2 COPYRIGHT

Copyright
This documentation is protected by copyright law.

All rights, especially rights concerning duplication, distribution, and translation, are
reserved.

No part of this publication may be reproduced in form of copies, microfilms or other

processes, or transmitted into a language used for machines, especially data processing
machines, without the express written consent of the publisher.

MAGIX® and Samplitude® are registered trademarks of MAGIX AG.

ASIO & VST are registered trademarks of Steinberg Media Technologies GmbH

EUCONTM is a registered trademark of Avid Technology.

All other product names are trademarks of their respective owners.

Errors and changes to the contents as well as program modifications reserved.

This product uses MAGIX patented technology (USP 6518492) and MAGIX patent pending
technology.

Copyright © MAGIX AG, 1990 - 2011. All rights reserved.

 WELCOME 3

Welcome
Thank you for choosing Samplitude!

You now possess one of the most successful complete solutions for professional audio
editing. This PC-based Digital Audio Workstation (DAW) features extensive application
options for recording, editing, mixing, media authoring, and mastering. The program stands
for unique functionality & sound neutrality, outstanding cutting & editing options, perfect
CD/DVD mastering, and the flexible customization of individual workflows. Also this version
was developed in close collaboration with musicians, sound engineers, producers, and
users, it boasts numerous innovative functions as well as incorporating the advanced
development of tried and tested performance features.

Samplitude Pro X and Samplitude Pro X Suite are now available as either a 64-bit version
or 32-bit version. You can continue to rely on the superior sound and absolute phase
stability of Samplitude.

In addition to this manual, we also recommend reviewing the "Help" file, which may be
accessed via the "Help" menu; this includes more information about the individual functions
in more detail. Please also use the included PDF documents (manual.pdf, Effects_Plug-
ins_and_Instruments.pdf, Hardware_Controller.pdf, Tutorials.pdf) for further
information.

You can also visit our support area and the user forum online at
http://www.samplitude.com to find out more.

The Samplitude team

4 TABLE OF CONTENTS

Table of Contents

Copyright 2

Welcome 3

System Requirements 16
64-Bit Version. Should I switch? 16
Samplitude on Windows x64 (64-Bit) 16
Samplitude on Windows x86 (32-Bit) 16
General system requirements 16
Hard disk 16

Contact 17
Product activation: 17
Support 17
Sales 17

Installation 18
Activating Samplitude 20
Use Samplitude with CodeMeter dongle 22
Introduction to Samplitude network installation 23
CodeMeter Control Center 24

System settings 25
Audio setup 25
Monitoring settings 27
Audio devices 31
MIDI setup 31
General 33

What's new in Samplitude Pro X/Pro X Suite? 36

64 Bit Version 36
Tempo-Map and Tempo track 36
Revised visualizations 36
SE-cleaning effects 37
Advanced Docking-/Manager concept 37
Revised Object Editor 38
Advanced essentialFX Suite 38
Soundpool manager 39
Independence 39
Content Packs 39
True Resynthesis Timestretching (TRTS) (offline) 40
Spectral view 40
 TABLE OF CONTENTS 5

Spectral mode 40
Multifunction input field with help-function 40
Controller Artist Series support 41
New MIDI functions 41
New functions 42

What's new in 11.2? 42

Options administration/Remote/User administration 42
New functions 43

What’s New in Version 11.1? 43

Multi-track selection 43
Multi-language version – one EXE for all languages 44
Options management 44
Metronome 44
Vandal 45
MIDI 45
System options > Design > View options > VIP 45
System options -> Performance 46
New functions 46

Screen Elements 47
What is a VIP? 47
Program interface – Overview 47
Toolbars – Overview 64

Samplitude Quick Start 80

Initial navigation in the virtual project (VIP) 80
Workshop: Recording 80
Multi-track recording 87
MIDI recording 88
Objects in the virtual project (VIP) 91
Mixer 92
Effects 92
CD mastering 95

General Functions in the Project Window 97

Section 97
Select multiple tracks – group track controls 98
Zooming 99
Scrolling 101
Ranges 102
Working with ranges 102
Markers 105
Advanced ruler/time display 106
Scrubbing 107
6 TABLE OF CONTENTS

Samplitude as a wave editor 108

Working with Samplitude – tips & tricks 110

Object-oriented audio editing 113

What is an object? 113

Object Editor 114

Basic functions: Object editor 114
Object effects 116
Position/Fades 119
Timestretching/Pitchshifting 121

Methods for Working with Objects 123

Integrating wave files as objects in the VIP 123
Integrating sections from wave projects as objects 123
The difference between loading and importing audio files 123
Integrating CD tracks as objects into VIP 124
Selecting objects and clearing selection 124
Object handles 125
Select multiple objects; clear selection of multiple objects; reverse selection125
Moving objects 126
Changing the length and start time of an object 127
Duplicating, copying, and inserting objects 127
Mute objects 128
Change waveform view 128
Edit fades in the object editor or by using the handles 128
Reverb in the object 129
Locking objects 131
Editing an object destructively 131
Moving to a defined position 133
Group/ungroup objects 133
Linking objects 134
Overlapping objects 134
Gluing objects 136
Looping objects 136
Trimming objects 136
Replacing an audio file below the object 137
Moving audio material below the object 137

Manager 138
File browser 139
Object manager 144
Track manager 146
Marker manager 147
Range manager 149
Take manager 150
 TABLE OF CONTENTS 7

Take Composer 152

Comping 154
VSTi manager 156
Routing manager 156
Soundpool manager 157

Mixer 158
Mixer overview 158
Using the mixer 158
Channels 161
Master section 165
Global buttons 167
Buses and routing 172
Effect routing/plug-ins dialog 174

Effects – organization and workflow 178

Save effects parameters (preset mechanism) 179
Saving new effects parameters 180
Track effect settings 180
Effect routing 181
External hardware effect integration 181
Setting latencies for external effects 184
Integrating external synthesizers 184

Effects and Plug-ins in an Overview 185

Real-time effects at track, object, and master level 185
Cleaning/Restoration Suite (optional) 186
DirectX and VST effects 186
VST Instruments 186
MAGIX Plug-ins 187
Object synths 188
MAGIX synths 205
Plug-ins at track, object, and master level 217

Remix Agent 220

Stereo Editor 221

Stereo dialog options 221
MS-Processing 223

Surround Sound 224

Adding a new project with a Surround mixer 224
Converting an existing stereo VIP into a VIP with mixer in surround format 225
Project Surround setup 225
Surround panning 227
Surround panorama module 228
8 TABLE OF CONTENTS

Panorama modes in the Surround panorama module 230

2-channel Surround mode 235
Stereo and mono signal processing in surround projects 237
Alternating between stereo and Surround formats 238
Automating the Surround panorama module 238
Effects in Surround projects 239
Editing Surround sound automation 240
Surround bouncing 240

MIDI in Samplitude 242

MIDI setup 242
Import, record, edit 242
MIDI object editor 244

MIDI Editors 247

Open MIDI Editor 247
Working with the MIDI Editor 248
MIDI editor: mouse mode/toolbar 250
MIDI editor: Editing fields 253
MIDI functions 253
Quantize 258
Step recording via keyboard or controller keyboard 264
Cell Edit Mode 265
Velocity Mode 265
Matrix Editor (Piano Roll Editor) 266
Drum Editor 269
Controller Editor 273
Event list 278
Multi object editing (MO-Editing) 280
Score Editor 282
MIDI editor shortcut keys 298

Tempo Editing 301

Tempo and Time signature changes in the tempo map... 301
Tempo markers 302
Tempo Map Modes: BPM Mode / Grid Fit Mode 303
Tempo Change: BPM Marker 304
Time Signature Marker 305
Grid Position Marker 305
Grid Tapping 305
Tempo Track 306
Edit in the Tempo Track (only BPM Mode) 307
Tempo Scaling / Change Global Tempo... 307
Tempo Map Dialog 308
Tempo and Time Signature Dialog 310
Manipulating the Tempo Marker in Timestretch Mouse Mode 310
 TABLE OF CONTENTS 9

Software-Instrumente/VST-Plug-Ins/ReWire 312
Installing VST plug-ins 312
Load software instruments 313
Apply plug-ins at wave level 314
Load plug-ins at object level 314
Load plug-ins at track level 314
Load plug-ins at master level 314
Loading routing settings with software instruments 314
VST MIDI out + Audio out recording 317
Routing VST instruments using the VSTi manager 318
Instruments with multi-channel outputs 319
Plug-in panel - graphical interface 319
Plug-in parameter dialog 320
Plug-in menu functions 321
Play and monitor instruments live 323
VST instrument preset selection 324
Sidechain Input 324
Freezing VST instruments 325
"Inactive" state for VST instruments and VST effects 325
ReWire Client Application 326

Automation 327
Track automation - Basic procedures 328
Automation modes 330
Object automation 334
Master automation 335
Automation – context menu 335
MIDI controller automation 339
VST plug-in/VST parameters dialog 341
Recording automation in "Read" mode 341
"Draw" mode 341
Edit automation curves 342
Move automation curve with audio/MIDI data 343
Automation/MIDI controller settings 343

Synchronization 345
Synchronization formats 345
Synchronization setup dialog 348
Synchronization - Samplitude as master 351
MIDI Machine Control (MMC) 352
Synchronization applications 354
Media link/video setup 358

Hardware Controller 360

Hardware controller - Introduction 360
Hardware controller settings 360
10 TABLE OF CONTENTS

Hardware controller – "Internal" mode 362

Customizing controllers 365
Controller elements 368
Hardware controller options 369
Hardware controller - fader scaling 371
Learn controller for plug-in/mixer elements 372
Hardware controller presets 374

Preset keyboard shortcuts 412

File menu 412
Edit menu 413
Track menu 415
Object menu 415
Play 418
Real time effects 419
CD/DVD menu 419
View menu 419
Help menu 420
Mouse 421

Signal Flow 422

Record 422
Playback 422
Signal flow with monitoring 423

Glossary 426

Menu reference 438

File Menu 439

New Virtual Project (VIP) 439
Open Project 440
Load/Import 444
Save Project 448
Save Project as... 448
Save Project Copy... 449
Save Project as Template... 449
Save project as EDL... 449
Save Object... 449
Save Session... 449
Export Audio 449
Trackbouncing 456
Range Bouncing (Internal Mixdown) 460
MIDI bouncing 461
Export project as AAF/OMF 462
Rename Project... 463
 TABLE OF CONTENTS 11

Clean up 464
Close Project 466
Project Properties 467
Program Preferences 474
More 504
Exit 504
Recent File 504

Edit Menu 505

Mouse mode 505
Object Mode 513
Undo 513
Restore 513
Undo History 513
Delete Undo History 513
Copy 513
Cut 514
Split 514
Insert 515
Delete 516
Silence 517
Tempo 518
Range 519
Crossfade 523
Batch Processing... 526
More 530

Track Menu 531

Insert New Tracks 531
Copy tracks 532
Paste Track(s) 533
Deletes Track(s) 533
Track type 533
Input 533
Group track controls 533
Ungroup track control group 534
Hide Track 534
Unhide All Tracks 534
Track size 534
Freeze Track 534
Track Effect Settings 536
Mono Effect Processing 538
VST MIDI out recording: 538
Track Options... 538
Revolver Tracks 541
More 541
12 TABLE OF CONTENTS

Object Menu 545

Object Editor... 545
MIDI Editor... 545
Edit audio file 545
New MIDI Object 545
New MIDI object in the range 546
New Synth Object 546
Edit 546
Quantization 550
Object effects 557
Selecting Objects 558
Groups 559
Moving objects 560
Hotspot 562
Takes 563
Object Color/Name 563
Freeze Objects 563
Remix Agent – Tempo and Beat Recognition 564
audioid 571
Comparisonics Audio Search… 571
Time Stretch/Pitch Shift Patcher... 571
More 573
Object Manager... 573

Playback Menu 574

Play Once 574
Play Loop 574
Play in Range/Loop 574
Play with Preload 574
Play Only Selected Objects 574
Play Cut 574
Restart Play 575
Stop 575
Stop and Go to Current Position 576
Playback Mode 576
Playback parameters 578
Record 580
Record Mode/Punch In 580
Record Options 582
Further recording Options 583
Monitoring 585
Move Play Cursor 585
Markers 587
Auto JamSession 592
Retrospective Recording (MIDI Pre-Recording) 596
MIDI Record Mode 596
 TABLE OF CONTENTS 13

MIDI Panic – All Notes Off 597

Automation Menu 598

No effect (Track) 598
Edit selected curve 598
(Track) Automation Mode 598
MIDI Controller Automation 599
Hide Automation 599
Show Track Automation 599
Show Object Automation 599
Show Only Selected Curve 599
Show all curves (not selectable) 599
Show all curves (selectable) 599
Select previous curve 599
Select next curve 599

Effects Menu 600

Notes concerning offline effects editing 600
Advanced options for offline effect calculation 601
Amplitude 603
Dynamics Effects 606
Frequency/Filters 621
Delay/Reverb 639
Time/Pitch 647
Distortion 662
Restoration 666
Stereo/Phase 673
Modulation/Special 678
MIDI velocity dynamics 682
Sample manipulation 682
Plug-Ins... 684
essentialFX 685
MAGIX Plug-Ins 698
Further Console Elements: 698
Analog Modelling Suite: AM-Track 699
Analogue Modelling Suite: AM-Pulse 707
Analog Modelling Suite: AM-Phibia 711
Analog Modelling Suite: AM-Munition 719
CORVEX – chorus/flanger 729
ECOX – Echo/Delay 733
FILTOX – Multimode Filter 735
VariVerb Pro 737
Vandal 746
Waveform Generator 775
SMPTE Generator 775
Process Only Left/Right Stereo Channel 776
14 TABLE OF CONTENTS

Process Effects Offline 776

CD/DVD Menu 777

Import Audio CD Track(s)… 777
Import Audio DVD… 780
Make CD... 781
Create DVD-Audio... 785
Indices (Track markers) 787
CD-Title-/ Index-Manager 790
CD disc options 791
CD-Text/MP3-ID-Editor 792
Set Pause Time 792
Set Start Pause Time 792
CD Arrange Mode 792
Get freeDB Title Info 793
freeDB Options 793
Search CD Online and Set Track Indices 794
Show CDR Drive Information… 794
Show CDR Disc Information… 794
audioid 795

View Menu 796

Mixer 796
Transport Console 796
Time Display 796
Visualization 798
Video Window 809
Track Editor 809
Manager/Docker 809
Manager 809
New Manager... 809
Control bars 809
Autoscroll 811
Autoscroll Soft 811
Rebuild Graphic Data 811
Clips 811
Hide Submix/AUX Busses 812
Grid view 812
VIP Display Mode 814
Overview Mode 814
Fix vertically 814
Store Position and Zoom Level 815
Get Position And Zoom Level 815
Store Zoom Level 815
Get Zoom Level 816
Horizontal 816
 TABLE OF CONTENTS 15

Vertical 817
Cascade 818
Tile 818
Untile 818
Window 818
System information 819
FTP Download... 819
1, 2, ... 819

Help Menu 820

Help Menu 820
Help Index… 820
Context Help… 820
Open Manual… 820
About Samplitude... 820
Start Wizard / Tip of the Day 820
Dongle Activation... 820

Index 821
16 SYST EM REQUIREMENTS

System Requirements
64-Bit Version. Should I switch?
By switching to the 64-bit version you increase the available amount of RAM On a 32-bit
system the upper limit of addressable memory is 3.5 GB, for many programs it's only 2
GB. In contrast on a 64-bit system the theoretical upper limit is a lot higher, namely 264 =
16 Exabytes. Practical values are 16 GB for Windows 7 Home/Premium and 192 GB for
Windows 7 Professional/Ultimate. If you work with very large projects or memory-intensive
VST instruments such as samples, it is recommendable to change to a 64-bit system.
Before changing to a 64-bit system make sure that your computer has at least 4 GB of
virtual memory and that 64-bit drivers are available for connected devices (soundcards,
controllers etc).

Samplitude on Windows x64 (64-Bit)

If you have installed the 64-bit version of Windows on your system you can use Samplitude
as a 64-bit or 32-bit version. The internal VST bridge makes it possible to use both 32- and
64-bit plug-ins.

Be aware that certain functions and technology will only be available when using Windows
x64. Find more info on our website.

Samplitude on Windows x86 (32-Bit)

If you have installed the 32-bit version of Windows on your system you can only use 32-bit
version of Samplitude.

General system requirements

 1 GB RAM for Windows XP; 1GB RAM for Windows Vista/Windows 7 32-Bit; 4GB RAM
for Windows Vista/Windows 7 64-Bit
 Recommended: Windows 7
 500 MB disk space on hard disk for minimal installation
 Graphics card with a minimum resolution: 1024 x 768
 ASIO and/or WDM-compatible sound card
 DVD-ROM drive
 Optional: CD-/DVD burner, MIDI interface
Samplitude is compatible with Windows 7.

Hard disk
The maximum number of audio tracks depends on the rotation speed, access time, and
data transfer rate of the hard disk. Nowadays, modern UltraDMA hard disks are very fast
and enable the simultaneous use of many audio tracks. Ideally, your hard disk should have
a rotation speed of 7200 RPM (or faster) as well as an access time of under 9 milliseconds.
The audio data should be saved on a hard disk separate from the operating system.
 CONTACT 17

Contact
Product activation:
For questions about product activation, please contact the Samplitude service team:

Telephone: +49 (0) 5741 3455 30 (Mon - Fri 9:00 to 5:00)

Fax: +49 (0)5741 310 768

Or send an email to [email protected]

Support
Registered users have access to technical support:

The current terms and conditions for support services apply.

You can find the terms and conditions and more information at:

http://rdir.magix.net/?page=DNIZMJ03VM2M

Sales
If you have questions regarding licensing and upgrades/crossgrades, please contact our
sales department:

Telephone: +49 (0) 5741 3455 25

Fax: +49 (0) 5741 3107 68

Email: [email protected]

Addresses:

MAGIX AG MAGIX AG
Friedrichstr. 200 Borsigstrasse 24
10117 Berlin 32312 Lübbecke
18 INSTALLATION

Installation
1. Place the installation CD into the CD-ROM drive.

2. The installation program will launch automatically. If it does not, open Explorer and click
the letter of the DVD drive. Open start.exe by double clicking it. The contents of the
installation CD are displayed, you may visit our website, or install additional programs such
as CodeMeter Runtime (view page 23).

3. To begin the installation of Samplitude click on "Install program > Samplitude Pro X /
Samplitude Pro X Suite".

4. The Samplitude installation wizard will now start. Just follow the appearing dialogs. If you
choose the "User defined" installation style, you can also specify the target folder for the
program and choose whether you want to install additional components such as impulses
responses too. In the selection screen you will see the necessary memory requirements for
the installation.
 INSTALLATION 19

After installation you can add or remove components by starting this installation program
again and selecting/deselecting the respective components.

Click "Continue" to proceed with the installation.

Once all the files have been copied to the hard disk, a program group will be created. The
installation is now complete. Complete the installation by clicking "Finish".

Next choose the language in which you want to install Samplitude. In the corresponding
dialog you can choose between English, German, French, Italian and Spanish.

You are able to change language at any time after the first installation by accessing the
program folder "Samplitude" and then double clicking the file "Install.cfg"; in the code line
titled "language=", enter the abbreviation for the desired program language:

 E or US for English
 D for German
 F for French
 I for Italian
 ES for Spanish

If another language code is entered, Samplitude will reinstall in the language featured by
your Windows system settings.

After you have saved "Install.cfg", the program will display the desired language version
the next time it is started.

After the initial installation, you may start the program at any time via the Windows "Start"
menu. Under "Programs > MAGIX > Samplitude" you can find start menu entries such as:

 Samplitude
 Samplitude Help
 README
 License terms
20 INSTALLATION

Activating Samplitude
After the program has started, the "Program activation" dialog appears. Select "Register".

Step 1: Enter the serial number in the next dialog. You will be able to find this on the case
of the software DVD.

Step 2: Samplitude calculates a user code once the serial number has been entered.

The actual activation code is generated from this code later. An online connection to our
authorization server is necessary for this to work. If your computer has an Internet
connection, press "Activate online" now.

Alternatively, you can of course transfer the data onto a separate PC if your studio PC does
not have an Internet connection. Simply click on the button to create a text file. You can
then save it on a USB stick or any other portable medium and then copy the content (the
entire URL) into the address box of a web browser.

Activation may even be completed by fax, by email or by filling out the form provided via
the corresponding button, printing it, and sending it to the address indicated.

You will now be directed to the support area of the Samplitude website. If problems
occur with the automatic connection, then open your web browser, type
http://www.samplitude.com into the address bar, and select "Register product" in the
support area.

