settings are made in "Logic Control".
Mackie Control
the "Add New" button and select "Mackie Control" from the list.
Note
 All entries are based on MCU Firmware 2.1.2.
TRACKS
KNOB 1~8 Pan; Eq; Aux
(see special modes)
REC/RDY 1~8 Activate track SHIFT Monitor track
SOLO 1~8 Track solo
MUTE 1~8 Mute track
SELECT 1~8 Select track
512

FADER 1~8 Track volume
(with fadertouch)
MASTER FADER Master volume
ASSIGNMENT
1 Press first time: Track mode
Press second time: Active Control mode
(see special modes)
2 Press first time: AUX mode
Press second time: AUX mode (phat channel)
(see special modes)
PAN Pan mode
(see special modes)
Plug-ins Plug-in Mode
(see special modes)
EQ EQ mode
(see special modes)
DYN
FADER BANKS
< BANK Mixer track 8 to the left
BANK > Mixer track 8 to the right
< CHANNEL Mixer track 1 to the left
CHANNEL > Mixer track 1 to the right
FLIP Flip mode: Exchange functions of knobs and faders
EDIT Mixer
DISPLAY
NAME/VALUE
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System options 513

SMTP/BEATS Timecode switch
FUNCTION BUTTONS
F1-F8 Set / jump to marker SHIFT Move markers 1-8
1-8
CNTRL Delete markers 1-8
F9-F13
F14 Select previous object.
F15 Select next object
F16 Crossfade Editor
MODIFIERS
CNTRL Control
OPT Option
SNAPSHOT
SHIFT Shift
AUTOMATION
READ/OFF Read automation SHIFT Automation off
WRITE Overwrite automation SHIFT Copy automation mode to all
tracks
UNDO Undo SHIFT Repeat
SAVE Latch automation
TOUCH Touch automation
REDO Trim automation
UTILITIES
FDR GRP Cancel
514
CLR SOLO Enter

MRKR
MIXR Save
TRANSPORT
< FRM Marker mode
(see table 2)
FRM > Object mode
(see table 2)
END Loop mode
PI Punch Marker Mode
PO Synchronization
LOOP Metronome
HOME Activate LCD meter by
holding "F1", "F2", "F3", or
"F4"
REWIND Fast rewind SHIFT Playback marker to
project start
FAST FWD Fast forward SHIFT Playback marker to
project end
STOP Stop
PLAY Playback
RECORD Recording
Cursor left One section left ZOOM Horizontal project
zoom (-)
Cursor right One section right ZOOM Horizontal project
zoom (+)
Cursor up Next highest track ZOOM Vertical project zoom
(+)
Cursor down Next lowest track ZOOM Vertical project zoom
(-)
ZOOM Zoom mode
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System options 515

SCRUB Scrub mode
Shuttle wheel Positioning SCRUB Scrubbing
Special modes
Track mode KNOB Pan Reset
ACTIVE FADER
CONTROL
(controls the active
MODE
element in the mixer,
track editor, or plug-in
that must be selected
with the mouse
beforehand)
Pan mode KNOB Pan Reset
EQ mode KNOB 1 Level EQ band 1
AUX mode KNOB 1~8 AUX level
AUX 1~8
selectable using
BANK
AUX mode (phat KNOB 1 AUX 1 level
channel)
KNOB 2 AUX 2 level
depending on
selected track KNOB 3 AUX 3 level
KNOB 4 AUX 4 level
KNOB 5 AUX 5 level
KNOB 6 AUX 6 level
516

KNOB 7
KNOB 8
Plug-in Mode KNOB 1~8 Select plug-in
Plug-in KNOB 1~8 Change parameters
parameter
< BANK Previous parameters
BANK > Next parameters
Marker mode REWIND Previous marker
FAST FWD Next marker
Object mode REWIND Previous Object
FAST FWD Next object
Mackie Control XT
the "Add New" button and select "Mackie Control XT" from the list.
2. Position Mackie Control XT under Mackie Control.
If you have set up Mackie Control XT to the left of Mackie Control, the entries in
the list will look like this:
The functions correspond with the Mackie Control.
Note
The number of tracks to be jumped when a bank switch is pressed can be changed
in the hardware controller setup options. These settings are available in Mackie
Control.
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System options 517
PreSonus FaderPort
1. In Samplitude/Sequoia go to
"System Settings/Hardware
Controller, click the „Add New“
button and select „PreSonus
FaderPort (Native)“ from the list.
2. Now set the MIDI ports on the
right side to USB audio device.
3. Close the dialog. Your controller is
now ready to use.
Notes
 The foot switch is functional starting with the hardware controller firmware
1.2.
 To map control elements for the "FaderPort", enter the response values to
the controller for learning so that the button LEDs also function. To do this
copy and paste the value from the last column of the assignment table (view
page 517) of the corresponding control element into the field „Send MIDI
Data“.
Control element Function SHIFT MIDI Return value for
(SHIFT) function Command LED
FADER Track volume
PAN Track pan
MUTE Mute track Global mute A01200 A01501
SOLO Track solo Global solo A01100 A01601
518

REC Record track Monitor A01000 A01701
track (ASIO
only)
< Previous A01300 A01401
Track/Bank
BANK "<" and ">" A01400 A01301
switch bank
> Next Track/Bank A01500 A01201
OUTPUT ACTIVE A01600 A01101
CONTROL
MODE
(see special
modes (view
page 519))
READ Read automation A00A00 A00D01
WRITE Overwrite Latch A00900 A00E01
automation automation
TOUCH Touch Trim A00800 A00F01
automation automation
OFF Automation off Copy A01700 A01001
automation
mode to all
tracks
MIX Mixer A00B00 A00C01
PROJ Focus on arranger A00C00 A00B01
TRNS Transport console A00D00 A00A01
UNDO Undo Restore A00E00 A00901
(REDO)
SHIFT Shift A00200 A00501
PUNCH Punch Marker Previous A00100 A00601
(PREV) Mode marker
USER Metronome Next marker A00000 A00701
(NEXT)
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System options 519

LOOP (MARK) Loop Mode Insert A00f00 A00801
marker
REWIND Fast rewind Playback A00300 A00401
(START) marker to
project start
FAST FORWARD Fast forward Playback A00400 A00301
(END) marker to
project end
STOP Stop A00500 A00201
PLAY Playback A00600 A00101
RECORD Recording A00700 A00001
FOOT SWITCH Recording A07e00
Special modes
Mode Control element
ACTIVE FADER (controls the active element in the mixer, track editor, or
CONTROL plug-in that needs to be selected with the mouse beforehand)
MODE
Metronome options
Please also read the section "Options -> Program settings -> Metronome options".
Recording settings
Format: The higher the bit depth, the more disk space will be needed, but the
recording quality will also increase. Higher bit depths are only sensible when the
sound card records in this format.
Note: Many sound cards are advertised as 24-bit, but in some cases this refers only
to playback.
Save each take in a new file: This option results in each take being saved to a new file.
Loop recordings will be processed as one take and saved to one file.
520
Record offset (samples): Here you can enter an offset in sample words, which is
created between sound card playback and recording start of the
"Record-while-playing" mode. This allows you to balance the delay between record
and play start of some cards. Typical values are between 20 and 1000 samples. Find
this value by playing a project with a distinctive beginning in a multi-track VIP and
recording it at the same time. You can then measure the offset precisely using the
zoom functions.
Update object during recording: The object will be displayed in the VIP already during
recording, and it can be observed how it grows in length.
Scroll recording position: Depending on playback settings, you can scroll during
recording, too. This means that the visible range of the arrangement follows the
current object end.
Show confirmation window after recording (OK/delete): After stopping recording, a

dialog appears with the question whether the recording should be saved.
Set playback cursor at the end of recording - the next recording will start at this
position: If this option is activated, the cursor will be set at the end of the recording,
and playback or recording will start at this position.
Recording button ends playback following standard recording: When the recording
is stopped, playback will also be paused.
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System options 521
Playback settings
Keyboard shortcut: P
Check the "Stop at current position" option to keep the play cursor at the current
position when stopping playback. If this option is not active, the play cursor will jump
to the original position or back to the start of the range when playback is stopped.
The "Test space bar (play, stop) in the background as well" option also allows the
space bar to be used for "Play" and "Stop" in Samplitude, even while using a different
software application in the foreground.
The keyboard combination "Ctrl + space bar for playback of selected objects" can
also be used.
The pre-roll time is a necessary parameter for editing in Samplitude. Pre-roll time is
used to define the time section in seconds which is to be played before the start of the
selected range.
The maximum reverberation time for objects without fade-out can be set up to 60
seconds here.
522
Note: Please note that long reverberation times can lead to performance problems.
The option "Pre-run harmony display (beats)" ensures that the chords detected by
the Harmony Agent are displayed in advance in the set number of quarter note beats.
Autoscroll
Use Autoscroll to activate a feature which is especially useful when working with long
HD Wave Projects: The graphical display always changes when the playback marker
(position line) leaves the visible section. This way you can always keep an eye on
things, whereby it has proven most sensible to display the current project in two
sections (Setup > 2 sections), one displaying the entire project and one in a useful
zoom depth with Autoscrolling.
You can choose between page and soft scrolling. But be careful: Scrolling requires a
certain CPU power (depending on the processor, graphics adaptor and resolution), so
that the computer may be overloaded in critical situations which may result in
playback dropouts. You should then deactivate autoscroll mode.
Scrubbing
If you press the Insert key (Ins or 0 on the number pad), Samplitude Music Studio will
be in "Scrubbing Mode". This means that the playback speed can be controlled
directly with the mouse. The further the mouse goes to the right, the faster
Samplitude Music Studio plays.
In comparison to many HD recording systems, this even works in a virtual multitrack

project.
The Scrubbing Mode is great in finding passages in unsorted material, in tracking

crackling, etc. in material – the older generation of sound engineers are, no doubt, very
familiar with this method from analog tape editing.
There are 2 scrubbing modes available (in the playback parameter window - Key P):
Relative: The relative distance between the playback marker (position bar) and the
mouse position can be used to control the speed. The playback marker follows the
movement of the mouse.
Absolute: You can use the absolute position of the mouse in the window to control
the speed:
• Left border = double speed backwards,
• Mids = no movement,
• Right border = double speed forward.
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System options 523
Tip for scrubbing: For small buffer sizes (4000, 2000 samples) scrolling is "softer".
Test if your computer functions at this buffer size without drop-outs. Combining with
the Soft Scroll Mode guarantees that working on your computer is easy and fast.
Global playback device