You will now proceed to online product registration. Please use your email address and
password to log in. If you do not have access to the support portal, register first by filling in
the required fields.
 INSTALLATION 21

Note: Ensure sure when entering your data that your email address is correct so that we
will be able to send you the activation code once the registration process has been
completed.

Enter the user code to register a new product.

Click on "Continue". In the next window, continue with activation by clicking the
corresponding button.

The activation code will now be displayed. This will also be sent to your email address
automatically. Use the activation code to complete the final step:

Step 3: Now copy the activation code into the corresponding box in the dialog and then
click on the button beside this to activate.

Samplitude is now fully authenticated and ready for unrestricted use.

22 INSTALLATION

On the support page under "My Products", you will now see the most recently activated
product in the list of registered products:

Note: Please keep your serial number and activation code in a safe place. If you lose it,
you will not be able to activate the product again. Substantial changes to the hardware
configuration of your system may require reactivation as it may change the user code. You
can activate the product three times in total. After that you will have to contact our support.

Use Samplitude with CodeMeter dongle

If you already own a dongle of a previous version or purchased a dongle through a
distributor you can use it with the current version of Samplitude:

1. In the "Program activation" dialog select the "Use dongle" button or in the Menu
click "Help" then "Dongle Activation".

2. An information window will inform you of the CodeMeter lease's activation. Shut the
program down first.

3. Insert the dongle into a free USB port on the computer.

4. Restart the program.

Now Samplitude searches for CodeMeter Runtime and the license entries on startup. If
your dongle is already registered, Samplitude will start and you may continue with program
activation. If a license is not found, the "CodeMeter License Update" or "CodeMeter Start
Wizard" will open.

If you do not own a CodeMeter dongle, you can purchase one from our distributors.
 INSTALLATION 23

Introduction to Samplitude network installation

Network installation – configuring the CodeMeter stick
1. Install a current CodeMeter Runtime on a network server or on a network PC
(Windows, Linux, Mac OS X). You can find the newest Runtime at www.codemeter.de

2. Insert the CodeMeter dongle into an available USB port on the server.

3. Start the CodeMeter Control Center via "Start/Programs/CodeMeter/CodeMeter

Control Center".

4. Now open "WebAdmin" in the CodeMeter Control Center on the bottom left. Your
internet browser will open.

5. In WebAdmin, go to "Settings", check the option "Start as server", and press "Apply".

Note: The tab "Contents -> Licenses" features a list of available license numbers.

6. Return to the CodeMeter Control Center and exit the runtime in the menu via "Exit
file/CodeMeter". Restart CodeMeter again by clicking "File/Start CodeMeter".

The server is now ready.

Network installation - Program installation

The program DVD may now be installed on a Windows client PC.

You should also install the current CodeMeter Runtime on the Client PCs in order to
guarantee optimum network performance.

Please make sure your firewall is set up properly. If you have any problems, please
deactivate your firewall as a test.

Register the dongle by first inserting it locally into a client PC or install Samplitude on the
server and register straight away after starting the program. This is necessary to gain
access to the latest updates on our homepage www.samplitude.com.

Please contact our MAGIX support (view page 17) if you have any questions about
installation or if you require technical support.
24 INSTALLATION

CodeMeter Control Center

 You can find the newest Runtime in the download section at www.codemeter.de.
 Insert the CodeMeter into an available USB port on the server.
 Start the CodeMeter Control Center via Start/Programs/CodeMeter/CodeMeter
Control Center.

 Now open "WebAdmin" in the CodeMeter Control Center on the bottom. Your internet
browser will open.
 In WebAdmin go to the register Content > CmStick. In the CmStick line you will see
your dongle's serial number.

 If you want to add, change and delete further licenses, click on "Update License" and
then "Create license request". You can also create license questions or install license
updates.
 Now go back to the CodeMeter Control Center and exit the runtime in the menu via
"Exit file/CodeMeter".
 SYST EM SETTINGS 25

System settings
Before you start working with Samplitude, you should configure your sound card after
starting the system for the first time.

Press the "Y" key on your keyboard or open the global system settings via "File > Program
preferences > System/Audio".

This allows you to access information about any connected playback and recording
devices as well as MIDI, metronome, or program settings, and change them if necessary.
You may also select the target folders for projects and VST plug-ins and the view options
and coloring of screen elements. The most important dialogs are explained briefly in the
following.

Audio setup
Enter all essential settings for the driver system, buffers, driver communications, and
monitoring here.

Driver system: A so-called "driver system" is used for the necessary communication
between Samplitude and your sound card. In order to take full advantage of the program,
we recommend that you use ASIO.

MME is the standard Windows multimedia driver system with the best compatibility. It also
supports 16-bit playback. If you are recording 24/32-bit audio material, then you can use
MME/WDM. This driver system is suitable for multi-track 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; in any case, for many
sound cards, multi-track 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:
26 SYST EM SETTINGS

 Lower latency (input/output delay) in terms of the driver system. Resulting response
times during real-time editing are clearly reduced. This provides the possibility to use the
software monitoring for inputs and VST instruments.
 ASIO is intended for editing multi-track recordings featuring several sound cards that are
all using the same ASIO drivers. The sound cards are synchronized by the ASIO driver.
 Advanced hardware monitoring options are also available by using ASIO direct
monitoring.

ASIO settings
ASIO device: 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. Samplitude also displays the
relevant output and input latencies.

Buffer settings: The VIP object buffer indicates the buffer size for internal processing of
object effects and economy tracks in hybrid mode. In every other monitoring mode, the
buffer size also determines the editing of track effects. With a smaller VIP object buffer size,
the amount of playback delay also sinks (latency). In these cases, the processor may
become overloaded, which will 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.

Device Resolution/Driver Communication: This option enables you to select the bit
resolution for communication with audio devices. The preset value correlates with that of
the sound card installed on your system.

The ASIO driver system specifies the bit resolution of the ASIO drivers. Samplitude always
assumes the bit resolution set for the ASIO drivers. The settings options displayed for
device resolution/driver communication only specifies the bit depth applied by dithering
(view page 498). For 32-bit data transfer, dithering is 24-bit or 16-bit. The settings for 32-
bit are recommended especially for Samplitude

 in case no dithering is intended.

 in case the input is not fed by the sound card's converter unit, but rather directly by a
DSP card.

If MME driver system is selected, Samplitude opens the drivers with the it depth set under
Device resolution/driver communication. If the output device cannot process the set bit
resolution, then the corresponding lower resolution will be produced and this will be
transmitted to the MME driver.

To specify the plug-in buffer and the path to your VST plug-ins, switch to the dialog
"System options (Y) > Effects > VST/DirectX/ReWire (view page 176)".
 SYST EM SETTINGS 27

Monitoring settings
Monitoring is defined as listening to the input signals, for example with the intention of
returning these to the incoming music. The routing of monitor signals is an important and
complex process that is subject to various requirements.

In most cases, we recommend using the "Mixer FX Monitoring/Hybrid Engine".

For each selected monitoring setting, a matrix display also opens to indicate which buffer
sizes are used and what effect the currently selected engine mode has on the latencies.
28 SYST EM SETTINGS

Hybrid Audio Engine

In general, "Hybrid" refers to a system in which two separate technologies are combined
with one another. Samplitude's Hybrid Audio Engine is a special combination of a Low
Latency Engine and the classic Samplitude Playback engine with higher latency. The Low
Latency Engine calculates live input signals and the output of the playback engine. This
provides short reaction times for calculating track effects and also provides monitoring with
low latency. The classic playback engine saves resources and enables integration of high-
performance effects.

The Hybrid Engine provides a combination of Low Latency Engine and a classic engine for
calculating the track and effects. For example, processor-intensive VST instruments may
be played via the so-called "Economy" tracks (see below), while only the VST instrument
that is being recorded is calculated by the Low Latency Engine.

Go to system settings (shortcut "Y") ->"Audio Setup" -> "Driver System" and select
"ASIO". "Monitoring settings" features the mode "Mixer FX monitoring/Hybrid Engine".

Mixer FX monitoring provides audio monitoring including all insert and AUX effects and also
calculates the playback tracks with the least mount of latency. The entire mixer may
therefore operate in "Low latency" mode, including the bus and master effects, and it may
also be used for editing input signals.
 SYST EM SETTINGS 29

Economy track
If you have selected the ASIO Hybrid Engine as the driver system, you may take individual
tracks from the Low Latency Engine and calculate the track effects with a larger VIP buffer
size for VIP objects during playback. This saves the system's processor from being
overloaded.

To switch a track to "Economy", select the menu item "Track -> Track properties ->
Economy track".

Economy tracks are indicated by a green dot in the volume display of the mixer's
corresponding channel and in the track editor. The "Volume" button for the track is framed
in green.

Note: The Hybrid Engine compensates for latency of track effects in economy tracks so
that the total latency of the mixer does not increase for other tracks.

Overview of monitoring/engine modes

No audio monitoring (peak meter only): Displays the input level, but muted.

Hardware monitoring: Audio monitoring via sound card or external mixer hardware. This is
the only monitoring type for MME drivers; for ASIO, many sound cards are able to process
functions directly such as mute/solo, volume, and pan. For large ASIO or VIP buffers,
minimal latency is able to be achieved with just a few samples. Effects may not be applied
to the input signal.

Software monitoring/economy engine: Audio monitoring includes the recording track

levels and software instruments. This monitoring option is only available with ASIO drivers.
No effects are applied to the input signals, and latency and CPU load remains the same,
even for 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. Connected effects may
therefore be monitored in recording tracks. Bus or master effects will not be included.

Hardware monitoring/Hybrid Engine: In this case, the complete mixer operates in "Low
latency" mode. This produces low playback latency. Monitoring of the input signals
depends on the sound card being used.

Mixer FX monitoring/Hybrid Engine: The Hybrid Audio Engine enables audio monitoring
throughout the entire mixer and also calculates playback tracks in the mixer with short
30 SYST EM SETTINGS

latency. You may therefore also mix data from the hard drive with the lowest possible
playback delay. We recommend this mode for input signals as well as for live mixing with
hardware controllers, since this guarantees access to all bus and master effects.

Applies to all monitoring modes: Track effects in the recording track will not be included
when recording. However, the recorded track may be saved along with all track effects
afterwards via the "Trackbouncing (view page 456)" function.

Note: If you use "TotalMix" from RME in combination with a hardware monitoring mode,
then set the panning law in "TotalMix" to -6dB. This helps ensure that the recording level in
Samplitude matches the monitoring levels in "TotalMix".

Mode switching
Tape monitoring (preset): In STOP and RECORD states, the input signal is played; in
PLAY state, the track content is played.

Manual monitoring: With the help of the loudspeaker button in the track head or the track
editor, you can manually switch on the input signal for monitoring. This mode is only
effective when the ASIO driver system is used.

Mix input and playback: If you put a check mark here, then you will be able to hear the
input signal during running playback too, if track monitoring is active.

Other than the system options in the audio setup, the monitoring settings and switching
processes are available to you by right clicking "Mon" directly. This displays two more MIDI
recording options:

Automatic MIDI record switch on current track: This option ensures that MIDI tracks are
always ready for recording as soon as they are selected. You can recognize this by the lit-
up pink record buttons.

Automatic MIDI monitoring (thru): If this option is selected, then every MIDI track which
you activate for recording will be switched on, i .e. you will always immediately hear the
input signal for this track.
 SYST EM SETTINGS 31

Audio devices
Select the inputs and outputs (devices) for the installed sound cards used by the program
in this dialog.

By clicking the box to the left of each respective device, you can activate and deactivate
them as desired. Set the sequence with the arrow keys. The "Reset" button activates all of
the devices displayed. For ASIO, only the first 4 stereo channels will be activated
(standard). If you hold the "Shift" key, then all devices will be activated. Clicking the button
"Device info" opens the control panel for your sound card. Press "Rename" to customize
each device name individually.

MIDI setup
Samplitude offers comprehensive MIDI functions. MIDI files may be imported, inserted,
edited with an external editor, and played back. In addition to MIDI timecode
synchronization, the other main use is for accessing external and internal sound sources
such as synthesizers and VST instruments. External hardware controllers may be accessed
remotely via MIDI access signals.

Note: For seamless work with MIDI, please always use the monitoring settings "Track FX
monitoring", "Hardware monitoring/Hybrid Engine", or "Mixer FX monitoring/Hybrid
Engine".
32 SYST EM SETTINGS

Global MIDI devices

Open the System options – MIDI via "File > Program preferences > MIDI options" and
then set the global playback and global record device. The set devices are used to play
back MIDI files directly, and they are also used for the standard settings for new tracks.
You can rename the devices at any time.

Record offset
Enter a recording offset value in milliseconds to determine the time difference which passes
between a MIDI command and placement in the arrangement.

Samplitude places played notes in the MIDI object on the right according to the set time,
i. e. MIDI notes are delayed and displayed later in the timeline.

Retrospective MIDI recording

Activate the "Retrospective recording" option here for the same function available under
"Play/Rec -> Retrospective MIDI recording (view page 596)". Samplitude creates a MIDI
object to the selected, recording-ready MIDI track that may be adjusted in terms of buffer
length.

Audio/MIDI synchronization
Force sync specifies how precisely Samplitude synchronizes MIDI tracks with audio
tracks. On faster systems, this setting should be at 100% in order to achieve the closest
sync between the MIDI and the audio. . If your system experiences difficulties synchronizing
the MIDI tracks with the audio tracks, select a 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.
 SYST EM SETTINGS 33

Automatic volume fader mode for MIDI tracks

The behavior of the MIDI track's volume fader is preset to controller 7 (MIDI volume).

Alternatively, you can also select that "Volume fader" mode should not change for MIDI
tracks or that the volume fader for MIDI tracks should match the MIDI velocity scaling. New
MIDI tracks will assume the currently set Volume fader mode (view page 161).

Activate SysEx input

Selecting this option causes Samplitude to receive SysEx data from external devices.

Use system time for MIDI timestamps

If this option is activated, the MIDI device driver's timestamp will be ignored. This is helpful
if drivers provide a timestamp that is not synchronized with the audio or is completely
incorrect.

This function detects invalid driver timestamps and then falls back to the system time
automatically. 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

You can switch off all MIDI functions in the MIDI projects or VIP projects. In this case, the
MIDI menu is removed from the menu list and the MIDI functions in the arranger, track
editor, and track settings dialog are no longer available.

Note On Chasing
"Note On Chasing" has the effect that held MIDI notes are also played back when they
receive their "Note On" command in the arrangement before playback starts . The MIDI
level activity display also for chased notes.

Send "All Notes Off" to VST instruments

As an alternative to the "All Notes Off" mechanism, an individual "Note Off" mechanism is
available for VST instruments, since "All Notes Off" is ignored by some VST instruments.
You can completely shut off "All Notes Off" for VSTis in the MIDI systems settings.

General
Shortcut: I, Ctrl + Shift + ´
34 SYST EM SETTINGS

Here you can see the most important information about the current project at a glance.
This includes beat/BPM, recording, editing, and snap/grid settings.

Project options– Project

Sample rate (Hz): This indicates the project's sample rate. You can also change the
sample rate for the project and adjust Audio and MIDI objects to the modified sample rate.

Damping: Set level decreases in 6 dB stages. Volume reduction can be necessary when
working on multitrack virtual projects if you are working with 16-bit internal precision.

0 dB editing is definitely possible when working with 32-bit float internal accuracy, since
this prevents internal overmodulation. Simply set the sum levels to 0 dB via the master
mixer faders.

Note: Bear in mind that Samplitude reduces the volume of wave projects by the value set
in the virtual project. This way you can quickly toggle between virtual projects and wave
projects without the volume level changing. If, on the other hand, a wave project is the only
project opened (that is, without the virtual project it uses), it will always be played at
maximum volume.

Project start time: Specify the project's starting time here.

Project length: The project length is displayed here in bars and beats.

System options - Recording/Editing

Here you'll find various presets for recording and editing:

 Lock recorded Objects: Protects against unintentional moving of recorded objects.

 SYST EM SETTINGS 35

 Group object according to Multirecord: Objects that belong together will be grouped in a
multitrack recording.
 Offline audio editing (only for Wave projects): Detailed information about destructive
editing is available in the chapter"Working in the project window -> Samplitude as a
wave editor (view page 108)".
 Auto Crossfade Mode: Use this function to activate a mode which adds a crossfade to
all newly recorded objects created from cuts or from wave projects which were dragged
into your project. Every object may be assigned a standard fade-in, and this can be
edited via the "Object editor fade" menu via "Get/set global crossfade". If two objects
overlap in this mode, a realtime crossfade will occur at the intersection.
 CD arrange mode: If this is activated, Samplitude arranges newly added objects to insert
a Red Book Standard-compatible pause between the objects.

Project options - Bar/BPM

Bar/BPM/PPQ: Enter the bar type (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:", then Samplitude will calculate the BPM based on the
selected range when the button is pressed.

Project options – Snap/Grid

Snap to: Switches the global snap on/off.

Objects: This option activates the object grid. This lets objects snap exactly to the edges
of other objects.

Range: Activates the range grid 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.

Bar grid (relative): Activates a grid with bars as the basis for snapping. The selected
object will maintain a relative distance to the snap markings when moved.

Grid/frames: Activates the frame-based grid.

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 as the grid's zero position.

Show grid: If a check is placed here, then the grid will be displayed for the project
according to the 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.

Project options - Standard pitch for tuner (Hz)

This field indicates a standard pitch of A at 440 Hz. You can change this value anytime you
like.
36 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE?

What's new in Samplitude Pro X/Pro X Suite?

64 Bit Version
 Sequoia_x64.exe or. Sam_x64.exe with 64 Bit memory addressing for 64 Bit-operating
systems (view page 16), i. e. no 2 GB limit.
 VST plug-in handling: Automatic "bridge" handling i. e. you can load 32-bit plug-ins in
the 64-bit system and vice versa.
 You can change projects from 32-bit to 64-bit.
 In the 32.bit version, by pressing the shift key, the 32-bit plug-in will run with the bridge -
meaning that there is more memory available in the 32-bit version.

Restrictions:

 -Restricted video functions (only MXV and WMV)

 -No Rewire
 -VST Bridge: no VST MIDI Out Support
Tempo-Map and Tempo track
Changes in tempo can be made using the marker or graphically using aTempo track (view
page 305). A tempo track contains the project's tempo map as an automation curve.

The tempo map displays all the tempo markers and determines the musical positioning
for each time position.

In the Tempo-Map dialog (view page 308) you can specify which objects or markers in
your position should be adjusted when tempo changes are made.

Revised visualizations
The visualizations (view page 798)have been completely reworked. They have a new
design.

The new interface allows you to design multi-visualizations individually. You can integrate
the visualization interface into the Docking Bay (view page 51) or open it in its own window.
A surround visualization (view page 806) is now also built in.
 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? 37

SE-cleaning effects
DeClipper SE, DeClicker/Decrackler SE, DeHisser SE, DeNoiser SE are called the new
SE-Cleaning-effects. These restoration tools (view page 666)offer a range of functions that
are straightforward to use, practical on a day to day basis. With as few faders and little
space on the screen you get an overview of multiple instances in the project. The SE
restoration tools in Samplitude don't use many resources. With the optional "Cleaning /
Restoration Suite" you have access to the full versions with an enhanced range of
functions.

Advanced Docking-/Manager concept

Advanced Docking-/Manager concept

In addition to the Manager windows now Visualization, Time display, Transport

console, Sound pool, Object Editor and MIDI Editor are grouped by default in a
"Docker" (view page 50). This allows you to individually choose the display windows you
need for your workflow.

Advanced Docking concept (view page 51)

Moreover you can dock certain dialogs and windows to areas in the VIP interface or to the
docking bay.

Undocked windows may be docked to the areas provided in the VIP by double clicking the
title bar or by clicking the title bar and moving with the "Ctrl" key pressed.

Vice versa, an individual window may be undocked by clicking the title bar or by double
clicking the handle area.
38 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE?

Revised Object Editor

Object Editor (view page 114) and MIDI Object Editor (view page 244) have been revised
and have new graphic interface designs.

 Integration in the new docker

 "To all" is now a status button:
- Changes (Volume, Fades, EQ....) are immediately transferred

- Changes in effect dialogs after closing the editor

- edited plug-ins are transferred individually

- volume changes are transferred relatively

- EQ is always completely transferred

 Configure using right click

 Mute/Inverse button for individual channels available in the Context menu
 Volume fader up to +12 dB
 Comments field
 4 slots for copy & paste purposes (global)
 Solo button
 Object Automation for EQ, Pan (not for 2-channel volume / pan), Object-surround
(Drawing of a range is supported)
 FX presets (*.obj)
 Offline FX menu

Advanced essentialFX Suite

The essentialFX Suite (view page 685) has been endowed with 10 first-class effect plug-ins
and is suited for all every day studio applications. In addition to high-quality algorithms,
great importance was placed on practical icons for the individual parameters and the
effectiveness of the function. The uniform operation concept, combined with low resources
demands for top quality production, makes the essentialFX suite a collection of high-quality
audio tools for all-around tasks.

The essentialFX Suite consists of the following plug-ins:

efx_Compressor
Classic compressor with soft clip function and advanced sidechain filter feature.

eFX_Gate
Flexible gate with optional soft knee characteristics and sidechain filter function for ducking
effects.

eFX_DeEsser
Dynamic plug-in for reducing unwanted sibilants in recordings containing speech and
vocals.
 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? 39

eFX_VocalStrip
Optimized channel strip with compressor, DeEsser, gate, Highpass filter and one shaping
for recordings containing vocals or speech.

eFX_Tubestage
Authentic analog tube amplifier with oversampling mode simulation.

eFX_Reverb
Reverb plug-in for creating versatile reverb effects - from short to long reverberations.

eFX_StereoDelay
Stereo delay with individually adjustable delays for both channels, as well as tempo sync
function.

eFX_ChorusFlanger
Traditional chorus/flanger effect with adjustable rate, depth, feedback and mix settings.

eFX_Phaser
Classic phaser effect with adjustable rate, depth, feedback and mix settings.

eFX_TremoloPan
Tremolo effect with optional tempo sync function and parameters for rate, shape, tremolo
and panorama.

Soundpool manager
In the Docker's Soundpool Manager (view page 157) you can integrate, listen to and
arrange loops effortlessly.

Independence
Included in the package is the "Independence" sampler with 12 GB of content for
Samplitude Pro X and 70 GB Content for Samplitude Pro X suite or Sequoia.

This gives you access to hundreds of customized, music based software functions. The
intuitive user interface and file management system, the ultra fast streaming integration,
multi-core processor support and the Auto-RAM-Cleaner will enable you to store and use
an huge number of instruments in seconds.

Note: Detailed information about "Independence" can be found in the PDF document.

Content Packs
 The Content Pack 1 puts 3 GB of current drum-, percussion-, guitars- , bass-, brass-,
vocals-, woodwinds-, piano-, harp- and effect-loops at your disposal for use with
Samplitude Pro X. The loops are divided into numerous music styles and varying
tempos (BPM).
 The Content Pack 2 makes 4 GB of content categorized by music styles, instruments
and BPM available for Samplitude Pro X Suite and Sequoia 12.
40 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE?

True Resynthesis Timestretching (TRTS) (offline)

In "True Resynthesis Time Stretching (TRTS)" the signal is broken down into individual
components, with the amplitude and frequency modulated oscillators - simple synthesizers
-are reproduced faithfully. If these synths play longer or shorter a Timestretching effect will
be created.

You can do Timeline stretching (view page 651) using TRTS. The typical compression
artifacts and associated non-uniformities will not occur. The algorithm is universally
applicable. Due to linear work practices TRTS is particularly suitable for very small and very
large Timestretch factors.

Spectral view
 The Spectral view (view page 496) is split for the left and right stereo channels (stereo
representation)
 Activate Spectral view by going to "File > Program Preferences > System/Audio >
Design > View options".
 Spectral display and Comparisonics view are now available for individual VIP objects:
"Object > Object color/name"
 Various colour palettes are available
 Graphical data is saved as *hs files.

Spectral mode

Menu "Edit > Mouse mode > Spectral mode"

With the new "Spectral mode (view page 72)" you can remove noise from a track object,
without the wanted signal being audibly influenced. Editing can be done directly in the
Arranger window by dragging a range.

Multifunction input field with help-function

Command search bar for Finding menu commands and help topics (view page 78)

 A maximum of five results from the main menu are displayed, which can be directly
selected.
 Moreover up to four results will be displayed in the help index.
 WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? 41

Controller Artist Series support

Samplitude supports the Controller Artist Series (view page 374). Artist Mix, Artist Control
and Artist Transport are all part of this. These controllers are controlled using the EUCON
protocol, which can be activated in the Hardware Controller Settings (view page 360).

Note: Windows 7 is a requirement if you want to use the Artist series.

New MIDI functions

The MIDI Editor is now integrated into the Docker (view page 50) in the new version.

Transposition: (view page 253) Here you can transpose the pitch of selected events into
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.
 manual stretch. This allows you to enter individual values in the Stretch Factor field.

Reverse: With this function you can reverse the playback sequence. The events move by a
further quantization step each time they are reversed again.

Mirror melody: This function mirrors the selected events in terms of the pitch of the re-
selected event.

Further new MIDI features:

 New Snap setting bars (view page 66) for bar snap and quantization.
 Only one button for the mouse mode "Pen". Now there is a graphic selection menu for
pen mode.
 Score anti-aliasing (binds, beams).
42 WHAT'S NEW IN 11.2?

New functions
 Access to automation directly in the effect dialog: In many effect dialogs you now have
direct access to the automation button and therefore to the automation menu. This is
made possible by a newly created header (view page 179) in the respective dialogs,
which also provide presets and, where needed, A / B comparison functions.
 The new command Menu Edit > Tempo > Create click track creates an audio track,
which contains all metronome click as objects.
 BitMachine (view page 663) for creating „Lo-Fi“-Sound.
 AAF/OMF Import and Export. Export: File > Export project as AAF/OMF (view page
461) Import: File > Open > Import AAF/OMF (view page 441)

 EUCONTM Interface for Euphonix Controller Artist Series (view page 360).
 Surround functions (view page 224) for Samplitude Pro X.

What's new in 11.2?

Options administration/Remote/User administration

Note: If you work with "Remote Logins", please extract the contents from
"RemoteSetupTools.zip" in your remote directory, because changes were made to
"AdminCreator.exe" as well as "remote_setup_copy_from_server.bat".

 User-specific templates are now stored in "fx-preset/user_name/templates".

 If user-specific templates are available, they will only be shown to the user when creating
a new project. If these templates don't exist then the templates of the local admin will be
displayed.
 The auto jam session continues working with the templates in the template directory of
the local admin, not with the user-specific path.
 Templates are now also saved in the INZ container. If there are no user specific
templates available, the templates of the local admin will be saved.
 When importing INZ containers, previously available user-specific templates are deleted.
 WH AT’S NEW IN VERSION 11.1? 43

 "Recent Files list" and work paths for remote users are saved separately for each remote
user in the "audio.ini" of the admin (in other sections)
 Current "Recent files list" is kept if you import INZ containers. You will only encounter
troubles if the "audio.ini" e. g. is overwritten by an admin when loading INZ containers.
 Query when deleting a user profile in user administration.

New functions
 Cue mode: Objects that are split by crossfades of hard cuts are seen as a group.
 Clipstore: When transferring clips that contain multiple objects into the VIP, all clips will
be renamed with the clip name
 Marker manager: double clicking on the marker opens the Name Editor
 Object manager: Dragging & dropping objects in the Arranger is possible
 Object manager: Context menu entry "Duplicate object"
 Root VIP editing now also for surround objects
 Hardware Controller: updated HUI templates (HUI, Mackie HUI, DM2000, O2R)

What’s New in Version 11.1?

Multi-track selection
To execute the multi-track selection (view page 98) option, select multiple tracks by
clicking the respective track numbers/track ranges while holding down the "Ctrl" key
or the "Shift" key.

 Track box context menu: "Track properties > Group track controls"

In order to remove a track from an existing multi-track selection, hold down the "Ctrl"
key and click the track name.

In order to clear the selection, click a track below the selection or use the

 Track box context menu: "Track > Ungroup track controls"

Note: Multi-channel selection in the mixer functions exactly like multi-track selection in the
arranger, i.e. by clicking the track number/name while holding down the "Ctrl" key or
"Shift". In order to clear a group of channels, click a channel before than the selection.
44 WH AT’S NEW IN VERSION 11.1?

Multi-language version – one EXE for all languages

The program will be installed in the language corresponding with your Windows system
settings. After installation, you may select freely between English, German, French,
Spanish, and Italian by accessing the program folder "Samplitude" and then double
clicking the file "Install.cfg"; in the code line titled "language=", enter the abbreviation for
the desired program language:

 E or US for English
 D for German
 F for French
 I for Italian
 ES for Spanish

If another language code is entered, Samplitude will reinstall in the language featured by
your Windows system settings.

After you have saved "Install.cfg", the program will display the desired language version
the next time it is started.

Options management
 During loading, the current state will be saved as a "Backup" (view page 483).
 During saving, check boxes and the file name may be preset.
 Check boxes may be changed during loading.
 Loading via the "Load and restart" button.

INI patches for easily setting INI options

 INI patches: (view page 483) Collection of diverse INI entries in the "Customize" folder.
 INI patches: Load via the "Load" button in "Option administration".
 INI patches: Displays a short info text.
 INI patch: Option to apply or reset.

Metronome
 New option for metronome pre-counting with or without VIP playback: "Play VIP during
pre-count (view page 84)"
 WH AT’S NEW IN VERSION 11.1? 45

Vandal
(Vandal in Samplitude Pro X Suite/Vandal SE in Samplitude Pro X)

 New presets and floor effects (view page 750)

Visit http://www.vandalamps.com for more information.

Version limits of Vandal SE versus Vandal:

1. The SE version of Vandal only includes the following stomp boxes (floor effects):

 La Crema Overdrive
 Hellfire Distortion
 Chorus
 PhaseShifter/tremolo

2.MIDI scenes & MIDI control are not included.

3.Guitar and bass amp, detailed microphone settings, and pre and power amps cannot be
selected manually, rather only via "Presets & templates".

4. The SE version does not feature "Scene memory"; in this case, a preset only includes
one individual scene. If a preset was created using the full version, then only the first scene
will be used.

MIDI
 Updated presets for "Create MIDI object": MIDI drums and MIDI phrases (filter sweep, 6
octave sequence, etc.)
 New MIDI tracks now assume the set volume fader mode (view page 161)
 Groove template selection is now in the drum editor and drum map editor as well
 <ALL> may now be selected as the MIDI input device (view page 88) for a track
 Improved SMF MIDI file import (view page 242)/export (view page 456)

System options > Design > View options > VIP

The system options also allow you to set the following parameters via "Design > View
options > VIP (view page 491)":

 CPU peak meter: If this option is activated, the peak meter in the track header
displays the CPU load per track. The upper peak meter displays the load on the
Economy Engine for the left channel, while the peak meter below this displays the load
on the Low Latency Engine for the right channel. In this case, a display value of 0dB
equals a load of 100%.
 Compressed wave display: This display option causes the waveform to be distorted
according to the zoom level. The transition from silence (less than –90 dB) to signals with
lower levels (e.g. noise) is also shown more clearly.
46 WH AT’S NEW IN VERSION 11.1?

System options -> Performance

 The maximum CPU number for audio processing may now be set via !System options >
Performance (view page 477)" (new standard: 3)

New functions
 New menu command "Tempo > Hard quantize object position"
 New menu command "Tempo > Soft quantize object position"
 The "Insert" buttons on the mixer (view page 158) now activate all effects (effects
inserts + plug-ins) for the individual tracks as well as in the master module. A visual
indicator (*) is displayed for plug-ins that were previously active and are active the next
time "Insert" button is pressed. For old projects with a deactivated "FX" button, this is
activated as the individual plug-ins are deactivated.
 The upper "AUX" button in the mixer now switches all AUX paths between active and
inactive, effectively making it an AUX bypass switch.
 Object mode "Lock objects (view page 77)": Holding down the "Alt" key at the same
time temporarily removes the mode for the selected objects.
 CD-Text character count in the CD-Text editor
 File manager (view page 138): Folders may now be deleted in the directory tree
 Improved recording performance
 Improved synchronization (view page 347) with SMPTE and APP
 Additional improvements to details and bug fixes
 SCREEN ELEMENTS 47

Screen Elements
What is a VIP?
VIP (virtual project) refers to the basic project window for a Samplitude project. This
provides a graphical framework for you to edit the project and navigate throughout the
arrangement. The VIP covers all toolbars and buttons, the arranger, track header, track
editor, transport console, and status display.

Furthermore, .vip is the file extension for virtual projects in Samplitude.

Program interface – Overview

VIP window:

1. Title bar: The title bar is located at the top of the window. This contains the name of the
application and the project. To move the entire window, simply click the title bar and move
it as desired. You may also move dialog windows by dragging them by their title bar.

2. Menu bar: Menus are located directly beneath Samplitude's title bar. Every menu entry
may be assigned to a keyboard shortcut. Click the icon in the above left of the mixer's title
bar or in the arranger to select different skins for the program.
48 SCREEN ELEMENTS

Detailed information about how to use menu items and keyboard shortcuts is provided in
the menu reference, help file, or in the "manual.pdf" documentation under "Menu File ->
Program Preferences -> Edit keyboard shortcuts and menus (view page 488)".

3. Toolbars: Toolbars consist of buttons that execute specific commands or specify

states. They are ordered above and below the arranger in groups. You can move a toolbar
group by clicking on the left separator and dragging with the mouse.

Right clicking an icon opens a context menu. Hide the selected bar or show large
symbols in it. "Edit Toolbar" opens a dialog to individually remove current buttons or add
other available buttons for the selected bar.

The command "Edit Workspace" may also be used to activate and edit the individual
toolbars and to show or hide menu items.

More information about the toolbars is available in "Toolbars - Overview".

The context menu entries "Camo", "Canis", "Star Gray", "Samplitude 10", "Samplitude
9" and "Samplitude 8" provide options concerning how the buttons are displayed (view
page 481).

4. Grid/marker bar: The grid/marker bars are positioned above the first track in the VIP. In
the upper half (if two grid bars are displayed between both grid bars), you'll find the marker
bar, where the markers and playback cursors can be positioned. The grid bars display the
project time in relation to the selected measurement unit. You can also open various
ranges. You can use two grid bars, for example one for beats and one for SMPTE time. To
show both grids, move the play cursor by dragging with it the mouse across the upper
grid. If only one grid is displayed, then the play cursor can be moved by dragging the
mouse in the marker bar.
 SCREEN ELEMENTS 49

Display second grid bar: Use the grid bar's context menu to activate a second grid bar
in the arranger and set your own measurement unit (2. Show grid bar).

Both grid bar positions can be exchanged (Swap grid). If you select "Independent time
format" in the transport window, the upper grid will adapt to a chosen BPM grid, unlike the
lower grid.

This way it's possible to select an SMPTE format independent of the project frame rate,
which provides an overview of two different SMPTE displays. The option "Activate
docking for transport window" switches on docking options for the transport window.

5. Arranger: Displays the VIP project tracks together with the audio and MIDI objects.

There are many commands for moving (scrolling (view page 101)) the visible portion of the
arranger and customizing its size (zooming (view page 99)). These can be opened via the
"View" menu, the grid/marker bar, and the shortcut keys.

6. Track header: The track header is at the left in front of a VIP track. Besides the track
name, it contains various control elements, like mixer functions and automation. More
information about the individual controls of the track header can be found in the track
header (view page 60) overview.

7. Track editor

8. Setup / Zoom / Position buttons: This part of the work area helps manage each of the
four different setup and zoom settings (range and zoom settings of the VIP window shown
in the project clip). Similarly, the "Pos", "Len", "End", "Mouse", and "Mixer" fields can be
configured by right clicking them.
50 SCREEN ELEMENTS

9. Status bar: The status bar appears at the bottom border of the VIP window. Here, you
will find about CPU overload, latency, buffer, and current operations like loading, saving,
effect calculation, etc. You can open the status bar also via menu "View > Toolbars >
Status bar".

10. Transport console (view page 52)

11. Manager / Docker (view page 50)

12. Visualization (view page 798)

Managers / Docker
Menu "View > Managers / Docker"

In addition to the manager windows (view page 138) now visualization, time display,
transport console, sound pool, object editor and MIDI editor are grouped as a tab window
by default in a "Docker". This allows you to individually choose the display windows you
need for your workflow.

Every docker can be minimized by minimizing an opened tab window. If you click a tab
again, the docker will be maximized again.

Using the "+" key, you can open a new tab in the docker.

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 or by dragging
the window onto the tab bar.
 SCREEN ELEMENTS 51

Docking
In Samplitude you can dock certain dialogs and windows to areas in the VIP interface or to
the docking bay. The docking handle ranges for docking and undocking are found at the
top of the respective window and, in a docked state are distinguished from the selected
skin by a bar or double line.

In a undocked state the corresponding dialog appears with a conventional title bar.

Undocked windows may be docked to the areas provided in the VIP by double clicking the
title bar or by clicking the title bar and moving with the "Ctrl" key pressed. When moving
windows an arrow symbol appears on the interface. Move an undocked window with the
mouse pointer onto one of the arrow symbols this results in the area which docks when
you release being displayed as a transparent rectangle.
52 SCREEN ELEMENTS

Vice versa, an individual window may be uncoupled by clicking the title bar or by double
clicking the handle area.

Also inside the docking bay you can place and arrange new windows. Move the respective
window using the mouse pointer onto one of the arrow symbols in the docking bay.

The docking function is available for the following windows:

 Manager
 Visualization
 Time display
 Soundpool
 Object Editor
 MIDI-Editor
 Transport console
 SCREEN ELEMENTS 53

Transport console
Shortcut: Ctrl + Shift + T

Transport console with "Camo" skin

The transport console contains the most important commands for playback, recording,
and positioning.

Transport console with "Star Gray" skin

Play / Stop / Fast forward / Rewind buttons: Use these buttons to control the
positioning like a cassette player.

Right mouse click on play button: Opens the playback parameter window for stereo
master operation. This allows you to specify the sample rate, playback device, and
scrubbing/varipitch options, etc.

Right mouse click on record button: This opens a dialog for setting recording options.
You may also start stereo or mono recording from here directly.

Record button: This button begins recording for all active tracks, i. e. tracks featuring a
red "R" button in the track box.

Time display: Displays the current playback position. The unit of measurement can be
selected by clicking on the small triangle.

Range buttons: You can save ranges with buttons "1" and "2". Using the arrow symbol
you can open previously used ranges.

L/E time display: Displays the length and end position of an area and can be edited by
double clicking.

"Marker" button: This button opens the marker manager for further marker editing.

More information can be found in the chapter "Manager -> Marker manager" (view page
147).
54 SCREEN ELEMENTS

Marker buttons 1...12: The current play position may be saved to one of the 12 marker
buttons by clicking. If one position has been saved, the marker will appear bright. Another
click on the same marker moves the play position to the corresponding marker. Right-
clicking deletes the saved marker again, making it available again to be allocated.

Recording modes: Here you can set up the appropriate recording mode.

Standard mode (playback while recording): This is the typical recording mode for multi-
track productions. Here, the currently active tracks are recorded. The other tracks are also
played back.

Record without playback: If this option is selected, playback of existing objects is

deactivated during recording, and the play cursor remains at the beginning of the
recording. Playback may be started manually, for example in case "read after write" is
required. Set the play cursor at a different position and start playback by pressing the
"Play" button. The recording will not be interrupted by doing so. This way, changes to
previously recorded material can be made without affecting the recording process.

Only Sequoia: In record mode Record without playback/read after write You can use
the export function even during recording.

Punch marker mode: In this mode, only the range between the punch start marker and
punch end marker is recorded. This setting corresponds to the "Punch" button (see below).

Auto Jam Session: Opens the "Auto Jam Session“ window.

Detailed information about "Auto JamSession" is available in the reference manual, the help
file, and in the "manual.pdf" documentation under "Playback -> Auto JamSession (view
page 591)"

"Mon" button: This button activates the Samplitude's record monitoring feature; all tracks
with an active "R" button display the relevant input signals in the peak meters. Right
clicking the "REC M" button lets you select from the various monitoring modes.

Please also read the chapter "System options > Global audio options > Monitoring settings
(view page 27)" for more details.

"Sync" button: This button opens the dialog with the synchronization setup.

More information is available in the chapter "Synchronization (view page 345)".

"Punch" button: This button switches Samplitude 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 already exist, the
 SCREEN ELEMENTS 55

recording button will flash until the start marker has been reached as well as once the end
marker has been passed. It will light continuously during the actual recording between the
markers. End the punch recording by pressing the record button again; playback will not
be interrupted. Playback will stop if you press the "Stop" button.

"In" button: This button sets the starting point for a Punch recording.
"Out" button: This button sets the end point for a Punch recording.

Additional Punch In/Out markers can be set by holding down the Alt key.

"Loop" button: Use this to switch into Loop mode, that is, a specific range is played
repeatedly.

MIDI record modes: The following MIDI record modes are available: normal, overdub,
multi-overdub, and replace. The different modes determine how the newly recorded MIDI
files will be added to the VIP.

More information can be found in the chapter "Samplitudequick start -> Workshop:
recording (view page 80)".

Tempo section: The tempo section displays the tempo at the current position. You may
change the playback speed and the tempo of the complete arrangement. All objects in the
VIP are adjusted to the most recent speed value by moving them or stretching them.