Here you can define the driver of the sound card which is to be used for playback if
playback is to occur via a card. This is particularly important if you have a sound card
with several outputs or if you have several cascadable sound cards in your computer.
Program
General:
Open VIP and record window on program start: If this option is active, Samplitude
Music Studio will automatically open an empty virtual project (VIP) and the
"Recording parameters" dialog when the program is started.
Open wave projects in destructive editing mode: If this option is activated, waves
projects are opened in destructive editing mode (view page 76).
524
Lock VIP size against zoom out: If you zoom the virtual project out beyond the
section size, this option will automatically stop it from being extended.
Playback marker independent of range: This option allows the playback marker to be
set independently in "Loop" mode and playback to be started outside of the selected
loop range.
Performance display: This option activates the DSP performance display in the lower
left corner. Your PC is overloaded if the displayed rate is 100% or higher. If this is the
case, try one of the following steps:
• Reduce the number of realtime effects in the mixer or in the object editor.
• Reduce the number of tracks by muting tracks that are not needed.
• Increase the VIP buffer size (keyboard shortcut: Y) to 16000 or 32000 samples.
Note the comments displayed in the status bar if an overload occurs during real-time
monitoring of complex effects.
Search for online updates: When this option is activated, Samplitude Music Studio
will automatically search for updates each time it is started.
Hide wave projects loaded into virtual projects: Hides windows in wave projects that
are loaded directly into the VIP.
Show project tooltips: If this option is active, additional information is displayed when
the mouse pointer hovers over an interactive element.
Show extended project tooltips: If this option is activated, the extended tooltips are
displayed if the mouse pointer is held over an interactive element.
Keep FX dialogs on top: This option keeps all effect dialog windows "on top" of all
other windows.
Use snap for automation curve points: Select this option to set automation curve
points while moving set values on the grid.
Reset global "Do not show this message again": Pressing this button reactivates all
tips dialogs which you have deactivated over time.
Folders
New virtual projects: All new virtual projects as well as recorded and imported wave
projects will be saved under this path.
Project files: All other wave files which are to be saved on the hard drive and cannot
be allocated to a specific project are saved through the specified path.
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System options 525
FTP Download: All files downloaded via the integrated FTP client will be saved
through the specified path.
Temporary Files: This preset path is directed to the standard temporary files folder.
Please ensure that this folder is on a hard drive or partition with sufficient free storage
space.
Undo definitions
The depth of undo can be specified when working with VIPs. A value of “20” means
that the last 20 changes can be undone.
Keyboard, menu & mouse

In this dialog you can freely specify keyboard shortcuts for all menu functions in the
main menu and for the Solo JamSession. This makes it possible to set the commands
you use most often to special key combinations so they can be opened quickly.
The keyboard shortcut settings are saved to the MusStu.ini file in the Windows
directory when you exit Samplitude Music Studio. It is also possible to export sets of
keyboard shortcuts or menu definitions in files.
526
Note: Users of previous Samplitude Music Studio versions can thus load the old
menu structure; we have included a "Menu" file for this purpose.
The key function of the dialog is the display of the entire menu tree of Samplitude
Music Studio.
Here, you can select for which menu item you want to create a new shortcut or
whether the menu item should appear in the main menu of Samplitude Music Studio.
Note: Shortcuts in brackets (<>) cannot be changed.
Shortcut list
Export list: You can use this to export the shortcut as a list in a text file in different
formats. A window will open in the shortcut editor which displays a complete list of
the current shortcuts. The "Copy" button can be used to copy this list to the Windows
clipboard to be edited and printed using a text editor.
Reset: Activates all preset shortcuts again.
Load/Save: Previously saved shortcuts are loaded and activated or the current
shortcuts are saved under a file name.
Shortcut
To add a new shortcut, click on the desired menu item and then on the input box at
the bottom. Then click on the shortcut key.
You can also use combinations of any key with "Shift", "Alt", or "Ctrl". Please do not
use the space bar, "Esc", or "Insert" key ("0" on the number block), since the functions
of these keys are permanently set in Samplitude Music Studio and cannot be
changed.
Assign shortcut: This button can be used to activate the key sequence on the left as a
shortcut. A warning will be displayed if this command has already have been
assigned. However, you can also check in advance whether the key combination has
already been assigned. To do this, click "Search" (binoculars) once the key sequence
has been entered. An assigned menu command will then be displayed in the top list.
Delete: Deletes the selected shortcut.
Assigned: Shows all the shortcuts assigned to menu points. You can assign menu
commands to multiple shortcuts.
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System options 527
Mouse
You can define several special options for keyboard and mouse to achieve
compatibility with older versions. These are:
• Disable range zoom for double mouse clicks
• Zoom lasso allows vertical zoom without "Shift" key
• Disable zoom for vertical mouse movement in timeline
• Downward compatible use of "Shift - click" on mute/solo/record (instead of "Alt
+ Shift" - click). This lets you change the keyboard shortcut for "exclusive
switching" of solo, mute and record. By clicking the "Solo/Mute/Record" button
for the selected key combination "Shift + Alt" / "Shift", you can switch the
individual channels temporarily to "Exclusive" mode.
• Treat knobs like faders: If this option is active, knobs can be pulled up and down
like faders by dragging with the mouse.
• 2nd click required to move objects: This option requires a second click for
moving objects. The first click selects objects and prevents unintentional
moving.
• Move delay: When an object is selected by clicking on it, you might
unintentionally move the object. If "Move threshold" is activated, Sequoia will
wait the set time before it performs the shift.
"Mouse wheel" allows you to re-define the function of the mouse wheel for zooming
and scrolling in the virtual project. You can define which modifier ("Alt", "Ctrl",
"Shift") controls which function in combination with the mouse wheel.
528
Effects
VST//ReWire
Keyboard shortcut: "Y" > "Effects" > "VST/Rewire"
VST Plug-in folder list: Set the paths for your VST plug-in effects and VST
instruments here. You can add or remove search paths for VST plug-ins with "Add" or
"Remove". With "Scan" Samplitude Music Studio will scan the selected folder for
VSTs. Not only are all the plug-ins imported, but they are also checked for usability
within Samplitude Music Studio. More information regarding this dialog and general
information on installing VST plug-ins can be found under Installation of VST Plug-Ins
(view page 229).
The option "Scan user and system VST folders automatically for new plugins" runs an
automatic scan for plug-ins each time the program is started. This can slow down the
program start considerably, especially if you have a lot of plug-ins installed.
Activate ReWire: If this option is activated, rewire-compatible client applications can

be integrated into Samplitude Music Studio as synthesizers.
ReWire is generally used for sample-exact, real-time transfer of audio channels

between two programs. Both programs can be connected through the same sound
card. The transport functions of the applications (such as playback and
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System options 529
forward/reverse) are connected with ReWire. If ASIO drivers are being used, sounds
from ReWire-compatible applications can be assigned to different sound card
outputs.
To integrate ReWire applications into Samplitude Music Studio, find the

ReWire-compatible instrument that you want to connect with Samplitude Music
Studio in the "MIDI out" slot of the track editor by going to "New Instrument >
ReWire" The instrument outputs of the ReWire application can be opened in the
"Audio in" slot of every track.
The tempo is always configured according to the settings specified in Samplitude

Music Studio, i.e. Samplitude Music Studio is the master. The tracks/channels
connected with ReWire-enabled software can be edited with the equalizer, effects,
and other plug-ins and then routed to the available buses.
Note: Make sure that the set sample rates of the two applications connected with
ReWire match one another so that playback at the correct pitch can be guaranteed.
Additional information about ReWire is available in "ReWire client applications".
Plug-in Buffer
The default presets usually cover most applications when working with plug-ins. Try
out various presets if you are experiencing problems with plug-ins or DSP cards.
You can enter the maximum buffer size that will be applied to VST plug-ins. The
following special values apply in this case:
0: The program sets the buffer size.
-1: The ASIO buffer size is used
The VST buffer size is equal to the standard VIP buffer size. To use the ASIO buffer
size in the Hybrid Engine, enter the value "–2" or select the "Forced ASIO buffers
(Hybrid)" preset. The "Forced VIP buffers (use UAD & Powercore in economy
engine)" setting diminishes latency with UAD/Powercore plug-ins.
VST automation resolution

The Hybrid Engine uses the ASIO buffer size. To achieve shorter automation times in
the "Economy Engine" (which works with VIP buffers), enter a corresponding lower
value here.
You can also activate the "Start all object-related plug-ins at play start" option. Some
plug-ins cause delays when switched on; in this case, these plug-ins should be
530
activated before starting playback, otherwise errors may occur when the
corresponding objects are played back.
Destructive effect calculation

The behavior during the effect calculation for VIP objects can be defined here.
The dropdown menu of the dialog provides selection between three styles of saving
when executing offline effects. Saving is required in order to be able to undo offline
effects.
• Append effect to original file: The object with the calculated effect is added to
the original file. However, this has some disadvantages: When working in an
integer wave file, the effect is also saved at this resolution, which is not always
desirable when working with 32-bit resolution. The length of the WAV file is
also changed, which may cause problems when working with looped objects or
in various VIPs.
• Write effect to an effects file (._FX.wav): The result of the effect calculation is
written to a separate file with the extension "_FX.wav" so that the original audio
file remains untouched. This also makes it possible to execute the effect
calculation in the 32-bit float format, to save it and thereby keep the full quality
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System options 531
of the effect. The file is not overwritten with every new effect calculation, but
rather the new effect is simply added to the effect file.
• Generate a new effects file for each effect: All offline effects are saved in
separate files with sequential numbers. Alternatively, these files can be given
detailed names featuring effect descriptions and the date.
The effects file can also be saved in the format of the output file or in the 24-bit
format.
Destructive effects calculation in wave projects

When opening a offline effect in audio files, the result of the effect calculation is
always added to the opened audio files. The options of the offline effect calculation on
VIP objects described above are not taken into account.
If an effect is applied to a specific range in the audio file, a crossfade may be inserted
between the effect and the original at the beginning and end of this range. Enter the
length of the crossfade in milliseconds.
Moreover, you can calculate a number of additional samples before object start and
after object end.
Preview time (seconds): The preview time is the duration calculated for listening to
effects in the preview function.
The freeze options refer to the "Track Freeze" option in the Track (view page 392)
menu.
532
Quick setup
The Quick setup dialog reduces the extensive settings options of Samplitude Music
Studio to the basics.
Sound card & driver: Select the driver system or the sound card to be used. Entries
which start with "Asio" are ASIO drivers which enable shorter latencies, e.g. to play
VST plug-ins live etc.
Note: If your sound card offers ASIO drivers, then it's best to use them. Only use
"ASIO MAGIX Low Latency" drivers if you are having problems.
Audio: Input & Output: Select the input and output channels for your sound card,
which should be preset for recording or playback.
MIDI: Input & Output: Select the MIDI input and output devices which should be
preset for recording or playback.
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System options 533
Mixer preset: These are the most conventional presets for different applications
concerning track number, AUX and submix buses.
Plug-in folder: Enter the path to the installed VST plug-ins.
Advanced: This switches to the Settings dialog with all available options (view page
464).
534
Project options
Here you will find all settings that are specific to Wave projects (.HDP) and virtual
projects (.VIP).
Project Options - General

Shortcut: I
Here you can see the most important information about the current project at a
glance. This includes Bar/BPM, Recording, Editing, and Snap/Grid settings.
Project Options - General

Sample rate (Hz): This indicates the project's sample rate. You can also change the
sample rate for the project
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Project options 535
and adjust audio and MIDI objects to the modified sample rate.
Project start time: Specify the project's starting time here.
Project length: The project length is displayed here in bars and beats.
General project options – recording/editing

Here you'll find various presets for recording and editing:
Lock recorded objects: Protects against unintentional moving of recorded objects.
Group objects after multirecord: Objects that belong together will be grouped in a
multitrack recording.
Destructive editing mode (only for audio files): Detailed information about
destructive offline audio editing can be found in the chapter "Basic Terms > Audio
Editing in Samplitude Music Studio" (view page 76).
Auto Crossfade Mode: Use this function to activate a mode which adds a crossfade
to all newly recorded objects, objects created from cuts or audio files that you
imported to your project. Every object can be assigned a standard fade-in which can
be edited in the "Object editor fade" menu under "Get/set global crossfade". If two
objects overlap in this mode, a realtime crossfade will occur at the intersection.
CD Arrangement Mode: If this menu item is activated, Samplitude Music Studio

arranges newly added objects to insert a "Red Book Standard" pause between the
objects. "Red Book" is a standard for audio CDs that sets the technical specifications
for all CD and CD ROM formats.
536
Project options - Bar/BPM

Bar/BPM/PPQ: Enter the time signature (counter/signature), the tempo in beats per
minute (BPM), and the timer resolution in peaks per quarter (PPQ/clicks per quarter
note) here.
Get BPM from selected range: If you enter the number of beats into the field beside
"Selected range has beats:", Samplitude Music Studio will calculate the BPM based on
the selected range when the button is pressed.
General Project Options – Snap / Grid

Snap to: Switches the global snap on/off.
Objects: This option activates the object snap. This lets objects snap exactly to the
edges of other objects.
Range: Activates the range snap and enables the current range to be used as the basis
for snapping.
Beats/Bars: Activates a grid with bars as the basis for snapping.
Beats (relative): Also this option activates a grid which uses beat intervals as its
basis. For example, here you can move a selected object while maintaining its relative
distance to the closest marker according to the set bar grid.
Grid/Frames: This option activates a frame-based grid.
Frames (relative): This option also activates a frame-based grid where the object
maintains its relative distance to the closest grid marker when moved.
Snap offset to project start: Sets the snap offset relative to the beginning of the
project. "Use current position for offset" specifies the current position of the playback
marker as the grid's zero position.
Show grid: If a check is placed here, the grid will be displayed for the project according
to the snap unit set in the selection box beside it.
Use snap offset also for grid: The snap offset is used as a reference size for the grid.
General Project Options - Standard pitch for tuner

This field indicates a standard pitch of A at 440 Hz. You can change this setting if you
want to use an alternative tuning for the Samplitude Music Studio internal tuner (view
page 457).
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Project options 537
Save automatically
The Autosave dialog is available via the project options.
Here you can adjust the settings for creating backup projects. The button View
backup project opens the selected backup in the arranger.
The button Restore backup status ensures restores the project to the status of the
backup. If the current project was changed beforehand and not yet saved, you can
save the latest status with the addition of _OLD.vip.
The "Autosave" can be activated by clicking this checkbox. Select between the
following options:
Save to original: Overwrites the original file with the current status at specific
intervals. If the Save in sub-folder option is selected, the previous status, i.e. the last
but one status, will also be updated in the Backup sub-folder.
Add backup file (*bak.VIP): Adds a backup file and updates this at specific intervals.
If the Save in sub-folder option is selected, the backup file will be updated in the
Backup sub-folder each time it is saved.
Max. 10 backup files (*bak0.VIP to *bak9.VIP): Specify save intervals for up to 10

backup files and number them. If the Save in sub-folder option is selected, the backup
files will be updated in the Backup sub-folder each time they are saved. After 10
backup steps, the last backup file is given the extension *bak9.VIP: in contrast, the
oldest backup file is deleted whereas the others move down in the numbering.
538
No automatic save during recording (avoid recording errors): Automatic saving

during recording is set to inactive to avoid recording errors. Deactivate this option in
order to save automatically during recording.
Save automatically after finished recording: When this option is activated, the
project is automatically saved directly after the recording has been completed.
Mixer setup
Opens the mixer setup dialog where you adjust the general settings for the mixer
routing design.
See Mixer Setup (view page 370)
Synchronization
Opens the synchronisation dialog (view page 341). Here you can specify whether
Samplitude Music Studio should operate as master or slave, which protocol to use,
and which interface should be used to send or receive synchronization data.
If you still have questions
Tips for Program Help

When the program is open, you can access the Help feature by pressing F1 on your
keyboard. The program Help contains tips on how to use the program and lots of
additional information. Many important terms are indicated in the text in italics.
Simply click on these terms for a more detailed explanation of what they mean.
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If you still have questions 539
Context Help: Press the “F1” key on your keyboard at any point in the open program
and Help will open with the matching help topic.
Search function: This feature can be used to look for specific words in the Help
section. Enter either the individual word or use logical operators (e. g. OR, AND,
NEAR) to refine your search if you have several search words.
• OR (between two words): all topics which contain both words or one of the
words will be listed.
• AND (between two words): only those topics will be listed which contain both
words.
• NEAR (between two words): only those topics will be listed which contain both
words. A maximum of 6 additional words are allowed between two search
words.
• NOT (before a word): topics which contain this word will not be listed.
Print: The print function can be used to print out specific Help topics or entire topic
sections. The print button is located at the very top of the toolbar in the Help window.
Minimum System Requirements:

• Operating system: Microsoft Windows Vista | 7 | 8 | 8.1 | 10
Minimum configuration
• Processor: 1.5 GHz or higher
• RAM: 2 GB (4 GB for 64-bit version)
• Hard drive space: 4.3 GB free
• Graphics card: Min. resolution 1280 x 768
• Sound card: Onboard
• Drive: DVD
• Internet connection required for activating and validating the program.
Software can also be used offline.
Optional:
• Burn CDs with a CD±R(W) recorder
• MP3 export with Windows Media Player 10 or higher
Note: Artist rights and ancillary publisher copyrights must be respected. Only
non-copy-protected Audio CDs can be imported.
540
Uninstalling the program

In Windows 10, you can uninstall Samplitude Music Studio under "Windows Settings"
> "Apps".
In older Windows systems, go to the Control Panel and select "Software" or

"Programs and Features" to uninstall Samplitude Music Studio.
Serial number
A serial number is included in each product. This serial number is required for
software activation. Please store this number in a safe place.
What does a serial number do?

With a serial number your program license is clearly assigned to you and only you.
This allows you to use the free customer service via email.
Serial numbers also help protect against software piracy. This makes it possible for us
to offer our customers the most value for their money.
Where is the serial number located?

For boxed versions of the program, the serial number can be found on the insert card
inside the box.
If you have purchased a download version, you will receive a confirmation email
containing the serial number that you can use to activate the program. This will be
sent immediately following purchase to the email address you provided.
When is the serial number needed?

The serial number is required when you start the program the first time, as well as for
program registration.
www.magix.com
More about MAGIX 541
More about MAGIX
magix.info
Do you have questions, need help, or are looking for expert tips and tutorial videos on
using your MAGIX product? At magix.info you will find answers and solutions as well
as workshops and a comprehensive user forum for software and multimedia queries.
You can access magix.info online at www.magix.info
Soundpool DVD Collection

Samplitude Music Studio includes thousands of sound and video building blocks.
Other media can be ordered later. MAGIX Sound Essentials includes professionally
produced loops and samples in impressive quality – the ideal enhancement for the
most varying of music styles, including:
• Ambient
• Big Beat
• Easy listening
• Dance / Electro
• Disco / House
• Soundtrack
• Hip hop
• Rock/Pop
• Techno / trance
• Special effects
In the upper menu bar under "Tasks" > "Discover more", you can order the MAGIX
Sound Essentials directly.
Tip: At www.magix.com you'll always find the latest soundpool offers.