The "Beat grid/snap (view page 66)" button enables you to activate and display
the beat grid.

Use the "CLICK" button to switch on the metronome click. Right clicking the
"CLICK" button opens the metronome options window (view page 84) to
configure the pre-counter and click volume.

Scrub control: The scrub control wheel can be used to adjust playback speed. This can
be used to find audio passages.

The buttons beneath it can be used to start playback forwards and backwards at a slower
speed. This too can be used to improve control over audio passages, like editing out
crackles or other errors later.
56 SCREEN ELEMENTS

Track Editor
Located at the left border of the arrangement window, the track editor enables quick
access to all of the most important track parameters of the selected track. Record and
monitoring status, volume, panorama, MIDI/audio in and outputs, plug-ins, AUX
sends, and EQ settings are displayed in well-arranged sections and can also be edited
via this view. All relevant settings of the corresponding track may be viewed without
opening the mixer or the track view in the arranger window.

Open the track editor via the corresponding track button at the bottom-left of the arranger
window beside the "Workspace" selection field or via the menu item "View -> Track editor".

1. Track number and track name: Double clicking on the track names allows them to be
edited. Right clicking the track name opens the "Track Options" dialog.
2. "S" button: Mutes all tracks except the selected one (track solo function).
Detailed information on the global solo modes can be found in "Global buttons -> Global
solo modes (view page 171)".
 SCREEN ELEMENTS 57

3. "M" button: This button mutes the active track (track mute function).
4. The "REC" button: This activates the track for recording.
5. The "Lock" button: Protects objects in the track and prevents them from being
unintentionally moved or deleted.
6. The "Panorama" dial: This controls the position within the mix. Right click one of these
two control elements and the stereo panorama dialog (view page 220) will open to adjust
additional settings like panning laws or the stereo width.
7. The "Phase reverse" button reverses the signal phase 180 degrees. Right click on one
of these two control elements and the stereo panorama dialog (view page 220) will open
allowing you to adjust additional settings like panning laws or the stereo width.
Detailed information about the stereo editor can be found in the chapter "Stereo panorama
dialog (view page 220)".
8. The "Mono" button: This switches the track to mono processing from the input to the
pan controller. In particular, all track effects preceding the pan controller operate in mono,
which saves considerable CPU resources. The submix and AUX return buses always
remain stereo, however. If stereo objects are located in mono tracks, the mono share (L+R)
is generally played.
Right click one of these two control elements and the stereo panorama dialog (view page
220) will open to adjust additional settings like panning laws or the stereo width.
For standard routing, only the post DX/VST plug-ins and post AUX sends are arranged
after the panorama controller, and are therefore calculated as a stereo signal. The routing
position of the pan controller, however, may be freely adjusted in the "FX routing" dialog.
If AUX sends are used, the AUX send panorama controller can be used for panning the
mono signals.
9. The "FX" button: Opens the dialog for specifying the effect sequences (view page 174)
and adding VST/DirectX plug-ins; right clicking this button also provides access to the
track effects settings for the active track. These may be copied, inserted, reset, saved, or
loaded. Save your personal track effect settings in the program directory in "FX presets ->
Track FX". Of course, new subfolders may also be created. We've already included a
selection of useful presets, e. g. "Mid-side processing". The track effects settings of a VST
instrument may also be saved (including parameters and all subsequent track effects), and
transferred to other tracks.
10. The "MIDI" button This switches the track to MIDI recording and opens the MIDI
section (view page 58) of the track editor.
11. Volume input box and volume controller.
12. The loudspeaker symbol switches on monitoring/playback of the incoming signals
when the "REC" button is active and if "Manual monitoring" is selected in the system
options. "MIDI thru" will be active here for MIDI tracks.
13. Control display: Shows both of the track's LED chains for the input and output signal.
14. The "Automation" button: This activates automation (view page 327) for the track.
15. Automations parameter selection field and automations control: Select automation
parameters and adjust the values with the corresponding controllers.
58 SCREEN ELEMENTS

MIDI

1. Arrow: Opens and closes the dialog box.

2. In: Opens the MIDI Input device menu.
3. Out: Opens the MIDI Output device menu.
4. Channel in: Set the MIDI Input channel.
5. Channel out: Set the MIDI Output channel.
6. Program: This button is used in MIDI mode for program selection of the MIDI
instrument. The first click activates this field, and the second mouse click opens the
program selection. When the menu is open, use the arrow and page up/down keys to
make your selection.
7. Bank MSB: Set the MSB byte for the "Bank select" MIDI message for controlling your
external instruments here.
8. Bank LSB: Set the LSB byte for the "Bank select" MIDI message for controlling your
external instruments here. The bank number is MSB value* 128 + LSB value.
9. Drum map: Here you can select a drum map (view page 270) for allocating MIDI notes
to the device-specific sound. If a drum map is selected, the transpose function will not be
available because the pitch is firmly assigned by the drum map.
10. Transpose: You can transpose the notes of the respective MIDI input or output up or
down here. This function works in real time, meaning that the MIDI files in the MIDI objects
will not be changed.
11. Velocity dyn: This button activates velocity dynamics as a real-time 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 255)".

12. Input Q: In this case, the MIDI quantize settings (view page 259) are used to quantize
every recording offline. The original position may be restored via the menu item "Object ->
Quantize -> Reset Quantization".
 SCREEN ELEMENTS 59

Audio
1. The "In" slot determines the audio input device,
e.g. your sound card inputs.

2. The "Out" slot determines the audio output

device. For example, this might be a sound card
output.

3. Delay: This sets the delay value for the track

4. Gain: This regulates the amplification level of the

input signal.

5. Plug-ins: You can use FX inserts, MAGIX plug-

ins, DirectX, and VST effects for this track. Click the
button to the right of the field beside "Plug-ins" to
activate and open the "DirectX/VST plug-ins (view
page 174)" dialog to specify a plug-in setup for this
track.

6. AUX: Specify the input for the aux sends (view

page 172) here

7. EQ: Contains the parametric EQ for this track.

Right clicking opens a convenient input window.

8. Comments: Track info section for quickly adding

notes on tracks.
60 SCREEN ELEMENTS

Track header
1. Control display: Shows both LED chains for the input and output signal for the track.
2. The "S" button (view page 171): Mutes all tracks except the selected one (track solo
function).
3. "M" button: This button mutes the active track.
4. The "R" button (view page 82): This activates the track for recording.
5. The loudspeaker symbol switches on monitoring (view page 27).
6. The "Lock" button: This protects objects in the track and prevents them from being
unintentionally moved or deleted.

7. Clicking the track name or the track number selects the track. Repeated clicking the
track number causes the track's display height to switch between flat and high. Double
clicking on the track names enables them to be edited. If you want to add or remove a
track from the multi-track selection (view page 98), then hold down "Ctrl" while clicking the
track name. Right click the track name to open the track settings dialog; click the arrow to
select additional track-relevant functions from the context menu.
8. Revolver tracks: Revolver tracks (view page 62) may be used to compile objects
differently for each individual track. The combinations created for the corresponding track
may be accessed at any time in the revolver tracks menu.
9. Vol: This button switches on the level automation curve (view page 327). This allows
level adjustments in the track to be controlled via an automation curve and drawn by
moving the channel fader.
10. Pan: Switch on panorama automation with this button.
11. Volume controller
12. Panorama controller (view page 220)
13. PL: The plug-in selector (view page 92) assigns various insert effects, VST, or DirectX
plug-ins to a track.
14. Color selection (view page 74): If the right edge of a track header is clicked, a
selection menu will appear for you to specify the color of the track and its objects.
 SCREEN ELEMENTS 61

Folder tracks
The command "Track > Insert new tracks > New folder track" adds a folder track in
front of the selected track. If a range across several tracks is selected before creating the
folder track, each of these tracks will be added to the new folder track.

The tracks in the folder track are displayed within a frame, and the folder track number is
appended with an "F" in the track manager.

If you want to delete a folder track, a dialog will ask to confirm if you really want to delete all
of the tracks contained in the folder as well.

Tracks can be moved into the folder via drag & drop by clicking on a free area in the
corresponding track box. The mouse pointer turns into a hand. Now drag the track into the
track header of the folder track.

Individual tracks can be removed from the expanded folder track again in the same way.
You can also copy folder tracks.
62 SCREEN ELEMENTS

The following functions work for all tracks found in the folder track:

 Hide them via the track minimization button (-/+ symbols in the track header of the track
folder). All tracks included in the track folder are displayed in reduced size.
 Mute, lock, and solo
 Volume regulation All individual volume fader tracks are scaled relative to each other.
 Focus for recording

All tracks in the folder track are displayed when the folder track is open. Each track
receives a border with the track color of the folder track. When minimized, the tracks found
in the folder will be hidden in the arranger. They will still be visible in the Mixer. Tracks of a
folder track are marked with the border color of the folder track in the mixer. Normally, all
tracks can be seen in the folder track along with their objects in a minimized state.

Section marking in the folder track is carried out across all tracks. You can use this function
for section-based cut operations across all tracks of the folder track.

Right clicking the track header of the folder track allows you to select a contained track as
a reference track. The objects of this track are displayed in the folder and may be used for
simultaneous object-based cutting operations.

Working with folder tracks and reference tracks:

1. Initiate a multi-track recording. This creates several grouped objects, one below the
other.
2. Select an area over all the objects that you wish to edit together. You can now create
a folder track.
3. Minimize the folder track and choose one of the contained tracks as a reference
track.
4. The object of the reference track can be seen now in the folder track instead of the
emblematic display of all contained tracks. All object editings, cuts, fades, and object
editor effects for this object are now applied to all objects of the track folder.
Revolver tracks
In Samplitude Revolver tracks are at your disposal. Revolver tracks can be used to compile
objects differently for each individual track. The combinations created for the
corresponding track may be accessed at any time in the revolver tracks menu.

Open the Revolver Tracks menu by holding down "Ctrl" and right clicking the track name in
the track header. If the new "Camo" or "Canis" skin is being used, then a button
specifically for this function is present beside the lock symbol.
 SCREEN ELEMENTS 63

Before track objects are rearranged, select the option "New Revolver Track (copy)". The
track objects are copied as a new revolver track and a asterisk will appear before the track
name. The original objects may now be edited or repositioned to produce a different
version of the track.

Of course, the context menu may also be used to create a new, empty revolver track, to
delete the current one, or to display the the previous or next revolver track (shortcut: "Alt +
Page up" or "Alt + page down"). The command "delete revolver track" deletes the current
revolver track and displays the previous revolver track.

In the lower section of the dialog you can select which revolver track you would like to hear
next from the list of existing revolver tracks. The individual revolver tracks are numbered
and are listed by creation date and time.

Revolver Tracks are stored in the "TrackData" project subfolder.

To edit or view existing revolver tracks in the overview, open the take composer (view
page 152) for a particular track. This editor enables Revolver Tracks and object takes to be
edited, and the created Revolver Tracks are displayed under the individual takes.

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. Workspaces bundle commands for
certain tasks like mastering, editing, or recording.

As well as the Hide menu entries option (File > Program Preferences > Edit keyboard
shortcuts and menu... > Hide menu) and redesigning toolbars (right mouse click on the
toolbar), you can also save your settings as a presets.

You will see the selection box for the workspace at the bottom left corner of the Arranger
window. Some workspaces are already predefined. "Power User" shows collectively both
toolbar lists and commands.

Creating a new workspace: To create a new workspace, open the context menu by right
clicking on the workspace bar and then selecting "New workspace". You will now be
asked to enter a name for your workspace. The new workspace contains all settings of the
previously activated workspace as well as your current changes. All further adjustments
are automatically saved in the workspace. Manual saving is not required

Adjust the workspace: Open the context menu and click "Edit Workspace". Here you
can select which toolbar you want to have displayed in your new workspace. You can
activate or deactivate each bar individually, or add/remove individual symbols. You
may also hide menu items with the "Edit menu" command. Simply select the
corresponding menu item from the keyboard shortcuts and then press the button "Show
menu item" or "Hide menu item".
64 SCREEN ELEMENTS

Toolbars – Overview
All toolbars may be moved freely on the screen. To do so, click on the separator at the left
edge of the group of icons and drag the toolbar to the desired location. These will snap in
at different positions in the window. For example, you can also easily swap the position bar
with the toolbar.

Right clicking on an icon enables the skin for the buttons to be swapped, the size of the
buttons to be increased, shows or hides tools, or otherwise customizes the different
toolbars. You can also access the dialog "Edit Keyboard Shortcuts, Menu, and Mouse" via
"File > Program Preferences > "Edit Keyboard Shortcuts and Menu". The menus may be
individually edited via the corresponding buttons by either showing or hiding the different
items.

Detailed information about how to use menu items and keyboard shortcuts is provided in
the menu reference, help file, or in the "manual.pdf" documentation under "Menu File ->
Program Preferences -> Edit Keyboard Shortcuts and Menu (view page 488)".
 SCREEN ELEMENTS 65

To quickly sort a toolbar's individual buttons, click on the corresponding icon and drag it
to the desired position while holding down the "Alt" key. You can use the same method
to remove icons from the toolbar by holding the "Alt" key, dragging the icon outside the
boundaries of the toolbar, and then releasing it.

The following overview shows the presets:

Toolbar: (left section)

New Virtual Project

Load virtual project

Load audio file

saving

Cut

Copy

Insert clip

Split Object

Glue objects

Undo the last action

Undo the last action

Auto crossfade mode

Crossfade Editor

grouping

Cancel grouping

Mixer
66 SCREEN ELEMENTS

Toolbar: (right section)

Set Marker

Set CD track index

Set CD sub index

Set CD pause index

Set CD end index

Automatically set CD track Markers

Create CD

Create DVD Audio

Grid toolbar/snap buttons

The grid toolbar is available in the toolbar. This enables important changes to be made to
the snap settings, without always needing to access the project options dialog (view page
33). Click the magnet button to activate the snap grid. Activating the button to the right
opens a context menu with the following snap settings options available:

Objects: his option activates the object grid. This lets objects snap exactly to the edges of
other objects.

Snap to range: Activates the range grid 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.

Bar grid (relative): Activates a grid with bars as the basis for snapping. The selected
object will maintain a relative distance to the snap markings when moved.
 SCREEN ELEMENTS 67

Grid/frames: Activates the frame-based grid.

Specify the snap length (for beat snapping only). Values range from every 4 beats, every 2
beats, every beat, musical measure and same as quantization.

The setting Musical measure means that, signatures based on quarter notes serve as a
quarter snap unit, and time signatures based on eighth notes serve as a eighth snap unit.
The snap therefore follows the time signature and observes any time signature changes.

Note: When snap is activated the play cursor jumps in the transport console according to
the snap values, even when using the fast forward and rewind buttons. If you would like to
temporarily shut off the transport controls, press the "Alt" key simultaneously.

Snap active: Switches the global snap on/off.

Shortcut: Ctrl + #

Snap and grid setup: This option jumps to the Project options - general (view page 33)
dialog to specify settings for the snap and grid.

The area indicated by a Q to the side you can specify the quantization value used for MIDI
(view page 259) and audio quantization (view page 550), "same as quantization" sets the
snap setting accordingly. This causes audio and MIDI quantization to be linked (view page
33). Right clicking the field opens the MIDI quantize settings.

Note about "Input Q": In the interface skins (e .g. "Camo"), you will see the button
"Input Q" in the MIDI area of the track editor (beside the button for velocity dynamics). If
this function is active, then recorded MIDI notes will be quantized according to the current
settings immediately. The original position may be restored at any time via the menu item
"Object -> Quantize -> Reset Quantization".

Details about audio quantization are provided in the menu reference "Object > Quantize >
Audio quantization wizard (view page 550)".
68 SCREEN ELEMENTS

Punch / Playback bar

Play to cut start

Play from cut start

Play to cut end

Play from cut end

Play beyond cut

Punch In mode

Punch recording

Set punch in marker

Set punch out marker

Delete punch marker

Cue mode: Playback stops after each object

 SCREEN ELEMENTS 69

Mouse mode bar

Universal Mode
This is the preset mouse mode in Samplitude. All necessary functions are available by left
clicking. Depending on the relative position within the track, various functions will be
executed. Right clicking always opens a context menu.

The vertical position of the mouse distinguishes between object handling and range
manipulation within every VIP track: In the upper half, you can select ranges and set the
play cursor position. In the lower half, objects may be selected and moved.

Range Mode
In this mode, only ranges and the play cursor (position line) may be manipulated.

Additional functions are also available via the following keys:

Period key "." - Press this button to switch Samplitude to "Object" mode temporarily.
Objects may now be selected and moved.

Hyphen key "-" - Press this button to switch Samplitude to "Curve" mode temporarily. The
volume and panorama curves may now be edited.
70 SCREEN ELEMENTS

These special functions enable all important functions to be reached quickly, and
accidental movement of an object cannot occur.

Curve Mode
This mode is strictly for editing automation curves (view page 327). This mode may be
opened temporarily via "Universal/range" mode by pressing and holding down the hyphen
"-" key.

Place the cursor over a curve and click with the left mouse button to set a new curve point.
Curve points that have already been set can be moved easily using drag & drop.

In case you want to 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.

Object Mode
This mode allows you to move objects and edit their start & end positions, the fade in &
fade out phases, and the object volume.

Object mode is especially useful together with range mode, which may be accessed
temporarily from within it. Press and hold the period key "." while using range mode. Once
you let it go, Samplitude switches back to range mode.

Detailed information about how to assign keyboard shortcuts for temporary function is
provided in the menu reference, help file, or in the "manual.pdf" documentation under
"Menu File -> Program Preferences -> Edit Keyboard Shortcuts and Menu (view page
488)".

Object/Curve Mode
In this mode, objects may be moved and curves may be edited with the left mouse button.

Mouse Mode Samplitude 4.0

Use this function to switch to the Samplitude 4.0 mouse mode. The right mouse button
then controls object functions, and the left one controls range manipulations.

Detailed information about how the functions of the individual mouse modes is provided in
the menu reference, help file, or in the "manual.pdf" documentation under "Menu > File
options -> Program settings -> VIP mouse mode" (view page 505).
 SCREEN ELEMENTS 71

Cut Mode
Click on the object to separate it at the corresponding position. If the grid is switched on,
then the scissors tool which appears will move according to the grid settings.

Under "System options -> Keyboard/menu -> Special keys -> Temporary key for cut mode
(view page 488)", you can specify a keyboard shortcut to keep "Object cut" mode active
(provided the shortcut is held down).

Pitchshift/timestretch mode
The object handles below to the right and those in the object centre can be used for
directly setting the playback speed and pitch. Advanced functions are available for Tempo
marker manipulation in the timeline (view page 511).

Detailed information about how to use "Timestretch/pitchshift" mouse mode can be found
in the menu reference, help file, or documentation "manual.pdf" under "Edit > Tempo >
Tempo Map Dialog (view page 308)"

Volume Draw Mode

This mode allows volume automation curves (view page 327) to be drawn with the left
mouse button.

Automation Draw Mode

In order to draw an automation curve or a MIDI controller curve, select "Automation Draw
Mode". Selected curve points can be deleted using the "Del" key. If you move individual
points using the "Alt" key, the bordering can be lifted using the neighboring points to the
right. Holding down the "Shift" key while drawing fader movements produces a soft curve.

Object automation

Select "Object automation" in the track editor and place a check mark for the desired
parameters. The object curves for the object automation (view page 333) will be added.
Now draw the corresponding automation curve by dragging with the mouse.

Track automation

This mode allows automation curves to be drawn for the selected track (view page 328) by
using the left mouse button. Activate the automated parameters of the embedded plug-in
beforehand with the shortcut "Ctrl + Alt" move the corresponding plug-in's handle as
desired. Next, click the "Track automation" field in the track editor and place a check mark
for the desired parameters in the context menu. Now you can draw the curve of the
selected parameter onto the track ("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 deactivated and activated again anytime
with the "Pan" button to the left in the track head.
72 SCREEN ELEMENTS

Tip: You may also move any plug-in parameter at any time via the small horizontal faders in
the track editor's automation box while in an automation drawing mode mode (e.g. touch,
latch, overwrite, or trim).

Draw waveform in the wave window

In "Wave editing" mode, use the left mouse button to draw the waveform of a file.
Waveform display shows the suitable zoom level, and the mouse pointer becomes a pencil.
Changing the waveform in the wave window is useful if you want to remove very short
impulse disturbances manually.

Spectral mode
Menu "Edit > Mouse mode > Spectral mode"

With the new "Spectral mode" you can remove noise from an object. You can also edit the
signal of the left and right channels individually too. Editing can be done directly in the
Arranger window.

To be able to work with "Spectral mode" particularly effectively set the Spectral display
(view page 496) in display options.

The graphical interpretation of the music is displayed in the Spectral display using a
spectrogram. This displays the frequency proportions in a time curve. The volume of
frequencies is visualized via a color code or via its brightness.

Audible distortion noises louder than the wanted signal are usually limited to a certain
frequency spectrum. They are highlighted with colors in the Spectrogram. So you can
easily select the interference with the mouse and remove it.

A continuous sound is displayed by a pattern consisting of horizontal lines, which

correspond to the sound components or overtones of the sound. A distortion with an
impulse quality is seen as a vertical line.
 SCREEN ELEMENTS 73

After calling up "Spectral mode" highlight the unwanted noise by drawing a rectangle
around it using the mouse. With help from the handle you can adjust the selected area.

So that there is no audible gap, removed components of the original frequency spectrum
from the wanted signal that surrounds the distortion are recalculated into the recording.
After making the correction, you can see the results in the Wave/Spectral display in the
Arranger window.

Scrub Mouse Mode

This mouse mode enables you to monitor and control the playback speed (view page 107).
In this case, the project may be played back in the forwards or reverse scrubbing direction.

Zoom Mode
use the right mouse button to zoom out of the project, and click with the left button to
zoom into it (view page 99).
74 SCREEN ELEMENTS

Color mode
Color mode enables you to color objects or entire tracks. Click on the arrow next to the
brush symbol first. Next, select the desired color. Now move the mouse over the objects
and tracks in the arranger: the pointer turns to a paint bucket symbol. Click on the object
or track box you would like to color.

You may also apply color to multiple objects across different tracks by dragging the lasso
over the desired objects (the lasso appears when you drag the paint bucket). Release to
color all selected objects.

If you hold down the "Shift" key while doing this, you will not color the object, but rather
the wave form instead.

If you hold down the "Ctrl" key while doing this, then you will not color the object itself, but
rather the object's background instead.

If the preset color selection is not sufficient, then you may also select your own color or
even create your own personal color palette.

The option is also available to access the color palette for each track by clicking the color
selector on the right edge of the track header; this also enables a new color to be assigned
to a track. If multiple tracks are selected (view page 98) beforehand, the color selection will
apply to all of these.
 SCREEN ELEMENTS 75

Left mouse button: Changes the background color of the object

Right mouse button: Changes the object's wave form color

Position bar 1

Section to start

One section left

Half section left

Half section right

One section right

Section to end

Play cursor to previous object edge

Play cursor to next object edge

Play cursor to previous marker

Play cursor to next marker

Increase clip size (zoom in)

Reduce clip size (zoom out)

Show all

Zoom to range

1 pixel = 1 sample

Predefined zoom range:

1 second, 10 seconds, 60 seconds, 1 minute
76 SCREEN ELEMENTS

Position bar 2

Freely defined zoom areas 1-4

Increase section vertically (zoom in)

Reduce section vertically (zoom out)

Show all vertically

Show range vertically

Zoom into waveform

Zoom out of waveform

Overview mode

Range bar

Play cursor back to range start

Play cursor to range end

Fold range to left

Flip Range right

Range start to previous zero crossover

Range start to next zero crossover

Range end to previous zero stage

Range end to next zero stage

 SCREEN ELEMENTS 77

Range Editor

Move object start left

Move object start right

Move object(s) left

Move object(s) right

Move object end left

Move object end right

Step size for moving objects

Object modes:

Normal Object Mode

This mode moves objects and edits the end and start positions, fade in and out phases,
and object volume.

"Lock all audio in time"

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

Link curves with objects

In this mode you can shift track automation curves when moving objects together with the
objects.

Link objects until pause

The means that the chosen object is selected and moved together with all subsequent
objects on this track. This way partial ranges of a project, if separated by pauses, remain
unaffected from moves.
78 SCREEN ELEMENTS

This function also applies to multiple selected objects arranged along various tracks.

Link objects on active track

In this mode, all objects on the current track are selected and moved together.

Link objects on all tracks

In this mode, all objects appearing in the arrangement are selected and moved together
from the mouse position.

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 object mode "Group objects", simultaneously moves the marker,
independent of the selected track.

More information about using the object modes is available in the chapter "Working with
object modes (view page 123)".

Multifunction input field with help-function

Samplitude provides a command search bar 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.
 SCREEN ELEMENTS 79

Moreover, in the section below you will see up to four help topics that contain your search
terms.

All results that are listed can be directly selected. The commands in the upper section are
listed straight away.

By clicking on the appropriate help topic the program help will open up displaying
explanations from selected topic areas. You can see a list of recent commands by clicking
on the little arrow of the magnifying glass.

You can actually execute a command by clicking on the commands that are listed.
80 SAMPLITUDE QUICK START

Samplitude Quick Start

Initial navigation in the virtual project (VIP)
 To start playback, press the space bar.
 To end playback, press the space bar, the pause button, or the "0" on the keyboard.
 To set the play cursor, click on the desired position in the timeline.
 To move the playback cursor, use the left and right arrow keys.
 In order to jump to the most recent position, press the back space key
 To move the VIP under the play cursor, use the keyboard shortcut Alt + Arrow left / Alt +
Arrow right.
 To create a range, use the mouse to draw in the grid list.
 To move a range, move it with the mouse while holding down the Shift key.
 To increase the size of a range, drag the end of the range using the mouse.
 To reactivate a deactivated range, use the shortcut keys "Shift + back space".
 To move an object, click on the lower half and drag it into its new position.
 To jump to the object edges with the playback cursor, select the shortcut keys Ctrl + Q /
Ctrl + W.
 To create markers at the play cursor position, select "Shift + 1...0" in the letter keys
block on your keyboard. 0“ im Buchstabenblock Ihrer Tastatur
 To jump to a marker position with the play cursor, select the corresponding number 1...0
in the letter key block of your keyboard. 0“ im Buchstabenblock Ihrer Tastatur

Detailed explanations of numerous additional navigation functions can be found in the

chapters: "Working in the project window", "Object-oriented audio editing (view page 123)"
and in the menu reference, help file, or complete documentation "manual.pdf" under "Edit
> Range (view page 519)". A complete overview of all keyboard shortcuts can be found in
the chapter "Preset keyboard shortcuts".

Workshop: Recording
This chapter features information about recording audio material in Samplitude. This
explains the basic functions involved.
 SAMPLITUDE QUICK START 81

Creating a VIP
First of all, create a new project by clicking the "New multi-track project (VIP)" button in the
start wizard on program launch. If you already have Samplitude open, select "New Virtual
Project (VIP)..." in the "File" menu.

Name your new project and select the file path where you would like to save the VIP. You
may also create a new folder where all files relating to this project may be saved. Select "[0]
Stereo Master" as the mixer setup.

In the "Track number" field, enter how many tracks you wish to use. This doesn't mean
that the project is limited to this number; new tracks may be added at any time. Adapt the
"Sample rate" to the sample rate supported by your sound card and confirm it with "OK".

Note: If the preset project length is exceeded, the VIP adapts itself to the actual project
length.
82 SAMPLITUDE QUICK START

Preparing to record
To record from your internal CD/DVD drive or from an external sound source using a
cable/microphone connection, it's important that your sound card is connected to the
sound source. You can check this by switching on the track which you wish to record.
Click the record button in the track header to do this; the button will glow red. The
source's input level peak meter now appears in the bar.

If you can't to see the input level peak meter, check in the track editor (menu "View ->
Track editor" to ensure the sound device is connected to the same port listed under
"Audio -> In". If this is not the case, set the track's input device to the port of the sound
card input of the sound source by clicking "Audio -> In".

If the level is in fact visible as a bar but sound is not yet audible, then make sure that the
output device of the track correlates to the output of your sound card.

If you have selected "Manual Monitoring" as your monitoring mode (Shortcut "Y -> Audio
Setup"), please click on the loudspeaker symbol next to the level display on the track
in order to view and hear the input signal.

Now right click the record button in the transport window.

 SAMPLITUDE QUICK START 83

This will open up Record Options:

Select the format for the recording first. Detailed settings for the desired audio format
available via "Format options".

If record mode is set to 16-bit at a sample rate of 44.1 kHz, then this is equivalent to CD
quality. A bit resolution of 24-bit or even 32-bit (float) makes sure that hissing during
subsequent editing of the sound material remains at a minimum. On the other hand, the
higher the bit resolution, the more space that is required.

Now specify if the track should be recorded in mono or stereo. While a stereo recording
mode is usually selected for CD/DVD recordings, consider whether it would be better for
single instruments, like bass or guitar, to be recorded as mono tracks, since this could
improve future sound editing and addition of the instrument into the mix.
In "Mono (mix)" mode, the track input is switched to mono, the signal is recorded like a
stereo recording (dual channels), and then mixed into a single channel.

Detailed information about the recording options is available in "Play/rec -> Record options
(view page 582)"
84 SAMPLITUDE QUICK START

Metronome settings
The dialog "Options > Program settings > Metronome settings" allows you to activate the
metronome function. The metronome may also be set as an audio metronome or as a MIDI
metronome.

Active while playback: This option activates the metronome click during playback.

Active while record: This activates the metronome click during recording.

Pre-count for recording (measures): Specify the number of beats that the metronome
will pre-count prior to recording. If you activate "Pre-count clicks only", the metronome
will stop before recording.

The "Punch recording" button in the toolbar (view page 67)" blinks during pre-counting and
the "Record" button blinks in the transport console (view page 52). When recording begins,
both buttons remain active until the end of the respective recording period.

Detailed information about different punch functions is provided in the "manual.pdf"

documentation, in the help file, and under "Play/rec -> Record mode/punch in -> Punch
marker mode (view page 581)".

Audio metronome
First beat/beats: This setting allows you to specify individual samples for the metronome
("volume") for the first beat of each measure ("beats") or the remaining beats of the
measure ("beat").
 SAMPLITUDE QUICK START 85

Both metronome sounds "Metronom1.wav" and "Metronom2.wav" are preset; these are
located in the folder "fx-preset" in the program directory.

Volume: This controller regulates the volume of the audio metronome's sounds.

Device: Set the audio device for the metronome here. Stereo master is preset, but this
may be changed to another audio device output as the source of the metronome.

MIDI metronome
MIDI output device: Set the device that should produce the metronome click here. This is
normally the sound card.

MIDI channel: Set the MIDI channel via which the MIDI commands are sent here.

First beat/beats/note value/velocity: Set various note values and the velocity for the first
beat of each bar or the other beats of the bar here.

Volume Adjustment
Click the "Visualizer" button under the recording information display. Various functions are
presented to aid visual orientation. Select "Setup > Peak Meter". If there is no visual
display of levels is shown, then press the "Monitor" button under "Options" in the recording
dialog. You should now be able to see a signal.

Detailed information about "Visualization" is available in the reference manual, the help file,
and in the "manual.pdf" documentation under "View > Visualization (view page 798)"

Note: Connect your input signal to your external amplifier/your sound card's input in such a
way that the peak meter is as close as possible to 0db, but doesn't quite reach this value.

The recording starts from the current position of the play cursor. If you wish to record
from the fifth bar (for example), place the play cursor at the beginning of the fifth bar. To do
so, open the project options under "View > Grid > Snap and grid setup" (shortcut: "I")
and check the "Snap to", "Grid/Bars" and "Show grid" boxes. In the "Show grid" "selection
menu, select "Bars/beats" as the grid unit, and confirm by clicking "OK".

Now you can see the grid lines in the VIP. These divide the project window, and the grid
toolbar now indicates the bars. Switch the display in the transport window (view page 52)
to "Beats". Since "Bars/Beats" is selected as the grid unit, you can easily use the left/right
86 SAMPLITUDE QUICK START

arrows on the keyboard to jump to the beginning of the fifth bar. Simultaneously, you can
read the bar and beat position in the play cursor of the transport window.

If you click on the "Record" button now; recording will start. As soon as you have
recorded enough, press the stop button. You will be asked if you wish to save your
recording. If you are happy with this, press the "Yes" button.

Your recording appears in the project window as a virtual object. Now activate the next
track by clicking on the "R" button in the second track. As you can see from the level
bars, the input signal is now selected for this track, which is ready for recording.

Note: You can bypass the dialog window in case settings have already been specified and
record straight into the VIP. Simply press the "R" key on the keyboard. If a track is
activated, recording will begin immediately.

Loop recordings
If you would like to record in a loop, select the section in the arranger that you want to
record first. Activate the "Loop" button in the transport control and start the recording. The
range will repeat until recording is ended. A new take will be created for every run. If you
hold down "Ctrl" and click with the right mouse button on the last take created for the
recorded track, you will be able to see all of the takes produced using loop recording. To
listen to a specific take, select it from the menu that is displayed.

The Take manager (view page 150) is useful for organizing and editing recording runs. Use
it together with the Take composer (view page 152) to produce the perfect take.

Punch recording with markers

If you know the exact range in which a punch recording prior to recording, then use punch
recording with markers. To do this, select the area with the mouse where you want to
use punch recording, and then activate the "In" and "Out" buttons in the transport
control above the red "Record" button. Position the play cursor next.

If "Punch" is activated, start the process with the "Record" button on the transport
console. The actual recording will occur within the punch range. While this is happening,
the "Record" button will flash when the play cursor is in front of the "In" marker. The
button remains red during the punch recording.
 SAMPLITUDE QUICK START 87

Example: An error between beats 23 and 25 needs to be corrected. Playback starts

before the punch in position so that the introduction to the recording is made as easy as
possible. During the punch process the "Record" button flashes; the recording will start
automatically from the "In" marker (bar 23). Since the section following the object is already
satisfactory, the recording is ended automatically at the "Out" marker (bar 25).

Detailed information about different punch functions is provided in the "manual.pdf"

documentation, in the help file, and under "Play/rec -> Record mode/punch in -> Punch
marker mode (view page 581)".

Multi-track recording
The "Project options - mixer setup" dialog can be very useful for configuring multiple
tracks in multi-track recordings in a single step.

1. Open "Project options - mixer setup" via the key combination "Ctrl + Shift + M". You
can also access it via "Options -> Project properties -> Mixer setup...".
2. Click the "Routing" box and select the option "Route all tracks to existing stereo
devices" if you want to record in stereo. For mono recordings, select the option
"Route all tracks directly to existing mono devices".
3. If the recording doesn't start at the current track, enter the corresponding track
number into the "Start with track" field.
4. In the "Device setup (track in/output assignment, routing)" area, click the "I/O
devices" box and select "Record" from the dropdown list.
5. For example, if you have four recording devices, enter "4" into the "Track number"
field. The devices will then be set up across the next four tracks.
6. Click "OK" to confirm.
88 SAMPLITUDE QUICK START

Preparing to record
 For each track you want to record on, press the "R" button to activate the track, i.e. to
prepare it for recording.
 Click on the button with the loudspeaker to activate monitoring.
 You can set the maximum gain of your signal from your recording sources. To monitor
the peak levels, open the peak meter via each track's context menu (track header ->
"Track visualization").

Starting recording
Once you have everything set up and the signal has been adjusted, start recording by
pressing "R". End recording by pressing the space bar (only in "Playback while
recording" mode) – or by pressing the "R" key again. Accept the recording by pressing
the "OK" button in the dialog window that opens.

Now you will see one object for each recorded track.

MIDI recording
In Samplitude, there is basically no separation between audio and MIDI tracks. Each
track may contain audio and MIDI objects. You may therefore work on audio and MIDI
material in a single project without having to split tracks. This enables you to manage VST
instruments entirely from within a single track. When freezing the track, the MIDI data is
converted into audio data. However, a track may only record from a certain device,
which means that audio and MIDI files cannot be recorded simultaneously onto one track.

In a Samplitude VIP track, MIDI data is recorded in the same way as audio data. An object
is created for each recording, which overlaps existing objects.

Note: Samplitude offers special MIDI recording modes (view page 90), in which already
existing MIDI objects are inserted either via mixing (overdub) or via local replacement
(replace).

Preparing a MIDI recording

If the "MIDI" button is activated in the track editor, the MIDI section opens to prepare the
track for MIDI recording.

Indicate to Samplitude which MIDI input device the program should use. Select the input
device via the MIDI in slot (e.g. MIDI keyboard or fingerboard) to do this.

If you have integrated multiple MIDI input devices with your system, you may also select
<ALL> as the MIDI input device for a track.
 SAMPLITUDE QUICK START 89

As the playback device (MIDI output device), select the MIDI port you use via the MIDI out
slot (e.g. MIDI out of your sound card or a VST instrument).

If sound cannot be heard when the keys on your device are played, then monitoring likely
needs to be activated. Activate this via the loudspeaker button (MIDI thru) for the respective
MIDI track.

By right clicking the "Mon" button in the transport control provides access to the behavior
of the "Record" and "Monitoring" button. If you activate the options "Automatic MIDI
record switch on current track" and "Automatic MIDI monitoring (Thru)", then the
respectively selected MIDI tracks will be immediately activated for the recording and
monitoring will be switched on for the input signal. If you want to record multiple MIDI
tracks simultaneously, then deactivate the option "Automatic MIDI record switch on
current track".

If you still don't hear anything when you play the keys, make sure that the MIDI out
channel of the MIDI keyboard matches the "channel in" slot in the track editor for the
selected MIDI track.

Ensure that your MIDI synthesizer is sending to the same MIDI channel that you have
selected in the "channel out" slot in the track editor.
90 SAMPLITUDE QUICK START

Note: Many drum computers send to MIDI channel 10, since this is preferably used as the
percussion channel and is even specified as such according to the General MIDI (GM1)
specifications.

MIDI recording modes

The following MIDI record modes are available: normal, overdub, and replace. The
different modes determine how the newly recorded MIDI files will be added to the VIP.

You can specify the settings for MIDI Record Modes in the transport control. Click on the
arrow on the left beside the "Close" button in the transport control to display this section.

Alternatively, you can select the MIDI recording modes from "MIDI record" mode via "Play /
Rec > MIDI record mode".

Normal: Recording mode matches that of the audio recording. This means that a new
MIDI object is created over the existing object for each recording. The old object remains,
but it may be covered partially or completely by the most recently recorded one (both
visually and acoustically). This way, you can record multiple takes of a passage and then
compare them in the take manager (view page 150) later on.

Overdub: The data is recorded into an already existing object, available and newly
recorded MIDI data is mixed together.

Replace: The data is recorded to an existing object, and any existing MIDI data is
overwritten.

After selecting the mode, make sure that the recording is activated for the track. The
record button, which is set to standby, changes to violet to signal that this MIDI track
should record MIDI data.

Now you can now start the MIDI recording using the shortcut key "R". After ending
recording with the "Stop" button, you will be asked whether you want to keep or delete the
recording. After confirming this with "OK", your newly recorded material will appear as a
"MIDI take" in the VIP. In case you have recorded several takes in normal mode for the
same selected range, you can select and play back the individual MIDI takes in the Take
manager (view page 150).

Note: You can switch between the individual recording passes even quicker by holding the
"Ctrl" button down and then right clicking the MIDI object. Now a menu will appear in
which you can select the desired take and play it right away.

If you record within a previously created MIDI object (Object -> New MIDI object), then you
can follow the recording via the arranger track. The created events are displayed as blue
bars. If individual MIDI events are muted after recording in the MIDI editor, these will appear
in the MIDI object as gray bars.
 SAMPLITUDE QUICK START 91

Objects in the virtual project (VIP)

Audio and MIDI

Audio objects in a VIP always reference one wave file or one partial section of a wave file.
MIDI objects also reference a single corresponding MIDI file. In contrast to audio, in which
case wave files are saved visibly on the hard disk, MIDI files are saved together with their
objects, which links them directly to these objects.

Cutting and editing

Audio and MIDI objects are cut in the same way.

Place the play cursor at the cut position. Now click the object to be cut and press the "T"
key on the keyboard. If "Auto crossfade" mode is activated, then Samplitude will create a
fade for audio objects between the two newly created objects.

Detailed information on this can be found in the chapters: "Object-oriented audio editing
(view page 113)", "Object editor (view page 114)","Working with objects (view page 123)"
and "MIDI in Samplitude (view page 242)".
92 SAMPLITUDE QUICK START

Mixer

Use the mixer (keyboard shortcut "M") to adjust the volume and panorama of the recorded
tracks as well as automate fader and panorama movements. There are also multiple plug-
ins, submix and AUX buses, a four-band parametric equalizer, inserts for the integration of
effects and VST instruments as well as many configuration and bouncing options available,
not only for each individual channel, but also for the complete stereo track.

Detailed information is available in the chapter "Mixer (view page 158)".

Effects

Note:You can find more detailed information on effects in the accompanying PDF
("Manual" and "Effects, plug-ins and instruments").

In Samplitude, effects can be used at various "levels", offline or virtual effects, for objects,
tracks in the mixer channel or as master effects.