542
Index
(
(Track) Automation Mode ................................................................................................. 428
0 -> Range <- 0 ..................................................................................................................... 384
1 Mono -> LR Wave.............................................................................................................. 360
2 Mono -> LR Wave ............................................................................................................. 360

2 Mono -> Stereo Wave.......................................................................................................359
24-bit audio support ............................................................................................................... 74
AAC ...........................................................................................................................................358
About Samplitude Music Studio ....................................................................................... 464
Accidental ................................................................................................................................ 214
Activate Previous/Next Track ............................................................................................398
Adapt tempo .......................................................................................................................... 306
Add one track..........................................................................................................................389
Add scale values.................................................................................................................... 500
Add several tracks .................................................................................................................389
Adding a Hardware Controller using a Controller Preset............................................473
Adding a New Empty Hardware Controller Preset .......................................................475
Adding synthesizers ................................................................................................................ 26
Adding the same control element to multiple tracks/slots ....................................... 487
Addressing an instriment on several MIDI channels....................................................233
Adjust instrument parameters ...........................................................................................234
Adjusting and optimizing the score ................................................................................. 209
Adjusting the assignment of a control element .................................................. 474, 486
Advanced ................................................................................................................................ 405
Advanced options ..................................................................................................................232
AIFF............................................................................................................................................359
Algorithm for Time Stretching/Pitch Shifting ............................................................... 344
Amplitude / Normalize ....................................................................................................... 429
Amplitude / Normalize > Loudness adaption ............................................................... 430
Amplitude/Normalize > Fade in/out................................................................................ 431
Amplitude/Normalize > Set zero....................................................................................... 431
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Index 543
AM-Track SE........................................................................................................................... 432

Analog Delay.................................................................................................................. 139, 432
Analog delay parameter....................................................................................................... 140
Analog filter 12/24db ........................................................................................................... 255
Analogue Modelling Suite AM-Track SE................................................................ 125, 432
Applications ............................................................................................................................ 335
Area Above all Selected Items ........................................................................................... 385
Arranging MAGIX Soundpool loops....................................................................................22
Arranging the synth object.................................................................................................. 243
Articulation.............................................................................................................................. 276
Assigning a new function ....................................................................................................486
Assigning subfunctions....................................................................................487, 488, 489
ASSIGNMENT ............................................................................................................... 507, 512
Audio..................................................................................................................................47, 394
Audio Editing in Samplitude Music Studio.................................. 76, 373, 399, 523, 535
Audio files...................................................................................................................................55
Audio settings.................................................................................................................. 19, 466
Auto crossfade active ...........................................................................................................388
Automastering......................................................................................................................... 123
Automatic Pitch Correction ........................................................................................ 169, 172
Automation .................................................................................46, 96, 244, 249, 252, 280
AUTOMATION ............................................................................................................. 509, 513
Automation – context menu ...............................................................................................289
Automation draw mode..........................................................................................................87
Automation Draw Mode......................................................................................................288
Automation lanes ...........................................................................................................50, 285
Automation menu.................................................................................................................. 427
Automation Mode ................................................................................................................. 293
Automation modes ............................................................................................................... 282
Automation via VST plug-in/VST parameter dialog.....................................................281
Autoscroll ...................................................................................................................... 459, 522
AUX............................................................................................................................................. 48
AUX buses............................................................................................................................... 100
Balancing the signal .................................................................................................................73

Basic Settings.......................................................................................................................... 473
Basics of MIDI interfaces and cabling ............................................................................... 175
Bass amp................................................................................................................................... 135
Bass section (lower pane) ................................................................................................... 258
Beat Markers...........................................................................................................................344
Beat signature..........................................................................................................................214
BeatBox 2 plus ........................................................................................................................244
Beginning of Range <- 0.......................................................................................................384
Beginning of Range -> 0.......................................................................................................384
BitMachine ..................................................................................................................... 142, 433
BPM Markers (red) ............................................................................................................... 322
BPM Value...............................................................................................................................344
Build loop object.....................................................................................................................403
544
Build physical loop ................................................................................................................ 438

Burn Project Backup on CD/DVD......................................................................................367
Burning CDs............................................................................................................. 71, 295, 441
Burning CDs in Samplitude Music Studio........................................................................295
Buses and routing................................................................................................................... 100
Calculating audio effects........................................................................................................ 34

CD Arrange Mode........................................................................................................373, 447
CD disc options ..................................................................................................................... 445
CD menu .................................................................................................................................. 441
CD track/index manager.................................................................................. 296, 441, 443
CD-Text/MP3-ID-Editor..................................................................................................... 446
Cell mode ..................................................................................................................................197
Change Bit Resolution............................................................................................................361
Change Global Tempo ................................................................................................ 333, 382
Change mode .......................................................................................................................... 461
Change play direction ........................................................................................................... 412
Change Range Borders............................................................................................................ 68
Change sample rate...............................................................................................................437
Changing entered scale values .......................................................................................... 500
Changing object borders in virtual projects ...................................................................... 58
Channels..................................................................................................................................... 95
Chorus.................................................................................................................... 147, 253, 436
Chorus flanger parameters ...................................................................................................153
Chorus parameters ................................................................................................................ 147
Chorus/Flanger.....................................................................................................150, 152, 439
Clean up....................................................................................................................................366
Clear freeDB Cache .............................................................................................................. 448
Clef............................................................................................................................................. 214
Close Project ...........................................................................................................................369
Color mode .........................................................................................................................50, 89
Comments..................................................................................................................................48
Compression Expert Settings.......................................................................................126, 131
Compression Parameters..................................................................................................... 129
Compressor ..................................................................................................109, 150, 159, 432
Compressor Section .............................................................................................................. 126
Connect ....................................................................................................................................345
Connect MIDI Keyboards .....................................................................................................175
Console ...................................................................................................................................... 151
Contents ..................................................................................................................................... 63
Contents and Index............................................................................................................... 463
Context Help… ....................................................................................................................... 463
Context menu......................................................................................................................... 246
Control bars ............................................................................................................................ 458
Control LED knobs ................................................................................................................ 495
Controller ................................................................................................................................. 491
Controller configuration .................................................................................... 502, 505, 517
Controller Customization - Setup and Functioning...................................................... 476
www.magix.com
Index 545
Controller Editor.................................................................................................. 185, 200, 225

Controller Editor Tips............................................................................................................203
Controller Learning with Easy Learn (Plug-in and Mixer Elements) ..............483, 495
Convert MIDI objects into audio files................................................................................178
Copy ................................................................................................................................ 208, 377
Copy / Paste track effects settings......................................................................... 393, 394
Copy + Clear ........................................................................................................................... 378
Copy as… (Wave-Project)................................................................................................... 378
Copy objects ...........................................................................................................................402
Copy tracks..............................................................................................................................390
Copy, Paste, Delete ............................................................................................................... 427
Copyright ...................................................................................................................................... 2
Correcting incorrectly recognized control elements ................................................... 490
Create automation curves ...................................................................................................280
Create group .......................................................................................................................... 408
Create new point at playback position.............................................................................290
Create ranges.............................................................................................................................83
Create Remix Objects...........................................................................................................305
Creating Tempo Tracks........................................................................................................ 329
Crossfade .................................................................................................................................388
Crossfade editor..............................................................................................51, 58, 298, 388
Crossfade Editor.....................................................................................................................388
Crossfade with Clip ...............................................................................................................380
Crossfading with the crossfade editor .............................................................................298
Curve Color... .......................................................................................................................... 427
Curve generator ........................................................................................................... 290, 427
Curve generator - options for envelope calculation (beat-based) ........................... 292
Curve mode ................................................................................................................................83
Customer Support .................................................................................................................... 12
Customizing Controllers ...................................................................................................... 475
Cut ............................................................................................................................................. 378
Cut mouse mode...................................................................................................................... 86
Cut objects ..............................................................................................................................402
Cut tracks.................................................................................................................................390
Cutting ........................................................................................................................................ 20
Deactivate Program ..............................................................................................................464

DeClipper .................................................................................................................................434
DeEsser......................................................................................................................................166
DeEsser Parameters...............................................................................................................166
Defining and search for ranges ...........................................................................................316
Delay / Reverb........................................................................................................................ 432
Delay/Reverb.......................................................................................................................... 432
Delete........................................................................................................................................380
Delete all curves..................................................................................................................... 293
Delete All Curves......................................................................................................... 293, 428
Delete all markers..................................................................................................................424
Delete Freeze Data................................................................................................................369
546
Delete hotspot ....................................................................................................................... 409

Delete marker......................................................................................................................... 424
Delete Markers in Range..................................................................................................... 424
Delete notation symbol ....................................................................................................... 208
Delete notes ........................................................................................................................... 208
Delete objects ........................................................................................................................ 402
Delete track(s).........................................................................................................................391
Delete Unused Samples ..............................................................................................319, 368
Delete Virtual Project (VIP) ................................................................................................366
Delete Wave Project(s)........................................................................................................367
Deleting markers, changing marker name, position, and type ....................................316
Deleting, renaming and editing objects.............................................................................313
Destructive Editing ...............................................................................................................400
Destructive effect calculation ............................................................................................ 530
Destructive Wave Edit Mode..............................................................................................373
Device Settings ........................................................................................................................371
Dialog menu ............................................................................................................................235
Digital transfer .......................................................................................................................... 74
DirectX plug-Ins .....................................................................................................................398
DISPLAY ..........................................................................................................................508, 512
Display automation curves options...................................................................................293
Display interval (ms)............................................................................................................ 493
Display mode ......................................................................................................................... 493
Display track automation (default setting) .....................................................................293
Dissolve group ....................................................................................................................... 408
Distortion ............................................................................................................... 141, 255, 433
Distributing sounds on multiple single tracks ................................................................233
DN-e1 ........................................................................................................................................269
Do not display automation ..................................................................................................293
Do not send SysEx data....................................................................................................... 494
Docking.......................................................................................................................................40
Download more instruments/Sounds/Soundpools..................................................... 464
Drum Editor ............................................................................................................................. 196
Drum Editor trackbox............................................................................................................ 198
Drum kit................................................................................................................................... 246
Drum Map Editor ................................................................................................................... 199
Drum Maps......................................................................................................................197, 199
Drum section (top half)........................................................................................................257
DSP display ..............................................................................................................................297
DSP display and writing speed ...........................................................................................297
Duplicate and move.............................................................................................................. 402
Duplicate objects multiple.................................................................................................. 402
Duplicating objects..................................................................................................................80
Dynamics.................................................................................................................................. 431
Echo ...................................................................................................................................113, 432

Edit ............................................................................................................................................ 402
Edit curve – copy, paste, delete ..........................................................................................292
www.magix.com
Index 547
Edit curve – curve color........................................................................................................ 293

Edit curve – inactive .............................................................................................................. 292
Edit curve – invert .................................................................................................................. 292
Edit in the Tempo track (only BPM mode) .....................................................................330
Edit Menu................................................................................................................................. 376
Edit MIDI..............................................................................................................................27, 29
Edit next point at playback position..................................................................................290
Edit notes with the mouse.................................................................................. 191, 193, 225
Edit object parameters .......................................................................................................... 313
Edit objects .................................................................................................................................25
Edit range parameters ........................................................................................................... 317
Edit selected curve ................................................................................................................ 427
Edit selected curves – thin out ........................................................................................... 292
Edit toolbars ............................................................................................................................ 375
Editing Automation Curves.................................................................................................288
Editing automation curves in universal mouse mode ..................................................... 81
Editing curves .........................................................................................................................290
Editing events in the Matrix Editor (Piano Roll) ............................ 185, 190, 224, 225
Editing keyboard shortcuts and menus............................................................................ 375
Editing MIDI data in the score sheet ................................................................................207
Editing MIDI objects ...............................................................................................................181
Editing Pitch ..............................................................................................................................171
Editing selected events (edit fields) ..................................................................................194
Editing Toolbars .............................................................................................................. 53, 375
Editing velocities and automation values .................................................... 248, 249, 250
Effect slots ............................................................................................................................... 104
Effects ..........................................................................................................................18, 33, 528
Effects and effect plug-ins....................................................................................................103
Effects Menu ...........................................................................................................................429
Effects presets .........................................................................................................................107
Effects rack ....................................................................................................................... 48, 106
Effects section ........................................................................................................................ 252
eFX_ChorusFlanger ...............................................................................................................436
efx_Compressor ..................................................................................................................... 432
eFX_Phaser..............................................................................................................................436
eFX_StereoDelay ................................................................................................................... 432
eFX_Vocalstrip .......................................................................................................................436
élastique Efficient....................................................................................................................174
élastique Pro............................................................................................................................. 173
Embedding external effects devices ...................................................................................101
End of Range <- 0 ..................................................................................................................384
End of Range -> 0 ..................................................................................................................384
EQ ................................................................................................................................................ 48
Equalizer (graphic) ..................................................................................................................110
essentialFX ........................................................................................................... 150, 432, 439
essentialFX Settings................................................................................................................151
Exchange Grids........................................................................................................................461
Export....................................................................................................................... 36, 357, 365
Export MIDI File... .................................................................................................................. 362
External synthesizers .................................................................................................... 177, 178
548
Extract ...................................................................................................................................... 380

Extracting Audio Files ............................................................................................................381
Fade In / Fade Out and Object Volume ............................................................................. 58

FADER BANKS...............................................................................................................507, 512
Fader Scaling .......................................................................................................................... 499
Fader touch activates track ................................................................................................ 492
Fades ..................................................................................................................................63, 335
File manager ........................................................................................................................... 308
File Menu................................................................................................................................. 349
Filter........................................................................................................................ 138, 346, 432
Filter parameters .....................................................................................................................138
Find zero crossings ............................................................................................................... 384
First entries in the automation context menu ......................................................290, 427
FLAC... .......................................................................................................................................359
Flanger....................................................................................................................148, 253, 436
Flanger parameters................................................................................................................ 149
Flip Range Left.........................................................................................................................383
Flip Range Right ......................................................................................................................383
Folder tracks ...........................................................................................................75, 354, 389
freeDB Options ...................................................................................................................... 448
freeDB Proxy Options .......................................................................................................... 448
freeDB User Data .................................................................................................................. 448
Freezing instruments (freeze) ............................................................................................239
Frequency/Filter.....................................................................................................................432
Frontier AlphaTrack............................................................................................................... 501
Frontier TranzPort................................................................................................................. 505
FUNCTION BUTTONS.................................................................................................508, 513
Functional overview................................................................................................................. 55
Fundamentals........................................................................................................................... 116
Further options in the recording dialog .............................................................................. 75
Further Recording Options .................................................................................................. 418
Gain.............................................................................................................................................. 63
Gate ............................................................................................................................................ 161
Gate parameter........................................................................................................................ 161
General operation ..................................................................................................................345
General Options ..................................................................................................................... 491
General project options – recording/editing...................................................................535
General Project Options – Snap / Grid.................................................................... 321, 536
General Project Options - Standard pitch for tuner ......................................................536
General:.....................................................................................................................................523
Get freeDB Title Info............................................................................................................. 447
Get Range.................................................................................................................................387
Get Range Length...................................................................................................................387
Global buttons........................................................................................................................... 99
www.magix.com
Index 549
Global playback device......................................................................................................... 523

GLOBAL VIEW .......................................................................................................................508
Grid........................................................................................................................................... 460
Grid Lines ................................................................................................................................ 460
Grid Position Markers (green) .............................................................. 324, 326, 382, 425
Grid Tapping ..........................................................................................................321, 327, 381
Grid view ................................................................................................................................. 460
Groups ..................................................................................................................................... 408
Guitar amp................................................................................................................................134
Hard drive recording ................................................................................................................72

Hardware Controller - Internal Mode (............................................................................495
Hardware Controller Presets ........................................................................... 473, 474, 501
Hardware Controllers ...........................................................................................................473
HD Wave (*.HDP).................................................................................................................. 351
Help Index….............................................................................................................................463
Help Menu...............................................................................................................................463
Hide Automation ...................................................................................................................428
Hide Submix/AUX Busses ................................................................................................. 460
Horizontal ................................................................................................................................462
Horizontal Movement of a Range........................................................................................ 69
Hotspot.................................................................................................................................... 409
If you still have questions .................................................................................................... 538

Ignore all tempo markers, use project tempo only ............................................. 382, 425
Ignore SysEx input data........................................................................................................499
Import ....................................................................................................................................... 352
Importing MIDI data ..............................................................................................................180
Inactive ..................................................................................................................................... 427
Indices (Track markers)....................................................................................................... 441
Info manager ...........................................................................................................................320
Input ................................................................................................................................. 133, 392
Insert ......................................................................................................................................... 379
Insert empty track .................................................................................................................389
Insert grid position marker ...............................................................................327, 382, 425
Insert new notes.....................................................................................................................208
Insert new tracks....................................................................................................................389
Insert notation symbols .......................................................................................................208
Insert objects ..........................................................................................................................402
Insert Several Tracks…..........................................................................................................389
Insert Silence............................................................................................................................381
Insert tempo change .................................................................................................... 381, 425
Insert time signature change .................................................................................... 382, 425
Installation of VST Plug-Ins....................................................................................... 229, 528
Instrument panel and parameter dialog .......................................................................... 234
550
Instruments with multi-channel outputs .........................................................................233

Integrate audio material ......................................................................................................... 22
Invert .........................................................................................................................................427
Invert phase ............................................................................................................................ 436
Jump to and play from marker position ............................................................................315

Jump to marker.......................................................................................................................423
Keep Current Number (Tracks, AUX and Submix Buses)............................................371

Keyboard .........................................................................................................................182, 458
Keyboard shortcuts .............................................................................................................. 248
Keyboard, menu & mouse .................................................................................193, 375, 525
Language: ................................................................................................................................ 464

Lasso function ............................................................................................................. 80, 81, 82
Latency......................................................................................................................................237
Leaving a Range........................................................................................................................ 68
Left/Right Mode....................................................................................................................... 86
Left/Right Move in Page/Scroll Mode ............................................................................. 421
Length Q / MIDI Length Quantization ............................................................................ 406
Limiter ....................................................................................................................................... 162
Limiter Parameters .................................................................................................................163
Linear view .............................................................................................................................. 205
Link All Tracks (Link Objects on All Tracks)...................................................................... 91
Link Curves to Objects............................................................................................................. 91
Link Objects until Pause .......................................................................................................... 91
Link One Track (Link Objects on Active Track) ................................................................ 91
List editor (midi event list) ..........................................................................................185, 195
Load audio CD tracks ............................................................................................................ 441
Load audio file .........................................................................................................................352
Load files from the browser into projects ....................................................................... 309
Load instruments ...................................................................................................................230
Load MIDI File.........................................................................................................................354
Loading audio CD tracks ............................................................................................ 354, 441
Loading routing settings with software instruments ...........................................231, 320
Lock All Audio in Time............................................................................................................90
Lock objects............................................................................................................................ 404
Lo-fi............................................................................................................................................254
Logarithmic ..............................................................................................................................293
Logic Control .......................................................................................................................... 506
Logic Control XT...................................................................................................................... 511
Loop Designer .........................................................................................................................256
Loop Designer overview .......................................................................................................256
www.magix.com
Index 551
Loop Mode................................................................................................................................412
Looping objects ........................................................................................................................ 59
Lower toolbar.............................................................................................................................52
LR Wave -> 1 Mono ..............................................................................................................360
LR Wave -> 2 Mono..............................................................................................................360
Mackie Control.........................................................................................................................511
Mackie Control XT .................................................................................................................516
MAGIX Audio Remote ................................................................................................ 345, 351
MAGIX auto-update .............................................................................................................464
MAGIX Mastering Suite ....................................................................................................... 123
magix.info .................................................................................................................................541
Main Toolbar...........................................................................................................................458
Main Toolbar 2 .......................................................................................................................458
Make CD .................................................................................................................................. 441
Manager ...................................................................................................................................458
Manager/Docker ...................................................................................................................458
Managers ................................................................................................................39, 308, 458
Managers/Docker ....................................................................................................................39
Manipulate Range.................................................................................................................. 382
Manipulating the Tempo Marker in Timestretch Mouse Mode ............................... 328
Manual......................................................................................................................................463
Manual Hardware ID ............................................................................................................499
Mapping control elements ..................................................................................................486
Mapping individual control elements.....................................................................488, 489
Mapping mixer or plug-in control elements ...................................................................486
Mapping modifier keys............................................................................481, 487, 488, 489
Marker ...............................................................................................................................70, 423
Marker Left .............................................................................................................................. 422
Marker manager............................................................................................43, 315, 322, 425
Marker Right ........................................................................................................................... 422
Marker view and selection ................................................................................................... 315
Marker with name ................................................................................................................. 423
Markers on range borders ................................................................................................... 423
Markers with auto numeration .......................................................................................... 423
Master automation................................................................................................................ 287
Master layers .............................................................................................................................72
Master Routing........................................................................................................................ 371
Master section...........................................................................................................................97
Mastering....................................................................................................................................36
Maximize track....................................................................................................................... 392
Menu reference MIDI editor............................................................................................... 224
Metronome active ................................................................................................................. 382
Metronome options ..................................................................................................... 382, 519
Metronome settings ............................................................................................................. 382
MIDI .......................................................................................................... 29, 47, 176, 395, 471
MIDI bouncing........................................................................................................................366
MIDI channel filter........................................................................................................ 187, 224
552
MIDI editor ..............................................................................................27, 56, 169, 185, 399