Offline effects
The effects can be used in Wave projects and on objects. A Wave project represents an
audio file. Objects in a virtual project refer to this audio file. Offline effects change the audio
data in the wave project and may be set via "Effects -> Process Effects Offline".

Real time effects

Unlike offline effects, real-time effects are not calculated into the wave files that the objects
refer to. These effects are recalculated every time they are played and can be modified,
varied, without changing your original audio material.
 SAMPLITUDE QUICK START 93

What effects are there?

In general, the following effect categories are available in objects, tracks, and in the master
area:

 Dynamics
 Frequency / Filter
 Delay / Reverb
 Distortion
 Restoration
 Stereo / Phase
 Modulation / Special
 MAGIX Plug-ins
 essentialFX
 DirectX (only available if DirectX effects are installed)
 VST FX (only available should the VST effects be installed)
 ReWire (only available for tracks and if ReWire clients are installed)
 Analog Modeling Suite: am-track, am-pulse, am-phibia (Samplitude Pro X Suite and
Sequoia only)
 am-munition (Samplitude Pro X Suite and Sequoia only)
 Vintage Effects Suite: CORVEX (Chorus, Flanger), ECOX (Echo, Delay), FILTOX
(Modulation, Filter). These are special internal plug-in effects for dynamics, sound editing,
and simulation of analog switching.

Effects - Signal flow

Offline effects are applied before all real-time effects, as they are immediately calculated
into the audio material. Real-time effects on the other hand, do not change the original
audio material. They are calculated during playback in "real-time".

The signal passes through the real-time effects in the following order:

1. Object effects
2. Track effects
3. Master effects

Effects in audio objects

Object-based virtual effects are set in the object editor. These may be opened by double
clicking on an audio object. The effect view is opened here by default. To display the full-
size object editor, place a check next to "Max".

Object effects are applied only to the selected object. All other objects in the VIP are not
affected by these settings.

Effects in tracks
Track-related effects may be set either in the VIP window or in the mixer. These may be
internal effects or VST FX or DirectX effects.
94 SAMPLITUDE QUICK START

Now click on the arrow symbol for the corresponding field. A menu with the various effect
categories will open.

Mixer effects
To set track effects in the mixer, open the mixer by pressing the "M" key. In the "Ins"
section, click the arrow symbol of an effect slot in the corresponding channel. Selecting
effects is done the same way as described above. Use the "FX" button directly below the
track's channel fader to open a dialog to change the series of effects within the track.

Master effects
Master effects are applied to the entire material in a multi-track project. The signal is routed
through the effect, i.e. your audio card, before reaching the master output.

Master effects may only be set in the mixer, which may be opened by pressing "M". The
sum range of the mixer is wider than normal tracks and can be identified via the differently
colored faders.

The effect slots for MAGIX plug-ins as well as VST and DirectX effects are located at the
very top. All of Samplitude's internal master effects are located under this. The equalizer
may be used directly from the mixer or the equalizer dialog, which may also be opened by
right clicking one of the EQ controls.
 SAMPLITUDE QUICK START 95

The sequence of the master effects may be set in the FX routing dialog, which opens
via the FX button beneath the master faders.

CD mastering
CDs may be burned directly from within the project, without having to export the
project as a wave file beforehand. Burning requires that a blank disc be inserted into the
drive and a valid TOC (Table of Contents) exists. Place at least one CD track marker and
a CD end marker to do this.

Set CD tracks
Position the play cursor where you wish to set the CD track marker. The marker menu is
located above the track head boxes in the VIP. Open this and select "Set CD track index".
Repeat this process until all markers that you want to set are in place.

Now position the play cursor where you want the CD to end. Open the marker menu again
and select "Set CD end marker".

Note: The burning process only starts from the first CD track marker.

Burn CD
Now play the project again and at Samplitude's status bar to see how much CPU is
required to play the project. This is important in order to estimate the speed that the project
may be burned to audio CD.

Now click the button with the CD symbol. Alternately, select the "Make CD..." option in the
"CD/DVD" menu. The CD burning dialog now opens.

Make CD
96 SAMPLITUDE QUICK START

Mode: Select whether you want to burn your project directly "on-the-fly" (without prior
rendering) or whether Samplitude should create a new file beforehand (bouncing).

Click "Burn CD".

CDR write settings: Enter the desired burn speed here.

If to wish to use CD text, open the "CD-Text/MP3 ID editor" by clicking "CD-Text

settings" and entering the desired CD text for your tracks.

Click on the "Write" button to begin burning. During burning, the play cursor runs through
the project to provide a progress display.

After burning, a message appears indicating that the process is complete. Confirm this by
clicking "OK".

Detailed information about CD mastering is available in the menu reference under

"CD/DVD". (view page 777)
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 97

General Functions in the Project Window

Section
"Section" refers to the visible part of a project in the project window.

There are many commands for moving (scrolling) the visible section and for customizing its
size (zooming). The corresponding commands can be opened via the "View" menu, via the
position bar, and via the shortcut keys.

Up to three different sections may be displayed at a time in a project (shortcut: "B"). This
allows you to display the entire project in the upper section while special passages of your
arrangement are displayed in the other sections, e.g. at loop start and loop end.

The simplified view may be restored via the keyboard shortcut "Shift + B".

Active section
If you display your project in several parts only one can be shown at a time. Activate a part
by clicking on it or clicking on its control. By clicking on both double arrow buttons at the
left, lower border of every section a corresponding context menu will appear that offers you
different possibilities for moving the corresponding section horizontally or vertically.

The red arrows in the lower toolbar are additional buttons for moving sections horizontally.

Detailed information about sections is available in "View -> Sections (view page 811)" and
"Edit > Range > Split range (view page 522)".
98 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Select multiple tracks – group track controls

To select multiple tracks, choose the tracks by clicking the respective track
numbers/track ranges while holding down the "Ctrl" key or the "Shift" key. The
selected tracks are highlighted in the arranger, which indicates that they are grouped.

Alternatively, the select the desired tracks and then open the track context menu and
select "Track properties > Group track controls".

If the status of a button or controller is changed now, then it will become apparent that the
corresponding control elements of the other tracks in the group will also change. This
applies to faders, panorama, EQ, AUX, mono, phase, solo, mute, record, MIDI/audio
swapping, track color, track locking, Revolver track settings, bouncing settings, and for the
selection of types of automation (track/object), plus the audio inputs/audio outputs. For
the audio in and outputs, incremental functionality may also be selected, which
distributes the in and outputs available in your system according to the selected tracks.

On the other hand, specific settings such as integrated plug-ins, the selected automation
mode, or the comments field remain as individual settings for the respective track and are
not transferred to the group.

This group functionality also applies to the mixer. The multi-track selection function is also
available in the mixer for previously added control groups (view page 167) if the same
control elements are integrated.

In order to clear the group, click any track above or below the selection. If you click
and move a control element related to one of the tracks removed from the group, it
becomes apparent that the complete group has been cleared.

In order to remove a track from an existing multi-track selection, hold down the "Ctrl"
key and click the track name. If you change a control element of another grouped
track, it becomes apparent that the tracks are still grouped, even without the track that
has been removed.

Alternatively, you may open the context menu in the track box and select "Track
properties > Ungroup track controls to clear a group.
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 99

The context menu featuring commands to group or ungroup track controls may also
be accessed by right clicking in the track header area below the last track in the arranger.

Note: Multi-channel selection in the mixer functions exactly like multi-track selection in the
arranger, i.e. by clicking the track number/name while holding down the "Ctrl" key or
"Shift". In order to clear a group of channels, click a channel before than the selection.

Zooming
Use the zoom functions to adjust the sections of a virtual project. The higher the zoom
stage, the more precise display will be.

Samplitude features the following zoom functions:

Zoom with the position bar

Click the magnifying glass to open the zoom feature. The glowing red buttons zoom
vertically along the timeline while the blue magnifying glasses zoom vertically. In addition,
there are 4 freely definable magnifying glasses; pressing a number and holding down
"Shift" while clicking enables the zoom stage to be set individually.

Use the wave symbols on the right to set the zoom stage for display of the waveform in the
active section.

Zoom with keyboard

The key combination "Ctrl + Arrow right" zooms out of the project; "Ctrl + Arrow left"
zooms in. Press "Ctrl + Arrow up" to zoom into the waveform display, while "Ctrl + Arrow
down" zooms out of the waveform display.
100 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Zoom with the scroll bar buttons

In the lower right-hand corner of the VIP window, the "+" and "–" buttons may be used for
more precise adjustment of the horizontal and vertical zoom levels.

A common feature of the preset zoom functions is that they center the play cursor in the
visible section, provided it's visible when the zoom command in the section is executed.

Zooming with the mouse wheel

The key combination "Ctrl" and the mouse wheel provides simultaneous horizontal and
vertical zooming - even during playback.

The key combination "Ctrl + Alt" and the mouse wheel provides simultaneous horizontal
and vertical zooming.

You can zoom in by rolling the mouse wheel upwards.

You can zoom out by rolling the mouse wheel downwards.

Zooming with the mouse - vertical zoom

An elegant method of zooming is to left click on the time line, hold down the button,
and drag the mouse vertically.

By dragging the mouse up, you can zoom out of the project, and you can zoom in with
the reverse action. Simultaneously, you can change the range borders or the play cursor
position with horizontal mouse movements, depending on whether you position the mouse
at the beginning of the action on the grid toolbar or on the marker bar.

This way you can position the play cursor precisely in one go: set the desired playback
position roughly by clicking somewhere in the marker bar. . Next, move the mouse
downwards while holding down the mouse button to zoom into the project. Correct the
mouse position by moving it horizontally, and finally zoom out of the project by moving the
mouse upwards.

Deactivate this function at any time via the system settings ("Y -> keyboard, menu & mouse
-> Mouse -> Special key performs vertical zoom without shift key").
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 101

Zoom Mode
Selecting the magnifying glass icon in the mouse mode bar accesses Zoom Mode (view
page 73). Use the right mouse button to zoom out of the project, and click with the left
button to zoom into it.

Zoom Tool (Shortcut: Z)

You can temporarily switch to "Zoom" mode by pressing "Z" and then dragging out a lasso
with the mouse. By holding down the "Z" key and left clicking, you can zoom into a project
in stages; right clicking while holding down "Z" zooms out in stages.

Zooming with the scrollbars

The scrollbars may also be used to change the zoom stages. When the mouse pointer
moves over the left and right border of the horizontal scrollbar, it will change into a double
arrow. This may be used to move the scrollbar borders, which also changes the length of
the section displayed in the window. The length will then be shown on the left of the
horizontal scrollbar.

Similarly, you can use the vertical scrollbars to zoom into the track display.

Scrolling
The visible section follows the play cursor in so-called Autoscroll Mode during playback.

All commands for setting the play cursor via keyboard or via the menu "Play / Rec > Move
play cursor" also move the section with the play cursor. When moving the play cursor with
the arrow keys the section will be moved as soon as you leave the window (page mode),
with the keyboard shortcut "Alt+Arrow" the section will always be moved in such a way
that the play cursor remains in the middle of the VIP window. The "Home" and "End" keys
move the play cursor as well as the visible section to the beginning or end of the project.

Should it be the case that you wish to move the visible section without moving the play
cursor, you have the following options:

Grid/marker bar: Moving the mouse pointer in the grid/marker bar while holding down the
"Alt" key enables you to move the visible section conveniently from left to right. This
method is very useful for navigating quickly within the arranger together with the vertical
zoom (view page 100).

With the scroll bar: By moving the scroll bar the contents of the window can be moved
either to the left or to the right.

With the arrow buttons in the position bar: The red arrow buttons can be used to move
the section independently.

With the keyboard: You can set up Keyboard shortcuts for all commands of the menu
"View -> Horizontal/Vertical" (view page 816).
102 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Detailed information about creating keyboard shortcuts is available in the chapter "Preset
shortcuts".

Ranges
Ranges are selected sections of the arrangement that may be selected for editing or
access later on. When creating ranges, you are not bound to object borders, individual
tracks, or any other limitations like markers. Ranges that you search for are displayed
inverted. You can set the step size of the selection by switching on the "Snap/Grid"
function in the "Project options (view page 33)".

Working with ranges

Be aware of the following specifics when working with ranges in Samplitude:

 The range remains in "Loop" mode even if the play cursor is repositioned
 In loop mode the entire project is looped, even if you haven't marked a range.
 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.
 In loop mode the entire project is looped, even if you haven't marked a range.
 Range ends can be adjusted during playback as well.
 The play range can be deleted by dragging to size 0. .
 The current range can be deleted by double clicking the grid toolbar outside of the
range.

Note: In the general program settings (shortcut: "Y -> Program ->
General"), if a check is removed from "Play cursor independent of
range", the active range will be defined for the length of the recording or
playback process. Samplitude then ceases playback or recording
automatically at the end of the active range, provided the "Loop"
function is active in the transport controls.

Selecting a range
To select a range, move the mouse pointer to the top half of an object and press the left
mouse button. Move the mouse pointer within the object while holding down the mouse
button. An inverted rectangle appears between the starting point and the current mouse
position. Once you let go of the mouse button, the range will be selected.
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 103

The play cursor always automatically remains at the beginning of the range, even if you
can't see it at this moment in time. To expand the range to other tracks, click on the top
half of the selected object again and drag the mouse down vertically while keeping the
mouse button held. Now click the section with the "Shift" key held down, and every object
featuring a middle point within the selection rectangle will be selected.

A range may also be selected by dragging the mouse across the timeline. This will then be
indicated by a different color. Double clicking this range in the timeline selects a range in
the selected track; double clicking again selects the range over all tracks, and double
clicking once more restores the simple timeline selection.

The timeline selection enables the play cursor to be positioned outside the range. The
range will remain in loop mode. This way, playback may be started in front of or within a
loop. In this case, the range edges may also be modified during playback. The playback
range may be deleted by dragging to size 0. . Click the range borders in the timeline to
position the play cursor at the playback borders. Double clicking the timeline outside of the
range removes the playback range.

Leaving a range
To select a different range, click somewhere in the project other than the current range,
and simply draw a new range.

Reactivating a range
Use the shortcut "Shift + backspace". By clicking on this command repeatedly you can
restore the last five ranges. You can execute the same function by clicking on the left arrow
button in the transport control.
104 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Change range borders

Timeline selection enables you to change the range edges by positioning the mouse over
them. The mouse pointer turns into a double arrow. The range borders may now be
changed by dragging horizontally.

To change the edge of an existing track range (start, end, top edge, or bottom edge), left
click inside the range of the existing area and hold down the mouse button. Next, leave
the range in the direction of the edge you would like to change while holding down
the mouse button. As soon as the edge of the existing range has been crossed, the range
edge will follow the movements of the mouse pointer. Once the range's edge has been
redefined, release the mouse button. The start of the range may be changed via the
arrow keys, and the range's end may be changed by pressing "Shift + arrow".

Horizontal movement of a range

Left click within the existing range while holding down "Shift" and holding down the
mouse button to move the range horizontally.

Saving and opening ranges / Special range commands

Selected ranges can be saved by going to "Edit" then selecting "Range" from the menu or
by pressing "Alt" and one of the function keys "F2-F10" and opened again with "Ctrl + 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 as it is used in Sequoia as a
source destination edit command. On the other hand, you may redefine this keyboard
shortcut whenever you like via "Menu File > Program preferences > Edit Keyboard
Shortcuts and Menu (view page 488)".

You can also save and rename ranges without any restrictions using Alt+F11.

These and further special functions for defining, changing, and using ranges can be found
in the "File > Edit > Range" menu. Beneath this you'll find a range editor dialog for the
exact numerical input of ranges and the Range Manager (view page 149) for quick and
easy viewing of and jumping to ranges.

More information on ranges can be found in the menu reference point under "Menu Edit >
Range".

Examples for working with ranges

Example 1: You want to move multiple neighboring objects to a new position. Instead of
selecting each object separately while holding down the "Ctrl" key, you can select a range
that contains all objects. Select the desired objects via "Object > Select objects > Select
objects under the play cursor/range".
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 105

Example 2: You wish to remove a section of a song from the VIP window completely. This
may be, for example, a verse of a song that should be cut out in order to reduce the overall
length of the track. Select a range and activate all tracks by double clicking twice to select
the affected verse. Then select "Edit > Delete > Delete with time/ripple" to remove the
verse.

Example 3: A selected range can be played as a loop. Activate the "Loop" button in the
transport console. In this case, the range edges may be modified by dragging the handles
on the edges. This enables previewing prior to making a cut.

Markers

Markers can set position points in your project that are of special importance to your
arrangement. On opening any set marker, the play cursor will be moved to the defined
marker position. Markers are listed along the top line of the virtual project, the so-called
marker list, and these may be set when stopped, during playback, or during recording.

A virtual project in Samplitude can contain any number of markers. The first ten number
markers can be saved using the key combination "Shift + number key" on the
corresponding play cursor position and open them directly via the number keys again.

If you want to rename a markermove the mouse pointer over its front edge.

This turns the mouse pointer into a double arrow. Double click You can rename the marker
in the dialog window that appears.

In the menu point "Play / Rec > Marker > Marker with name" you may name additional
markers freely.

To delete a marker, select it by clicking its front edge, and then press the
"Del" key on your keyboard. Markers can be moved by grabbing them and
dragging them to where you want to go, the mouse pointer changes into a
double arrow <->.

By using the object modes "Connect objects until pause" and "Connect objects on a track"
together, the markers in the top arranger track can also be moved when objects are
moved. Moving objects in object mode "Group objects", simultaneously moves the marker,
independent of the selected track.

If you right click inside the marker list or press the "Marker" button to the left beside the
marker bar, a context menu will appear that features the most important marker
commands.
106 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

The marker manager may also be accessed via "View > Manager > Marker manager". This
is where you manage and edit the markers you set.

More information about this is available in the chapter "Manager -> Marker manager (view
page 147)".

To stretch a range between any two markers, first click on the first marker. Then click on
the second marker while holding down the Shift key. This selects a new range.

Use the function keys "F2" and "F3" to quickly jump back and forth between the marker
positions or the keyboard shortcut "Alt + W/Alt + Q" or select "Play / Rec > Move play
cursors > Marker left/right" from the menu.

Alongside the standard markers there are additional markers that can be used in
Samplitude as well:

 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. Audio markers are linked to
the audio material, and are visible on the upper side of´an audio object. The purpose of
the audio marker is to mark positions within the audio material, this marking will therefore
remain regardless of the positioning in the virtual project. Audio markers may also be
made visible in the view options ("Shift + Tab") in the "Objects" area by marking "Audio
markers" with a check mark. The audio markers displayed in the object of the virtual
project are identical to the markers in the corresponding Wave project. If you want to
place a new project marker in a Wave project, as is done automatically when recording a
new take, the audio markers are visible at the same position in the audio material in all
related objects. Note: All time information for the audio marker relates to time positions
in the audio material, and not to positions in the virtual project.
 Markers for CD burn functions: CD track markers are displayed in red, CD subindex
markers are green, and CD pause markers are blue.
 Tempo markers signify a tempo change at a specific position in the project.
 Beat markers change the type of beat from the marker position, e. g. 4/4 beat to 3/4.
 Beat position markers assign a specific musical position to a specific time position.
This way, the bar frame/grid and MIDI events can be easily synchronized with existing
audio material.

For more information on Tempo and grid position markers, see "Play/Rec > Marker (view
page 301) > Insert Tempo Change/Insert Grid Position Marker" (view page 305) in the
menu under reference.

Advanced ruler/time display

Use the grid bar's context menu to activate a second grid bar in the arranger and set
your own measurement unit (show 2nd grid bar). Both grid bar positions can be
exchanged (swap grid). If you select "Independent time format" in the transport window,
the upper grid will adapt to a chosen BPM grid, unlike the lower grid. This makes it
possible to select an SMPTE format independent of the project frame rate, which provides
an overview of two different SMPTE displays.
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 107

Scrubbing

Scrubbing makes it easier for you to find a specific part of the music in the project simply
by moving the mouse pointer. Playback occurs while moving the mouse forwards or
backwards.

By varying the playback speed, it's possible to quickly locate an approximate position and
then find the exact position at a reduced speed.

If you press the insert key ("Insert" or "0" on the number pad), Samplitude will switch to
"Scrub Mode". Now move the play cursor with the mouse in order to hear the audio
material beneath it. When you hold down the mouse button in "Scrub Mode", you can also
hold down on the "Shift" or "Ctrl" keys to slow down the process slower to make it more
precise. You can also use the mouse wheel for fine-tuned scrubbing.

The mouse mode list also contains a separate scrubbing mouse mode.

The following scrubbing modes can be selected via the playback options (keyboard
shortcut: "P"):

Shuttle: The relative distance between the play cursor (positions bar) and the mouse
position is used to control the speed. This means:

Scrub controller on the left edge = double speed backwards

Scrub controller in the center = no movement
Scrub controller on the right edge = double speed forwards

Absolute: This mode allows you to 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,
whereby 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 halves
this value. 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.