MIDI Editor ................................................................................................................................ 29
MIDI editor shortcuts............................................................................................................226
MIDI functions ............................................................................................ 216, 219, 220, 224
MIDI Humanize Q................................................................................................................. 405
MIDI Import, record, edit ..................................................................................................... 178
MIDI in Samplitude Music Studio............................................................................... 56, 175
MIDI Input Q (global) .......................................................................................................... 406
MIDI Monitor ................................................................................................................477, 482
MIDI object editor........................................................................................60, 183, 225, 396
MIDI Options... .......................................................................................................................374
MIDI panic – All notes off ................................................................................................... 426
MIDI Ping from controller ................................................................................................... 499
MIDI Ping interval (ms)....................................................................................................... 499
MIDI Ping to controller ........................................................................................................ 499
MIDI Quantization (Standard) .......................................................................................... 405
MIDI quantization settings................................................................................................. 405
MIDI record modes ...............................................................................................................425
MIDI recording modes............................................................................................................ 29
MIDI recordings.................................................................................................................. 16, 27
MIDI score settings dialog.................................................................................................... 211
Minimize none ........................................................................................................................392
Minimum System Requirements: ......................................................................................539
Mix ............................................................................................................................................... 35
Mix with Clip .......................................................................................................................... 380
Mixer ...................................................................................................................72, 78, 92, 450
Mixer - keyboard shortcuts ................................................................................................... 92
Mixer operation with mouse and keyboard ...................................................................... 93
Mixer Settings...............................................................................................................370, 538
Mixer setup..............................................................................................................................538
Mode 1....................................................................................................................................... 461
Mode 2...................................................................................................................................... 461
Modifier Functions................................................................................... 476, 478, 480, 481
MODIFIERS.....................................................................................................................508, 513
Modulation / Special............................................................................................................ 436
Monitoring ...........................................................................................................236, 420, 457
Monitoring > Input monitoring on/off............................................................................. 420
Monitoring > Software monitoring / Software FX monitoring ................................. 420
Monitoring > Tape player monitoring.............................................................................. 420
Monitoring settings ........................................................................ 20, 27, 44, 96, 418, 467
Monitoring switch behavior ........................................................................................96, 469
Mono / Stereo Convert ........................................................................................................359
Mono delay (tempo sync / millisec.) ...............................................................................252
Monophonic voice .........................................................................................................173, 174
More ..........................................................................................................................................397
More about MAGIX .............................................................................................................. 541
Mouse .......................................................................................................................................527
Mouse Functions and Mouse Modes ................................................ 51, 66, 79, 289, 376
Mouse functions for the lower half of the track:..............................................................80
Mouse functions for the upper half of the track: .............................................................80
www.magix.com
Index 553
Mouse mode ........................................................................................................................... 376

Move and transpose .............................................................................................................208
Move automation curve with audio/MIDI data ............................................................289
Move object ........................................................................................................................... 408
Move objects step-by-step ................................................................................................ 409
Move Play Cursor ...................................................................................................................421
Move range end to left ......................................................................................................... 383
Move range end to right ...................................................................................................... 383
Move Range Start Left.......................................................................................................... 382
Move range start to right..................................................................................................... 383
Moving and duplicating objects........................................................................................... 58
Moving and zooming .............................................................................................................194
Moving objects......................................................................................................................... 80
MP3 ........................................................................................................................................... 358
Multi object editing (MO-Editing) ........................................................................... 188, 224
MultiMax ..................................................................................................................................124
Multimax (Offline) .................................................................................................................431
Multi-object editing .................................................................................................................33
Multi-voice notation ..............................................................................................................210
Musical tempo adjustment ................................................................................................. 333
Musikalische Tempoanpassung.................................................................................. 66, 323
Mute objects .......................................................................................................................... 404
Navigation / Favorites..........................................................................................................308
New Folder Track...................................................................................................................389
New MIDI object.................................................................................................................... 401
New MIDI object in the range ............................................................................................ 401
New MIDI track......................................................................................................................389
New submix / AUX bus.......................................................................................................389
New synth object ................................................................................................................... 401
New Virtual Project (VIP) ...................................................................................................349
No audio monitoring (only peakmeter) ...........................................................................420
No fader update after release (Motorized Fader).........................................................494
No indices on Object Crossfades ......................................................................................443
Normal......................................................................................................................................425
Normal Object Mode.............................................................................................................. 90
Normalize.................................................................................................................................429
Normalize (Quick Access) ..................................................................................................430
Notation display in piano roll and controller editor (with velocity curves).............187
Notation display, movement, zoom...................................................................................185
Notation symbols....................................................................................................................214
Note.................................................................................................................................... 511, 516
Note allocation in multiple staves .....................................................................................209
Note display - Interpretation options ................................................................................ 213
Note parameters ....................................................................................................................207
Notes.......................................................................................................................................... 517
Number of tracks ...................................................................................................................492
Number of tracks for bank switch .....................................................................................492
554
Object (*.OBJ).........................................................................................................................352
Object background color...................................................................................................... 410
Object Border Left..................................................................................................................422
Object Border Right ...............................................................................................................422
Object color / name .............................................................................................................. 410
Object editor...........................................................................................................59, 243, 399
Basic functions .....................................................................................................................60
Object effects..................................................................................................................62, 406
Object foreground color ....................................................................................................... 410
Object lasso ............................................................................................................................ 407
Object level................................................................................................................................ 72
Object manager .......................................................................................................................312
Object menu............................................................................................................................399
Object mode..............................................................................................................................84
Object Mode ...........................................................................................................................376
Object modes............................................................................................................ 51, 90, 376
Object name ............................................................................................................................ 410
Object to play cursor position ........................................................................................... 408
Object view and selection.....................................................................................................312
Object/Curve mode ................................................................................................................ 85
Objects........................................................................................................................................ 56
Off mode...................................................................................................................................282
OGG Vorbis... ..........................................................................................................................359
Open .................................................................................................................................351, 482
Opening the score editor..................................................................................................... 204
Operating the mixer ................................................................................................................ 92
Options ........................................................................................................................... 483, 491
Options for controlling the hardware controller ........................................................... 493
Options for loading an audio file ........................................................................................353
Options for the interpretation of hardware controller demands .............................. 495
Orange Vocoder ME............................................................................................................... 121
Oscilloscope: .......................................................................................................................... 456
Output...................................................................................................................................... 494
Overdub ....................................................................................................................................425
Overlapping objects................................................................................................................. 59
Overview ...................................................................................................................................321
Overview Mode ..................................................................................................................... 462
Overview of monitoring and engine modes ................................................................... 468
Overwrite with Clip................................................................................................................379
Page format settings ..............................................................................................................215

Page view ................................................................................................................................ 206
PAN.............................................................................................................................................. 63
Parameter smoothing/ Controller knobs.......................................................................... 151
Parametric EQ .........................................................................................................111, 124, 432
www.magix.com
Index 555
Paste Track(s) ........................................................................................................................390

Paste/Insert Clip .................................................................................................................... 379
Pattern editor - matrix .......................................................................................................... 247
Pattern editor buttons .......................................................................................................... 247
Peak meter...............................................................................................................................455
Peak Meter Mode ..................................................................................................................494
Performance...............................................................................................................................78
Phase correlation ...................................................................................................................455
Phaser ..................................................................................................................... 150, 154, 254
Phaser parameters..................................................................................................................154
Pitch shift/Timestretch mode ...............................................................................................87
Place marker at recording position ................................................................................... 423
Play and monitor instruments live..................................................................................... 236
Play in range..............................................................................................................................411
Play loop.....................................................................................................................................411
Play once ....................................................................................................................................411
Play only selected objects .....................................................................................................411
Play while recording ...............................................................................................................415
Play with preload .....................................................................................................................411
Playback ..................................................................................................................................... 56
Playback / Record menu........................................................................................................411
Playback mode.........................................................................................................................412
Playback Options ................................................................................................................... 372
Playback parameters.................................................................................372, 374, 413, 459
Playback settings ................................................................................43, 372, 374, 459, 521
Plug-in browser ............................................................................................................. 104, 105
plug-ins.....................................................................................................................................439
Plugins ........................................................................................................................................ 48
Plug-ins/EQ................................................................................................................................62
Position....................................................................................................................................... 64
Preparing a MIDI recording....................................................................................................28
Preset management .............................................................................................................. 239
Presets ........................................................................................................................................117
Presets for individual effects................................................................................................107
PreSonus FaderPort................................................................................................................ 517
Preview audio files.................................................................................................................309
Previewing VSTi instrument outputs solo....................................................................... 239
Print notes.................................................................................................................................216
Printing score ........................................................................................................................... 215
Process Effects Offline......................................................................................................... 440
Process messages when dialog is open ...........................................................................493
Process only left (right) stereo channel.......................................................................... 440
Product registration...............................................................................................................464
Program .................................................................................................................................... 523
Program desktop overview.....................................................................................................38
Program Preferences............................................................................................................. 373
Programming the synth object........................................................................................... 243
Project and Mixer Configuration......................................................................................... 371
Project Information…............................................................................................................. 372
Project options........................................................................................................................ 534
556
Project options - Bar/BPM ..................................................................................................536