The option "1 track" enables you to limit scrubbing to the active track only.

Scrubbing in the transport control

108 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Another way to scrub is to use the scrub control wheel in the transport controls. Right
clicking on the scrub control wheel opens a dialog to set variable speed settings as
described above.

Scrubbing tip: Scrolling is "softer" in case of smaller hard disk HD buffers (250-1000
samples). Test if your computer functions at this buffer size without any playback errors.

Samplitude as a wave editor

Samplitude executes most tasks completely in the virtual project without having to access
the original audio material.

In certain cases, e.g. if audio files are used in other applications, it can be advantageous to
adapt the original material. In this case, not only the reference objects within a virtual
project are edited, but also the wave files (.wav) on your hard disk. When saving the
modified files, you can create a copy of the original file to easily access the original file at
any time. On the other hand, the command "Object -> Edit a copy of wave content"
enables you to open a copy of the wave project for editing purposes.

When using Samplitude as a wave editor, practically the exact same editing options are
available as those during non-destructive editing. Real-time effects are not available, since
these may only be used on virtual object layers in the VIP, and several mouse modes such
as "Universal" mode, "Object" mode, "Curve" mode, "Cut" mode, and "Pitch Shift/Time
Stretch" mode.
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 109

To open a wave project from within a virtual project, point at the lower half of the reference
object and double click while holding down the "Ctrl" and "Shift" keys. Alternatively, you
can also select "Object -> Edit wave project" from the menu. A wave project is opened
in a separate window and displayed as a waveform. The function of the zoom, scroll,
range, and marker features does not change for the new window.

There are two methods for editing wave projects: "Destructive editing" mode and the virtual
"Wave editing" mode.

Destructive Editing
Destructive audio edit mode is the standard mode when the command Edit Wave Project
in the Object Menu is used to open wave projects that belong to a VIP object.

Wave projects opened directly via "File -> Open -> HD wave project" are opened in the
virtual wave editor by default. This can be adjusted in the program settings. ("Y" ->
Program -> General -> Open wave projects in destructive editor mode").

Regardless of the mode you load your wave project in, you can toggle between
destructive and virtual wave editing via "File -> Project Properties ->Destructive
Wave Edit Mode". If the box is checked, the extension "destructive" will appear in the title
list of your project.

In destructive mode wave projects are written directly to the hard drive. Changes in the
editing window immediately affect the audio wave 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 wave
projects in the program settings ("Y -> Program -> Undo").

Note: At any time, a selected range in a wave project may be transferred from a wave
project in destructive mode into a VIP via "Copy" and "Paste".
110 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

Non-destructive wave editing

Samplitude also features non-destructive (virtual) wave editing. The advantage of this
editing mode is that it works directly in the audio material combined with the features of
non-destructive virtual editing. Compared to destructive wave editing mode, the
following differences are apparent:

The features "Cut", "Copy", "Delete", and "Insert" are non-destructive. The positions where
these operations have taken place are marked with dotted lines. These operations may be
performed in real time, since it is no longer necessary to copy data to the hard drive for
undo functions. All edits are performed when the wave project is saved, and then they are
added to the project.

"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.

"Wave editing" mode – master section

If you open the mixer window by pressing the "M" key, you will see a minimized mixer on
the master channel. This makes all of the real-time effects familiar from the VIP master
section available, even for non-destructive wave projects. This enables you to apply
multiple effects simultaneously when editing waves non-destructively. During destructive
editing, however, only one effect may be written to the wave file at a time.

"Wave editing" mode – auto-crossfade

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

Working with Samplitude – tips & tricks

Here are some hints on how to work more effectively with Samplitude:

New wave project via drag & drop

Click on a selected range from the range list of your wave project and drag this up
from the editing window onto a free section of the program background to create a new
wave project. This enables you to make copies of the entire wave project or just parts of it
quickly.
 G ENER AL FUNCTIONS IN THE PROJECT WINDOW 111

Drawing waveforms with the pencil tool

In "Wave editing (view page 108)" mode, use the pencil tool to draw or modify the
waveform of a file. Waveform display shows the suitable zoom level, and the mouse pointer
becomes a pencil. Changing the waveform in the wave window is useful if you want to edit
very short impulse disturbances manually.

Working in virtual projects

 The keyboard shortcut "A" produces a range that covers everything.
 To set a range between two markers, double click somewhere between the markers in
the marker list.
 The keyboard shortcut "Shift + mouse movement" may be used to move the range.
 Drag the range border to increase the range size to the left or to the right, for
example to adjust a loop.
 Use the "Tab" key to switch between two display modes in virtual projects, and edit
the modes via "Shift + Tab".
 The function "Objects -> Set objects" enables objects to be locked against
unintentional moving.
 By pressing the right mouse button in various areas of the VIP, e.g. above an object,
above the "Record" and "Play" buttons, or above the scroll bars, a context menu with
useful functions appears.
 Press the "Delete" key to delete selected markers and objects. If you drag out a range
over objects, press the delete key to delete the contents of the range.
 Press "T" to split an object at the position of the play cursor. If a range over an object
is selected, cuts will be made at the edges of the range. If "Auto crossfade" mode is
112 G ENER AL FUNCTIONS IN THE PROJECT WINDOW

active, a crossfade will be added to each cut procedure which may be optimized later
with the crossfade editor.
 "Shift + mouse-click" on the 4 zoom buttons S1 to S4 at the bottom of the position list
may be used to save each separate zoom setting.
 Double clicking an object in the VIP opens the object editor.
 You can select multiple objects one after the other by clicking the lower half of the
objects while holding down the "Shift" key.
 When holding down "Shift", all objects located between the first and last activated
object will be selected.
 There are a number of functions for editing objects available via "Object -> Edit
object/crossfade", which may be executed fastest by clicking on the corresponding
keyboard shortcut.
 The level and panorama curves may be linked to the objects below by pressing the
"Connect curves and objects" button in the mouse mode bar. This way, objects and the
curves that belong to them may be moved together.
 Numerical values in dialog fields like the display of the playback position in the transport
window may be changed by clicking the corresponding field and holding down the
left mouse button while moving up or down. This turns the mouse pointer into a
double arrow.

Mixer
 In the mixer, right click on the insert slots to open the corresponding effect dialogs.
 Double clicking the knobs/faders moves them to the zero position. Double clicking
again restores them to their original position.
 Master normalization in the mixer contains 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 to prevent level clipping.
 The mixer function "Mix to file" is located on the bottom right of the mixer. When the
"On" button is active, the master output of the mixer may be written to a wave file or
HD wave project during playback. During playback, change any parameter you want
in order to record any live sound adjustments you make.

Recording/playback
 The recording dialog may be accessed via "Shift + R". Start recording by pressing "A";
"S" ends recording.
 Begin and stop playback instantly by pressing the space bar. On stop, the play cursor
returns to the starting point. . If playback is stopped by pressing "0" on the number pad,
the cursor remains at the last position. The exact position may also be moved with the
mouse while holding down "0" (scrubbing).
 OB JECT- ORIENTED AUDIO EDITING 113

Object-oriented audio editing

Object-oriented editing describes a method which enables the various ways of editing any
selected object, independently of other mixer and track automation settings. This results in
a high level of flexibility, even on the object level. You can edit sound material considerably
quicker, add various effects to individual objects, and assign object-specific AUX
components. The original audio files remain unchanged.

What is an object?
The object is a unit in Samplitude's arranger window. The object is displayed as a
waveform, which may be moved, copied, or cut in any way.

Objects contain references to the basic audio material. You can also speak of referencing
an audio file with an object.

An object accesses available audio data and calculates parameter settings like volume,
panorama, object length, sound changes, effects, and fades, all in real time. Pitch Shifting,
Time Stretching, AUX send feeds, and plug-ins are also calculated.
114 OB JECT EDITOR

Object Editor
The centerpiece of object-oriented working is the object editor, which can function as a
tool for a single object as well as multiple ones.

Note: There is an object editor for MIDI objects as well. Detailed information can be found
in the chapter "MIDI in Samplitude -> Working with the MIDI object editor (view page 244)"

The object editor is divided in three sections "FX", "Fades", and "Time/Pitch". The object
editor may be left open to edit objects - the view automatically adjusts to the selected
object.

To open the object editor, select an object and press "Ctrl + O" or double click on the
object. The Object Editor opens in the Docking bay (view page 50).

The Object Editor can also be opened for an unselected object by positioning the play
cursor over the object you want to edit and pressing Ctrl + O. The track containing the
object must be activated.

To select all objects at a certain play cursor position, activate a track with no object at that
position. Press "Ctrl + O" and all objects located at the cursor position will be selected, the
object editor will open for the topmost object in the track list, which also features the
lowest track number.

Basic functions: Object editor

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, AUX, plug-ins, EQ, panorama and
automation.

Fades: Here you can set the fade in, fade out, wave position and object
position values.

Time/Pitch: Here you can set Timestretch/Pitchshift algorithms and loops.

 OB JECT EDITOR 115

The section on the far right is the same for all three dialog windows:

The object name is displayed in the upper text field and this may also be edited.

In the square field to the side you can select the object color.

Using the arrow keys you can "jump" up or down to the object of a neighboring track.

Use the double arrow buttons to jump to the previous or next object. If multiple objects
are selected, these buttons will not be active.

You can save the various object editor settings in the 4 snapshots. This can be done
by"Shift + left clicking" on the corresponding button. In case you haven't yet defined a
snapshot for the respective button a simple left click is enough. Clicking on the respective
number keys will switch between snapshots. This means that you can quickly compare the
various object editor settings. Also by right clicking on the numbers keys 1 4 you can load,
save and delete snapshots of the object editor's settings.

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, regardless
of which of the three object editor window areas, are applied to all other selected objects.

Note:

In an object - Volume changes are transferred relatively, 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.

FX bypass: this deactivates all real-time object effects, EQ/panorama settings, AUX sends.

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. This way you can bypass the processor-heavy realtime processing of
effects.
116 OB JECT EDITOR

Play/stop: This button corresponds to the normal playback function (Shortcut: space bar).

Phi: The Phi button causes a 180 degree phase rotation. By right clicking on the Phi button
you can invert the left and right channels individually.

Lock: The activated Lock button corresponds to the key button's switch in the object. The
object is then protected against any inadvertent horizontal movement. 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" (view page 549). 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 buses and AUX paths are also observed at
playback.

Mute: This button mutes the selected object. 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 addition to the numerous effects available for individual tracks and the master area of the
mixer, audio objects may also feature effects. All settings are retained when moving or
copying objects.

By crossfading between objects of different settings, you can also fade between the
different effect settings. CPU-intensive effects may therefore be used more efficiently,
since they are only processed as required (unlike a track effect set up as an AUX send
effect).

"Effects" or the context menu also makes it possible to access the object effects.

Manipulation via the level and pan curves or the volume controllers is only calculated after
object level effects.

Gain and AUX sends

Gain: Set the gain for the object here.
 OB JECT EDITOR 117

AUX Sends: Any object can send to all available AUX busses. You will see, however,
initially only to AUX1 AUX 4. You can adjust the corresponding slider by dragging in the
respective AUX Send field.

By right click on the blue button in the header the advanced AUX send dialog will open,
which provides full access to all AUX send paths.

By left clicking on the blue button in the track header you can bypass all AUX sends
(Bypass function).

Plug-ins and 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 of each
plug-in slot.

Just by clicking you can switch the sought plug-ins on or off. Right clicking opens the
interface of the respective plug-in.

The "FX" button opens the Effect routing selection dialog (view page 174) for advanced
settings and modifications to the plug-in series. Here you can load even more plug-ins than
are visible in the slots. To load additional internal effects, you should use the FX/Routing
dialog. If you click on the arrow button next to the "FX" button, you can save and load the
object effects settings.

The "Offline-FX" button opens a selection dialog concerning using offline effects (view
page 178). Select the effect in the corresponding effect dialog and confirm using the "OK"
button. the effect will now be included in the object offline. It is also possible to edit either
the left or right channels individually.

To remove a plug-in or an effect, select "No effect" from the corresponding plug-in slot in
the menu.

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 4-band equalizer. The selected EQ values can be
cut, copied, inserted and deleted by right clicking on the corresponding fields.

Pan
Here you can edit the panorama as well as the stereo width of the active object. Right
clicking on the controller opens the "Pan settings" dialog. Use L <-> R to toggle between
the left and right channels.

Pan:Use the fader on the left to specify the panorama in the stereo picture.

Stereo: Use the fader on the right to set the stereo width.
118 OB JECT EDITOR

Balance + stereo enhancer: The pan fader sets the stereo balance. The mid position
corresponds to a level of 0dB on both channels. When panorama is moved to the left, the
level of the right channel is reduced and vice versa.

The stereo button sets the base width of the left attack = 0% = mono via mid = 100% =
stereo to right attack = 200% = Enhan. (extreme base widening).

-4.5 dB Panorama+Stereo enhancer: The panorama fader controls the panorama

position so that when the levels of both channels are set to the middle, the channels are
reduced by -4.5 dB. In the outer settings one of the channels is faded out, the other is
raised from -4.5 dB to 0 dB via the control range. This compensates for any perceived
drop in volume in the mid position. Use this mode to place mono objects in the stereo
panorama.

2-channel panorama: In this mode, the two faders turn into two panorama faders for both
channels, just like a mixer with mono channels.

2-channel volume: This mode controls the level of the two object stereo tracks
separately.

Reset: This button resets the controller and Panorama mode.

Note: For three-times more powerful frequency-selective base width, use the multiband
stereo enhancer as an effect insert in the plug-in section.

Vol
Vol: The volume is 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

Automation
You can change object automation settings here.
 OB JECT EDITOR 119

You can make the automation curves of the selected parameter visible in objects with the
"View" option.

In both of the lower fields you can select the desired automation parameters.

Activate the Automation drawing mode button and draw the object automation curve in
the corresponding object.

Position/Fades
Use this dialog to set object-related time positions (start, length, end) and fade parameter
for the selected object. In the entry fields "Timestamp" and "Step size" the measurement
units can be changed by simply 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).

Fade In/Fade Out

Fade in and fade out may be edited via this dialog.

Using the faders you can adjust the precise settings of the curve shape of the fade.

If you wish to produce the original fade, click on the arrow button and select the "Reset"
option.The same context menu also features linear presets of the curve shapes, "Exp"
(exponential), "Log" (logarithmic), "Cos" (Cosine) and "Sine". Here you can load separately
saved additional curve shapes. Double click the fader to switch the fade between "Linear"
and the last setting.
120 OB JECT EDITOR

In the context menu there are two additional options available for fade-ins:

Enable crossfade (left): Use this option to extend the fade-in object to the left over the
original object border, depending on the values set in "Fade length". The fade-out of the
previous object is shortened accordingly; both fade-in objects will remain linked.

Asymmetrical crossfade (left): This option adjusts the fade-in independent of the fade-
out to the left past the object border.

Beneath this you'll find the three "Fade offset" as presets.

"Fade offset (%)" defines the percentage of the fade that should extend beyond the
original object edge.

 0%: The fade is located completely within the object

 50%: the fade is symmetrical to the object edges
 100%: the fade is completely outside of the original object edge

The object is stretched according to the percentage set in "Fade offset". The original object
edge that now acts as the "axis" of the fade will now be depicted as a dotted line.

If the fade offset is above 0%, make sure that there is enough audio material in the wave
project so that an object may always be faded in or out. For example, if the object starts at
the exact beginning of the wave display, you will no longer be able to crossfade as soon as
the "Fade offset" rises above 0%.

"Fade inside" (corresponds to 0% "Fade offset"), "Symmetric fade" (corresponds to 50%

"Fade offset") and "Fade outside" (corresponds to 100% "Fade offset").

The "Get global crossfade" function may also be used. Here the crossfade values of the
standard settings are acquired for automatic crossfades. Use "Set global crossfade" to
set the current crossfade values as standard values for automatic crossfades.

The resulting curve shape for fade-in and fade-out is shown together with the "Fade offset"
in the graphic.

Content
Audio file: Here the referenced wave project can be exchanged directly in the Object
Editor, copied and renamed. Open the dialog exchange dialog by clicking the folder system
beside the name of the audio file. If the audio file is used by multiple objects, you can
indicate whether it should be switched for the currently selected object or for all referenced
objects.

Takes: Select the take you want here.

Wave position: The arrow buttons do not affect the position of the object or its length,
they move the wave display in the object left or right.

Timestamp: This value assigns a unique time to the respective object.

 OB JECT EDITOR 121

If you click on the "Gear" button the Broadcast Wave Manager will open (view page 471).

With the option Reverse playbackan object will be played backwards. The audio files are
not changed.

Hint: Please note that there are some limitations when using additional effects on a
backwards-playing object. This refers to wave editing or using timestretching effects,
especially Elastic Audio. Furthermore, reverse playback requires more resources as track
speed cannot be used here.

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.

Timestretching/Pitchshifting

Pitchshifting and timestretching can be executed simultaneously and independently of one

another (but not in "Resampling" mode).

Pitchshifting: Enter the pitchshift in semitones (mouse wheel + Ctrl) or percentage (mouse
wheel + Shift) or as a factor of the output material.
122 OB JECT EDITOR

Timestretching: Enter the speed correction either as a new object length/stretch length
or as a factor of the output material, or even as the desired speed in BPM (beats per
minute).

The button "<< from loop or range" makes it possible to extract the BPM value from one
selected range or the object length and enter it as the "Original BPM". Enter the number of
quarter notes in the dialog that opens and then confirm with "OK". This is important if the
object tempo is not entered correctly and another tempo needs to be compensated.

The values are also able to be adjusted in stages using the knob.

If you wish to change the original speed ("Original BPM"), you will see that the speed of the
object you wish to correct adapts to that of the set stretch factor. The modes available are
"Resample", "Standard", "Smoothed", "Beat marker stretching (smoothed)", "Beat
marker slicing", "Beat marker stretching", "Monophonic voice", "Universal HQ" and
"True Resynthesis".

"Edit" opens a clear display of the already named parameters. If you move through the
individual modes with the mouse, a detailed explanation will appear for each mode.

Detailed information about these algorithms is provided in "Effects -> Time/pitch ->
Resampling/Timestretching (view page 647)".

"Reset" restores all pitchshifting and timestretching settings.

Elastic Audio provides a high-quality tool for pitch customization. The "Elastic Audio"
button opens the activated object in the Elastic Audio Editor.

The Use Elastic Audio (Pitch Automation) , changes the pitch using Elastic Audio.

Loop
In Loop mode (view page 136) Loop Start, Loop Length and Loop End are active
whereby the unit of measurement to the right beside the "Step size" input value can be
changed with a mouse-click. The loop with the specified step size can be corrected using
the arrow buttons:

Loop start:The upper arrow buttons change the loop starting point without changing the
loop length, that is, the loop end is moved as well.
Loop length: The middle arrow buttons change the starting point as well as the loop
length, the loop end remains unchanged.
Loop end: The lower arrow buttons move the loop end, the loop length changes.

All settings can be seen in the selected object in the form of vertical dashes. Once an
object has been selected the whole object turns into a loop. If, however, you selected a
range, only this will turn into a loop.
 METHOD S FOR WORKING WITH OBJECTS 123

Methods for Working with Objects

Integrating wave files as objects in the VIP
This is how to add a wave file to your virtual project as an object:

 Click somewhere in the upper half of the desired track at the position that should display
the beginning of the new object. The play cursor now moves to the position at which the
object will be inserted. The track is selected.
 In the "File" menu, select "Load/import" and then "Load audio file". Browse to the
desired wave file in the dialog window that opens. If you now choose to open this, it will
be appear as an object in your project window.

If multiple audio files have been selected (by holding down the "Ctrl" key), you can specify
under "Options" whether these should be aligned beside one another or on top of one
another in multiple tracks and also in which order they should be inserted into the virtual
project.

Tip If you have not opened a virtual project (VIP), the command "Load audio file" will load
your wave file in wave editing mode. You can select destructive wave edit mode from the
menu, "File > Project properties"

Detailed information about destructive editing is available in "Working in the project window
-> Samplitude as a wave editor (view page 108)".

Integrating sections from wave projects as objects

To integrate a section of a wave project into a virtual project (VIP) as an object, open a
wave project in an empty project window and drag the range up that should be integrated
into the virtual project (VIP). Then open a virtual project (VIP).

Click anywhere in the VIP in the upper half of the desired track at the position that should
display the beginning of the new object. The play cursor now moves to the position where
the object will be inserted. The track is selected. Click "Object -> New object" to insert
the previously selected range.

Alternately, press "Return" to display the VIP and wave projects one under the other.

Click the selected range of the range list in your wave project. Now drag this section of the
wave project up into the desired track of the VIP. The selected range is now available as a
new object in the VIP.