Project Options - General .............................................................................51, 52, 342, 534
Project Properties...................................................................................................................369
Project Status… .......................................................................................................................373
Project window (VIP).............................................................................................................. 38
Protocol..................................................................................................................................... 491
Punch in mode active ............................................................................................................ 416
Quantization........................................................................................................................... 405
Quantization Grid (................................................................................................................ 216
Quantization settings........................................................ 47, 52, 198, 200, 216, 218, 220
Quantize ............................................................................................203, 216, 225, 405, 406
Quantize Note Ends.............................................................................................................. 406
Quick Access.......................................................................................................................... 430
Quick setup..............................................................................................................16, 465, 532
Quick Setup ................................................................................................................................ 15
Quick start via preset selection ...........................................................................................132
Rack Compressor... ................................................................................................................ 431

Rack effects (FX1/FX2) .........................................................................................................136
Rack equalizer .........................................................................................................................432
RAM Wave (*.RAP) ...............................................................................................................351
Range.........................................................................................................................................382
Range All ..................................................................................................................................382
Range end to right marker ...................................................................................................385
Range End to Right Object Border .....................................................................................385
Range Length...........................................................................................................................386
Range manager ..............................................................................................................316, 387
Range mode (safe mode)....................................................................................................... 83
Range Not Over Tracks.........................................................................................................385
Range Over All Tracks ..........................................................................................................386
Range Over Current Track ...................................................................................................385
Range start to left marker ................................................................................................... 384
Range Start to Left Object Border......................................................................................385
Range to Beginning ................................................................................................................383
Range to End............................................................................................................................383
Range trackbouncing.............................................................................................................365
Ranges......................................................................................................................................... 66
Reactivating a Range ............................................................................................................... 68
Read mode ...............................................................................................................................282
Real-time Audio Editing ......................................................................................................400
Real-time Audio Editing - Master Section....................................................................... 401
Rebuild Graphic Data ........................................................................................................... 459
Recall Last Range ...................................................................................................................387
Recent File................................................................................................................................375
Record .......................................................................................................................... 17, 72, 415
www.magix.com
Index 557
Record devices................................................................................................................. 19, 470

Record mode / Punch in .......................................................................................................415
Record without playback ......................................................................................................415
Recording .................................................................................................................................396
Recording and playback of an instrument....................................................................... 237
Recording automation in......................................................................................................288
Recording MIDI tracks...........................................................................................................178
Recording Options.................................................................................................. 75, 319, 417
Recording settings ..................................................................................................................519
Recording source ......................................................................................................................73
Remix Agent................................................................................................................... 301, 410
Remove All Indices................................................................................................................443
Remove DC offset (offline) ................................................................................................. 433
Remove Index .........................................................................................................................443
Remove punch markers........................................................................................................425
Remove Range ........................................................................................................................ 385
Removing a Controller from the List................................................................................. 475
Rename Marker......................................................................................................................424
Rename Project... ...................................................................................................................366
Rename, delete, and insert tracks.......................................................................................314
Repeat Last Position(s) ........................................................................................................422
Replace .....................................................................................................................................426
Replace with silence...............................................................................................................381
Request hardware ID ............................................................................................................499
Requirements for playing live ............................................................................................. 236
Resample................................................................................................................................... 173
Resampling / Time Stretching / Pitch Shifting .................................... 65, 172, 344, 433
Resampling/Time stretching .............................................................................................. 433
Reset MIDI Quantization .................................................................................................... 406
Reset Toolbars........................................................................................................................ 375
Reset track effects settings .................................................................................................394
Restart playback......................................................................................................................412
Restoration .............................................................................................................................. 433
Restore...................................................................................................................................... 376
Restore original program settings .....................................................................................464
Reverb .............................................................................................................115, 155, 347, 432
Reverb parameters ................................................................................................................. 155
Reverse ........................................................................................................................... 437, 438
Revolta 2 .................................................................................................................................. 273
Revolta 2 interface................................................................................................................. 274
ReWire.......................................................................................................................................241
Robota....................................................................................................................................... 259
Room reverb / Hall reverb...................................................................................................254
Route MIDI instrument inputs ........................................................................................... 233
Routing ...................................................................................................................................... 371
Routing instrument MIDI inputs........................................................................................ 239
Routing instrument outputs ................................................................................................ 238
Routing the signal ....................................................................................................................101
Routing VST instruments using the VSTi manager ............................................ 238, 320
558
Sample manipulation.............................................................................................................437
Samplitude Music Studio options..................................................................................... 492
Save automatically.................................................................................................................537
Save Complete VIP in............................................................................................................366
Save in format ........................................................................................................................ 360
Save Object..............................................................................................................................357
Save Project .............................................................................................................................356
Save Project as........................................................................................................................357
Save Session... .........................................................................................................................357
Save tempo and bar info.......................................................................................................307
Save/recall range ..................................................................................................................... 69
Schematic illustration of the Robota synthesis ....................................................260, 262
Score editor........................................................................................................... 185, 204, 225
Score editor modes............................................................................................................... 204
Score sheet ............................................................................................................................. 207
Scrubbing ........................................................................................................................414, 522
Scrubbing Mode ....................................................................................................................... 88
Searching for menu commands and help topics........................................................51, 54
Section to play cursor/last stop position.........................................................................422
Sections ................................................................................................................................... 459
Select all objects.................................................................................................................... 407
Select Dialog Function ................................................................................................479, 492
Select Next Curve ................................................................................................................. 294
Select next object.................................................................................................................. 407
Select objects ......................................................................................................................... 407
Select objects > Switch selection...................................................................................... 408
Select objects under playback marker/range................................................................ 407
Select previous curve ........................................................................................................... 294
Select previous object.......................................................................................................... 407
Select Takes..............................................................................................................................318
Selecting a Range ..................................................................................................................... 66
Selecting MIDI events........................................................................................................... 186
Selecting objects ......................................................................................................................80
Selection .................................................................................................................................. 207
Separate MIDI objects according to channels............................................................... 404
Sequencer........................................................................................................................197, 265
Serial number ......................................................................................................................... 540
Session (*.SAM).....................................................................................................................352
Set also Pause Indices on Object Ends............................................................................ 443
Set CD End Index .................................................................................................................. 442
Set CD pause index............................................................................................................... 442
Set CD Sub Index ................................................................................................................... 441
Set CD title index ................................................................................................................... 441
Set end marker....................................................................................................................... 424
Set marker................................................................................................................................423
Set markers on silence......................................................................................................... 424
Set Pause Time ...................................................................................................................... 446
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Index 559
Set start marker......................................................................................................................424

Set Start Pause Time................................................................................................... 352, 447
Set Track Indices on Object Edges...........................................................................441, 443
Set Track Indices on Object Edges - Options.................................................................443
Set Track Indices on Silence... ............................................................................................442
Setting object volume and length with the object handles............................................ 81
Setting playback markers........................................................................................................83
Setup and Functioning..........................................................................................................482
Setups, drum kits, presets, and patterns ......................................................................... 267
Shortcut.................................................................................................................................... 526
Shortcut list ............................................................................................................................. 526
Show 2nd Grid Line ................................................................................................................461
Show all curves (not selectable)........................................................................................428
Show all curves (selectable)..................................................................................... 293, 428
Show CDR Disc Information… ............................................................................................449
Show CDR Drive Information… ..........................................................................................448
Show lanes for all curves .....................................................................................................294
Show Only Selected Curve ........................................................................................ 293, 428
Show Track Automation ......................................................................................................428
Show track numbers instead of track names .................................................................493
Show unselected curves (not selectable) ....................................................................... 293
Silence........................................................................................................................................381
Snap active ............................................................................................................................. 460
Snap and Grid Setup ....................................................................................................369, 461
Snap point (Hotspot)..................................................................................................369, 409
Snap/Grid .................................................................................................................................461
Soft Q (approximation quantization) .............................................................................. 406
Sound synthesis .....................................................................................................................260
Soundpool.................................................................................................................................310
Soundpool DVD Collection ..................................................................................................541
Special modes.....................................................................................503, 509, 515, 518, 519
Spectrogram.................................................................................................................. 455, 456
Spectroscope ..........................................................................................................................455
Split............................................................................................................................................ 379
Split objects...................................................................................................................396, 403
Split Objects............................................................................................................................ 379
Split Objects at CD Track Indices...................................................................................... 379
Split objects at project marker positions ........................................................................ 404
Split objects at the project marker position.................................................................... 379
Split objects at track marker positions............................................................................ 404
Split Range...............................................................................................................................386
Start and Length Q / MIDI Quantization (Start and Length) ....................................405
Start Q / MIDI Start Quantization ....................................................................................405
Start Wizard............................................................................................................................... 16
Statusbar ..................................................................................................................................458
Stave settings........................................................................................................................... 212
Step Recording with a Keyboard or Controller Keyboard ............................................190
Stereo / Phase ........................................................................................................................ 435
Stereo Delay.......................................................................................................... 150, 157, 432
Stereo delay (tempo sync / millisec.) .............................................................................. 253
560
Stereo delay parameters .......................................................................................................157

Stereo Enhancer.............................................................................................................. 114, 124
Stereo processor.....................................................................................................................435
Stereo processor / parametric EQ..................................................................................... 124
Stereo Wave -> 2 Mono.......................................................................................................359
Stomp boxes............................................................................................................................ 134
Stop............................................................................................................................................ 412
Stop and go to current position.......................................................................................... 412
Store Range..............................................................................................................................386
Submit CD to freeDB............................................................................................................ 448
Submix buses .......................................................................................................................... 100
Switch channels......................................................................................................................435
Synchronization ........................................................................................... 44, 335, 375, 538
Synchronization Active.........................................................................................................375
Synchronization formats ......................................................................................................339
Synchronization options.................................................................................... 341, 375, 538
Synchronize with ......................................................................................................... 480, 492
Synchronized MIDI editor and VIP screen view ............................................................ 188
Synth objects...........................................................................................................................243
Synthesis models .......................................................................................................... 251, 255
Synthesizer......................................................................................................................249, 251
Synthesizer plug-ins ..............................................................................................................268
Synthesizer, VST plug-ins and MIDI ................................................................................... 56
Synthesizers.............................................................................................................................243
System / Audio................................................................................................... 373, 465, 506
System Information .............................................................................................................. 463
System options ............................................................................................................. 465, 533
Take management for multitrack recordings...................................................................319

Take manager..................................................................................................................317, 419
Take Manager – Application Examples.............................................................................318
Take manager – basic working principle ...........................................................................317
Take manager – options ........................................................................................................318
Tape simulation (plug-in) .................................................................................................... 145
Tempo ........................................................................................................................................381
Tempo and beat recognition ...................................................................................... 301, 410
Tempo and time signature dialog ................................................ 330, 333, 381, 382, 425
Tempo editing ....................................................................................................................71, 321
Tempo map BPM mode/grid adjustment mode.............................................................381
Tempo Map Dialog ................................................................. 321, 324, 327, 329, 330, 381
Tempo map modes BPM mode/Snap mode ................................................321, 327, 330
Tempo map...............................................................................................................................381
Tempo Markers ............................................................................................................. 321, 325
Tempo tab/tempo buttons..............................................................................................45, 51
Tempo Track ................................................................................................................. 324, 329
Tempo Track header .............................................................................................................330
Temporary switch to other mouse modes ........................................................................ 83
Test the mapped scale......................................................................................................... 500
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Index 561
The track list dialog ............................................................................................................... 356

The Vita interface .................................................................................................................. 272
Thin Out ................................................................................................................................... 427
Thin out automatically.......................................................................................................... 292
Tile .............................................................................................................................................462
Time / Pitch ............................................................................................................................ 433
Time display ............................................................................................................................452
Time Display ...........................................................................................................................454
Time Display - Current Field...............................................................................................452
Time display interval (ms) ..................................................................................................494
Time display mode ................................................................................................................493
Time Offset for Indices on Object Edges.........................................................................443
Time Signature Markers (blue).................................................................................324, 325
Time stretch/Pitch shift......................................................................................................... 65
Time Stretch/Pitch Shift Patcher - Overview................................................................. 343
Time Stretch/Pitch Shift Patcher.............................................................................. 173, 343
Timestretch/Pitchshift Patcher - Patching Process .....................................................344
Timestretching/Pitchshifting............................................................................................... 173
Tips & tricks ...............................................................................................................................77
Tips and tricks..........................................................................................................................102
Tips for Program Help .......................................................................................................... 538
Tips on handling virtual instruments ................................................................................240
to Beginning .............................................................................................................................421
to End .........................................................................................................................................421
to Range End ............................................................................................................................421
to Range Start ..........................................................................................................................421
to Start of Section ...................................................................................................................421
Toolbars...................................................................................................................................... 50
Tools...........................................................................................................................................201
Tools and wizards..................................................................................................................298
Top toolbar ................................................................................................................................ 50
Touch mode ............................................................................................................................ 283
Track automation - Basic procedures........................................................................88, 283
Track Bouncing............................................................................................................. 363, 468
Track Bouncing Settings
Format ..................................................................................................................................364
Generate ..............................................................................................................................364
Options ................................................................................................................................ 365
source................................................................................................................................... 363
Track Editor .............................................................................................................46, 179, 457
Track effect settings..................................................................................................... 108, 393
Track effects............................................................................................................................ 397
Track freeze............................................................................................................................. 392
Track Freeze ..........................................................................................................229, 392, 531
Track Header............................................................................................................................. 49
Track level...................................................................................................................................72
Track manager............................................................................................................... 287, 314
Track menu..............................................................................................................................389
Track Options... ......................................................................................................................394
Track properties ........................................................................................................... 397, 398
562
Track size .................................................................................................................................392

Track Type ...............................................................................................................................392
Track unfreeze ........................................................................................................................393
Track view and selection...................................................................................................... 314
TRACKS ............................................................................................................................507, 511
TRANSPORT............................................................................................................................ 514
Transport console .......................................................................................................... 42, 348
Transport control .................................................................................................................. 450
Tremolo Pan .............................................................................................................................167
Tremolo Pan Parameter.........................................................................................................167
Trim MIDI objects................................................................................................................. 404
Trim objects............................................................................................................................ 404
Troubleshooting ........................................................................................................................ 19
Tube Stage ............................................................................................................................... 164
Tube Stage Parameter .......................................................................................................... 165
Tuner ...................................................................................................................... 133, 457, 536
Tutorial......................................................................................................................................... 15
Types of Control Element ...................................................................... 477, 478, 481, 490
Undo ..........................................................................................................................................376
Undo definitions .....................................................................................................................525
Undo List ..................................................................................................................................377
Uninstalling the program..................................................................................................... 540
Units of Measurement......................................................................................................... 460
Universal mode......................................................................................................................... 79
Unlock objects........................................................................................................................ 404
Unselect objects .................................................................................................................... 408
Untile ........................................................................................................................................ 463
Use assignment display....................................................................................................... 492
Using the Controller Editor .................................................................................................... 32
UTILITIES.........................................................................................................................509, 513
Vandal - Amplifier.................................................................................................................. 134

Vandal SE ........................................................................................................................ 132, 433
Varispeed / Scrub Settings..................................................................................................373
VCA Mode .......................................................................................................................128, 129
Velocity.................................................................................................................................... 249
Velocity Dynamics.......................................................................................................... 47, 221
Vertical..................................................................................................................................... 462
View Menu ............................................................................................................................. 450
Vintage BitMachine...............................................................................................................433
Vintage Chorus...................................................................................................................... 436
Vintage compressor ..............................................................................................................255
Vintage Delay..........................................................................................................................432
Vintage Distortion..................................................................................................................433
Vintage Effects Suite (track effects, mixer channels, mix master) ...........97, 137, 276
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Index 563
Vintage Filter........................................................................................................................... 432

Vintage Flanger ......................................................................................................................436
Vintage Mode ..........................................................................................................................129
VINTAGE mode ......................................................................................................................126
Vintage Tape Simulation......................................................................................................436
VIP display................................................................................................................................461
Virtual Project (*.VIP) ........................................................................................................... 351
Virtual projects (VIP) ...........................................................................................................380
Virtual Projects (VIP) ........................................................................................................... 378
Visualization............................................................................................................................454
Vita ............................................................................................................................................. 271
Vita Sampler............................................................................................................................ 278
Vita Solo instruments ........................................................................................................... 276
Vocal Strip .............................................................................................................150, 168, 436
Vocal Strip Parameter............................................................................................................168
Vocal Tune..................................................................................................... 66, 169, 334, 433
Vocoder............................................................................................................................119, 436
Vol.................................................................................................................................................63
Volume ........................................................................................................................................72
Volume Draw Mode.................................................................................................................87
VST plug-ins........................................................................................... 15, 56, 229, 243, 276
VST//ReWire ......................................................................................................................... 528
VSTi manager .........................................................................................................................320
WAV ......................................................................................................................................... 358

Wave draw mode .................................................................................................................... 88
Wave Editing...........................................................................................................................399
Wave projects ........................................................................................................................ 378
WaveColor Waveform display...........................................................................................462
Waveform generator ................................................................................................. 300, 440
Waveform Generator........................................................................................................... 440
What effects are there and how are they used? ........................................... 49, 103, 106
What is MIDI? ..................................................................................................................28, 175
What's New in Samplitude Music Studio? ........................................................................ 14
Windows Media..................................................................................................................... 358
Workflow of Tempo and beat recognition ......................................................................302
Working in projects..................................................................................................................77
Working method......................................................................................................................101
Working with 8 Bit Wave Projects.....................................................................................361
Working with the matrix editor..............................................................................................31
Workspaces ....................................................................................................................... 50, 52
Writing...................................................................................................................................... 295
Zoom............................................................................................................................................83
Zoom Into Selected Objects ...............................................................................................462
564
Zoom Mode ............................................................................................................................... 88

Zooming ..................................................................................................................................... 70
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SAMPLITUDE

Other mentioned product names may be registered trademarks of the respective

This documentation is protected by law.

No part of this publication may be reproduced in the form of copies, microfilms or

Copyright © MAGIX Software GmbH, 1994-2020.

What's New in Samplitude Music Studio? 14

Program desktop overview 38

Mouse Functions and Mouse Modes 79

Effects and effect plug-ins 103

Effect slots 104

MIDI in Samplitude Music Studio 175

VST plug-ins 229

Freezing instruments (freeze) 239

Burning CDs 295

Tools and wizards 298

Time Stretch/Pitch Shift Patcher... 343

File Menu 349

Edit Menu 376

Track menu 389

Insert new tracks 389

Object menu 399

Playback / Record menu 411

Playback mode 412

Automation menu 427

Effects Menu 429

View Menu 450

System Information 463

Help Menu 463

System options 465

Project options 534

If you still have questions 538

More about MAGIX 541

• Additional telephone service:

Please have the following information at hand:

MAGIX Sales Department

U.K.: 0203 3189218

What's New in Samplitude Music Studio?

"Record instrument/vocals" contains templates for recording vocals, instruments and

The level displays what is entering the

The "Mon" button on the transport console deactivates monitoring.

When you select a "Record vocals/instrument"

Note: In order for everything to work as described, a few settings have to be

I can't hear myself (no monitoring)

The monitoring sound is hollow or strange, or I hear myself twice

To deactivate monitoring via the sound card:

I don't hear any effects in the monitoring

• Click on the audio object to select it.

Integrate audio material

Arranging MAGIX Soundpool loops

MAGIX Soundpools offer professionally produced, short audio files — so-called

Note: Melody-creating instruments are ordered according to pitch, meaning that

Clicking on the plus icon in the track box opens

Preparing a MIDI recording

The peak meter works as an indicator for incoming MIDI signals.

In the event Samplitude isn't responding to MIDI input, check to