The difference between loading and importing audio files

Unlike during loading, the selected audio file is converted to .wav format when imported
and then copied to the hard disk. This is only necessary for file formats that cannot be
opened directly using Samplitude, e.g. Windows Media Files and certain MPEG files.
124 METHOD S FOR WORKING WITH OBJECTS

Increase the performance of your computer by importing compressed formats like MP3 or
OGG-Vorbis instead of simply loading them to bypass real-time decoding.

Integrating CD tracks as objects into VIP

You can also import tracks of an audio CD into your project.

 Click anywhere in the upper half of the desired track at the position that should display
the beginning of the CD track. The play cursor now moves to the position where the CD
track will be inserted. The track is selected.
 In "Menu CD/DVD" -> Load audio CD track(s)..." the CD track list will open. By
clicking "Copy selected tracks...", you can import selected tracks into the system and
load them into the project window.

Selecting objects and clearing selection

Each object may be selected with the mouse. To do this, click the lower half of the object
with the left mouse button. The selected object will be recognizable by a different
background color and the five handles that appear on its corners and in the center of the
object.

This selection may be cleared again by holding "Shift" and clicking the lower half of the
object or by clicking beside the object.
 METHOD S FOR WORKING WITH OBJECTS 125

Object handles
When an object has been selected, five handles appear at the corners and at the center of
the object.

The length handles are at the bottom left and right corners. Use these to adjust the length
and starting time of an object within the wave project. Use the object editor to change the
length as well.

The length of an object depends on the audio file that is accessing the object. The longer
the audio file is, the longer the object can be. The referenced audio file restricts the length
of the object: the object may not be longer than the audio file.

The fade handles (top left and top right) are used to fade an object in or out, and different
curve shapes are possible. Use the object editor to adjust the curve shape precisely.

The volume handle is at the top center of the object. You can use this to adjust the
volume. The volume level is displayed above the tool tips.
The object name is visible next to the left length handle on the right hand side and the key
symbol to its right may be used for locking objects (view page 130).

Select multiple objects; clear selection of multiple objects;

reverse selection
Objects may be selected in various ways. The selection may be expanded, reduced, or
reversed at any time.

 Select multiple objects by holding down the "Ctrl" key at the same time.
 Left click on a free area in the lower part of a track and hold down the mouse button.
Now drag the mouse to open the object lasso. All objects in the lasso are selected
when the mouse button is released.
 If there is no free space available, access the object lasso via "Object > Select objects
> Object lasso" (Keyboard shortcut: Ctrl + Alt + L). Now select individual objects by
dragging the mouse.
 Hold down the "Shift" key and click to select all of the objects between the first and last
selected objects.
 The complete object selection may be cleared by clicking anywhere in the lower part of a
track. The complete selection will not be cleared if you click a currently selected object;
clicking an object that is currently selected will remove that object from the complete
selection..
126 METHOD S FOR WORKING WITH OBJECTS

 The current object selection may be reversed (invert). To do this, select "Object >
Select objects > Switch selection".

Moving objects
 A simple move: Left click an object in the lower half of the object and hold down the
mouse button. The object will follow the mouse movement. Release the object at the
desired position (drag & drop). You can move an object in another track. In order to
move an object to the left or right, use this keyboard shortcut: "Ctrl + Alt +Shift + arrow
left/right".
 To move multiple objects at once: Select the desired objects as described above.
Click and drag one of the selected objects using the mouse to move all selected objects
together.
 To preserve the time position while moving objects different tracks: Select the
objects as described above. Press the "Shift" key and move the objects to the desired
track. The keyboard shortcut for moving a track up or downwards is "Ctrl + Alt + Shift +
arrow up/down".
 To move objects upwards over the visible section: To move objects vertically
upwards across the visible section, drag the objects across the section in the arranger.
Move the mouse pointer across the top track in the section to the grid/marker bar;
after a moment, the arrangement will scroll upwards so that the selected objects may be
moved to the tracks above.
 METHOD S FOR WORKING WITH OBJECTS 127

 To move selected objects downwards across the visible section in the arranger,
hold the mouse pointer to the lower horizontal scroll bar; after a moment, the
arrangement will scroll downwards so that the selected objects may be moved to the
tracks below.

nudging objects
 "Object -> Move objects > Object step 1/2" features a number of commands for
specifying individual keyboard shortcuts in the system options.
 To change the step widths 1 and 2, access "Object -> Move objects -> Object/Fade
Step Settings".
 Alternately, select the objects you wish to move and open the Object Editor. In the
Position/Fades window click on the right or left arrow in the Position/Length dialog. The
objects now move at the set step width.
 For step-by-step moving of an object you will also find the corresponding buttons on the
range list. Go to "View" > Toolbars > Range bar" to make this visible. Buttons are also
provided for moving the object's start or end, or the entire object.

Changing the length and start time of an object

You can move the object borders using the length handles. If the mouse is moved to the
length handles at the beginning of an object, the mouse cursor will transform into a double
arrow. By clicking and dragging, you can edit the starting time of the object. This also
changes the object length.

This function is also available in the object editor as well as in the corresponding buttons on
the range bar.

Duplicating, copying, and inserting objects

Duplicating one or more objects is done by moving objects while holding down the "Ctrl"
key.

Copying and inserting objects is done in the familiar manner with the keyboard shortcuts
"Ctrl + C" and "Ctrl + V".

Inserting an object with ripple

The keyboard shortcut "Ctrl + Alt + V" inserts a previously copied object at the play cursor
position; the objects following this in the arranger will be moved back correspondingly
("ripple").
128 METHOD S FOR WORKING WITH OBJECTS

Mute objects
You can mute the activated objects using the "Ctrl + M" shortcut or with the mute button in
the object editor.

You also have the option to mute either the left or right channel.

Note: If you've selected several objects and want to mute them collectively, make an
object mute and use the "Apply to all" checkbox to apply this to the group.

Change waveform view

The waveform view may be adjusted in "View -> VIP display -> Define...".

Detailed information about the display options is available via the menu reference under
"View -> VIP display (view page 491)".

Change the size of the waveform by holding the "Shift" key and rolling the mouse wheel.

Zoom into a waveform at the position of the play cursor by pressing the "Ctrl" key and
simultaneously scrolling with the mouse wheel.

Edit fades in the object editor or by using the handles

To quickly produce a fade, click and drag the fade handle of the selected object. The curve
shape that was set in the object editor is used in this case.

The object editor provides a selection of fade curves when the "Menu" button is pressed.
Select the fade lengths in the field beside this.
 METHOD S FOR WORKING WITH OBJECTS 129

Reverb in the object

Reverb times fade away if the Reverb effect in the routing is situated after the
"volume". For standard routing, only the post DirectX/VST plug-ins or internal delay effects
apply.
130 METHOD S FOR WORKING WITH OBJECTS

For reverb times with RoomSim change the effects sequence so that "Volume" is
placed before the "FX inserts".

The reverb time depends on the option "Maximum reverb time for objects without
fadeout (sec.)", which is located in the playback options (view page 578).

To ensure that reverb does not continue past the fade out, but rather that it breaks off,
arrange the object's parameter "Volume" in the FX/routing dialog after the effect (FX
inserts or DirectX/VST plug-in (pre) or DirectX/VST plug-in (post)).
 METHOD S FOR WORKING WITH OBJECTS 131

Locking objects
Just click the key symbol on the lower border of each object to protect an object
against accidental moving. This function corresponds with the "Lock" command in the
object editor.
Clicking on the key symbol again unlocks the object.

Multiple selected objects may be locked with a mouse click.

The menu entry "Object -> Lock objects -> Lock objects" applies to single and multiple
objects.

If you wish to lock all objects of a track, click on the lock symbol in the track overview box
or Track Editor.

Locking against fades, changes to length, or deleting may be set via "Object -> Lock
objects -> Lock definitions".

Temporarily disable the lock function by holding down the "Alt" key while clicking objects.

Editing an object destructively

By editing an object destructively, to add complicated effects to the audio material, severe
loads on the CPU may be reduced during playback in the virtual project (VIP).

To edit an object destructively, right click the object to access its context menu and select
"Wave Editing". The wave project will open. The wave may now be edited as desired.
Samplitude now functions as a wave editor (view page 108).

If an audio file that is contained in multiple VIP objects is edited in destructive mode via
"Object -> Wave Editing", then all of the associated objects in the VIP will access this
audio file. For example, if reverb is added to an audio file in destructive mode, all objects
that reference this audio file will now feature reverb.

On the other hand, to edit only certain objects destructively, select the command "Object -
> Edit a copy of wave content". Samplitude will produce a copy of the audio material and
add this to the project folder. The selected objects will now refer to the copy that is
created. Following this, destructive effects may be applied to the selected objects without
influencing other objects.

The button "Advanced options (view page 601)" in the corresponding effects dialog
provides access to saving options for the copy.
132 METHOD S FOR WORKING WITH OBJECTS

The take manager (view page 150) provides an overview of the versions of destructively
edited files and select them for the respective object.

In order to reference audio files for other objects in the VIP retroactively, click the folder
symbol in the object editor to the right of the audio file. One of the following dialogs will
appear:

Select whether the file should be swapped for the current object, for all selected objects, or
for all objects that reference the file to be swapped.

The option "Create copy" is activated by default for all destructive effects for safety. This
creates a temporary copy of the unedited audio file. Activate this option in the offline effects
dialog to be able to use the undo function in the VIP later - this allows you to undo
destructive editing.

Note: Temporary files for the "Undo" function are only created with destructive effects
calculation if the "Undo" function for wave projects is also activated (keyboard shortcut: "Y"
– Program -> Undo) and "Create copy" is activated in the corresponding effect dialog.
Deactivate the option "Create copy" if you are sure that the original audio file will not be
used for other objects. This also applies to objects in other VIPs.
 METHOD S FOR WORKING WITH OBJECTS 133

Moving to a defined position

The following options are provided for moving an object to a specific position:

1. Right click on the object you want to move. In the context menu that opens, click
"Objects/move crossfade/edit -> Move object...". A window opens to enter the
value of the new starting position in samples, milliseconds, SMPTE time, or beats.
2. Open the object editor to enter the desired position under "Object start".
3. If you want an object to start at the position of the play cursor, right click on the
object you want to move. In the context menu that opens select: "Object ->
Edit/move crossfade/edit -> Object to play cursor position".

Group/ungroup objects
Select all objects for the group.

Now select either the "Group" symbol in the toolbar or right click one of the selected
objects and select "Object -> Create group" in the context menu. The selected objects
now form a group.

Click the "Ungroup" symbol in the program toolbar or right click one of the selected objects
and select "Object -> Ungroup objects" from the context menu to clear the group.

"Object -> Select objects -> Temporary exclude object from group" command
removes an object from an existing group according to when it was last clicked. By clicking
on an object again and repeatedly using the function, the removed object is moved back
into the group.

Shortcuts: Ctrl + Shift + U

Shift + Ungroup button

"Object -> Select objects -> Temporary exclude all objects from groups" temporarily
ungroups all objects from the group. In this case, the "Ungroup" button will blink. If the
function is accessed again or if the blinking buttons are pressed again, then the groups will
be restored and the button will stop blinking and return to inactive status.

Shortcuts: Shortcut: "Shift + Alt + Ungroup"

Saving ignores the temporary condition, but saves the original grouping.

If "Group color" is activated in the display options, a different color will be assigned to
each group. This helps to easily distinguish the groups from one another. You can also
activate display of the group numbers in the VIP display. Individual objects may be
removed from groups by pressing ungroup while holding the "Shift" key.

Detailed information about the display options can be found in the menu reference under
"View -> VIP display (view page 491)".
134 METHOD S FOR WORKING WITH OBJECTS

To learn more about grouping tracks (multi-track selection), see "Working in the project
window -> Selecting/grouping multiple tracks (view page 98)".

Linking objects
This is how to link objects in a track:

Click the button "Link all tracks" in the mouse mode bar. All of the sequential objects
on the timeline will now be linked with the selected object.
Click the button "Link one track" in the mouse mode bar. All of the sequential
objects on the timeline will now be linked with the selected object.
If you now click "Normal object" mode in the mouse mode bar, all objects will return
to their original modes.

Pressing the "K" key temporarily toggles the object mode. This activates the other selected
mode for as long as the key remains pressed.

Overlapping objects
Only one object can be played per track (channel) at any given time.

If an object is moved over a bordering object, it will cover the preceding object. The
invisible part of the subsequent object can be made visible and audible again by moving
the first object. To create a crossfade between two consecutive and partially overlapping
objects, apply the "Crossfade editor" function in the "Edit" menu.

If "Auto Crossfade" is active, a crossfade will be created automatically as soon as the

overlapping object is faded in.

Overlapping two objects via the keyboard shortcut "Ctrl +

V"
If you drag a shorter object completely into a longer one, then the shorter object will
replace the longer object from the start of the shorter object.
 METHOD S FOR WORKING WITH OBJECTS 135

If you hold the keyboard shortcut "Ctrl + V" before releasing, then the shorter object will
also replace the longer object across the entire length of the shorter object, but the end of
the longer object that extends past will remain.

Now try it the other way around and drag a longer object over a shorter object; the shorter
object will be replaced from the start position of the longer object if its start position lies
behind that of the shorter object.

If the start position of the object being moved lies before that of the target object, then the
target object will remain complete. Only the part of the object to be moved that is present
before the start position of the target object will be added to the target track.

If you hold down the keyboard shortcut "Ctrl + V" before releasing, the object being moved
replaces the target object across its entire length.
136 METHOD S FOR WORKING WITH OBJECTS

Gluing objects
If you wish to combine two objects into one, select both objects and right click on one of
them. In the context menu that opens, select "Glue objects". This creates a new file that is
saved in the "FreezeData" folder in the project folder.

If you uncheck "Freeze" in the object editor of the new object, it will be separated into its
old components.

Note: In order to keep mono objects from changing into stereo objects during gluing,
activate the option "System options -> Effects -> Resampling/bouncing -> Keep mono
if possible".

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 (view page 122).
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.

Trimming objects
"Trimming" refers to trimming objects to a certain specific range. Make sure that the
selected range does not exceed the object borders.

Once a range is selected, right click the object and select "Trim objects" (shortcut: Ctrl +
T). The selected object will now feature the selected length.

You can also trim multiple activated objects in the same way, even if they don't have the
same starting and end points.
 METHOD S FOR WORKING WITH OBJECTS 137

Replacing an audio file below the object

Open the object editor and switch to the view "Position/fades" or to
"Max" view.
Now click the folder symbol in the object editor to the right of the name
of audio file. A new wave file may be selected in the following dialog.

Moving audio material below the object

By pressing the right Ctrl button and clicking the lower part of the object, you can move
the audio material below an object by clicking it. Of course, excess material must be
available within the defined object borders, i. e. the audio file must be longer than the
object that it is connected to.

If the right "Ctrl" key is pressed and then the length handles are dragged out on the left
or right borders of the range, the adjacent object edge will be maintained while the other
edge moves with the mouse.

If you hold down the right Ctrl and Shift keys and then drag the left or right length handle
on the object to the start or end position, the edge will remain while the adjacent edge
moves in sync with the mouse movement.
138 MANAGER

Manager
The managers combines frequently required management and control functions within one
window, such as for markers, tracks and CD tracks. This includes a file browser for finding,
previewing and loading media files.

The manager may be opened inside or outside of the Docking bay (view page 50). The
manager window is multi-monitor enabled and saves the last position when closing.
Multiple managers in various different views can be opened simultaneously and
independently of one another.

Manager Shortcut

 File Browser Ctrl + Shift + B

 Object manager Ctrl + Shift + O
 Track Manager Ctrl + Shift + S
 Marker Manager Ctrl + Shift + Alt + M
 Range Manager Ctrl + Shift + Alt + B
 Take-Manager Ctrl + Shift + Alt + T
 VSTi-Manager Ctrl + Shift + I
 Routing manager Ctrl + Shift + Alt + R

To open the manager, click "Manager" in the toolbar or "Manager" in the "View" menu. The
menu item "Open new manager" also allows you to open additional manager windows.

Drag the bar above the manager tab upwards to enlarge the manager window. Double
click the bar to uncouple the manager window.

Note: Shortcuts work with already opened managers and change to the view which was
assigned to the shortcut. If several manager windows are open, the shortcut affects the
first opened or currently active window.

By right clicking on the individual columns of the respective Manager window further editing
options will be available.
 MANAGER 139

File browser
Samplitude contains a file manager for previewing and loading files directly into projects.
The browser may be used to create favorites folders and provides access to all recently
opened folders.

To display the file manager, click the "Manager" button in the toolbar, and then select the
"Files" tab in the manager window.

Menu: Tools -> Manager -> File manager

Keyboard shortcut: Ctrl + Shift + B

Navigation/favorites
The file manager includes a directory tree that may be switched on/off; this behaves just
like Windows Explorer. Directories and files are displayed with directory and file symbols in
the form of a list.

The following file information is displayed:

 Name
 Extension
 Size
 Date
 Length
 Resolution in bits
 Stereo/mono
 Sample rate
 Timestamp
 Description/title
 Originator/artist
 Path
 BPM: Specified by the loop length

Navigation is done via mouse or keyboard. A drive selection menu located in the toolbar
lets you quickly switch between all data storage devices connected to the workstation.

A display filter located in the toolbar limits the display to certain media types, e.g. .WAV,
MIDI or project files, only. "All media files" is displayed by default.
140 MANAGER

Just like other manager windows, the "Search" option searches in the current window for
directories or files. Enter a search item into the box and press the search button. Any
located directories or files are highlighted. You can find and highlight several entries that
meet the search criteria by entering one or several first letters.

To the right in the file manager, the current directory may be added or deleted as a favorite
to your favorites list. Click a favorite to open it.

Underneath the favorites list, a selection menu is located featuring a list of paths used last.
You can switch into the current project folder here.

Preview audio files

A selected audio file may be previewed with the playback symbol in the file manager. Any
highlighted audio file is played immediately if the “Autoplay" box is checked. A complete list
may be previewed simply by using the cursor keys. Clicking the play button again stops
continuous playback. The fader symbol may be used to control the volume.

Playback does not proceed via the mixer or internal effects, but rather via the global
playback device selected in the playback parameters (keyboard shortcut: "P"). If no
playback occurs, check to ensure that the routing settings for the device are correct.

BPM sync: This option enables the selected loop to be previewed in the VIP's
tempo. The original BPM is specified in this case by the length of the file. When
playback is running, loops are positioned at the beginning of the beat by double
clicking and then added into the arrangement as loop objects.
Looped preview enables the selected file to be previewed in a loop.

Note: To preview certain media data, e.g. in WMA format, these files must be converted to
wave format. Conversion is carried out automatically in the background.
 MANAGER 141

Load files from the file manager into projects

Media files may be inserted into an opened project at the desired play cursor position via
drag & drop or by double clicking. If the file browser list is in the foreground, press "Enter"
for the same effect. Right clicking the desired file opens a context menu. This enables you
to open, rename, and delete files and folders. This also provides access to the functions
"Select all files", "Open via standard link", "Open in Windows Explorer", and "Copy path
to clipboard". This enables you to display the respective file's properties.

Insert file into new track: The keyboard shortcut "Alt + Enter" creates a new track for the
file. The track that is created is named according to the file.

Open file in wave project view: Drag an audio file from the list and drop it into an empty
space or into the title bar of the program window.

If several files are selected in the list, all files will be inserted at the current cursor position as
new objects, and the loading options ("Options") will also be applied. This allows you to
specify whether all files should be inserted into the current project one after the other, one
underneath the other, alphabetically, or according to their timestamp positions. The load
option settings are also valid for files loaded via the program's "Load" dialog.
142 MANAGER

File manager options

Additional options may be accessed via the small gear icon:

Loading options

Use selection order of file dialog: If this option is activated, Samplitude remembers the
sequence in which the files were selected and then sorts them accordingly.

Load files in alphabetical order: If this option activated, Samplitude sorts the selected
files alphabetically in the VIP.

Use sync positions (timestamp) of waves: Broadcast wave files containing timestamps
are positioned precisely at this position in the VIP.

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.

Group loaded objects: All loaded files are grouped. They can be ungrouped anytime.

File management
Copy audio files to project folder: Copies the file to the corresponding project folder.
 MANAGER 143

Convert compressed files to wave format: Compressed audio formats such as MP3
may also be loaded and played directly by Samplitude. This does, however, require
increased CPU calculation. Activate this option to convert files like this into an
uncompressed wave format.

Extended file search

Additional criteria are available for extended file searching, e.g. Date of last file change
between, Date of file creation between, Files with audio length between, and Files
with sample rate of, File name, Project comment, Description/title, Originator/artist:

Note: Deleted files will always be removed to the recycling bin. "Shift + Del" deletes directly
without placing the file into the recycling bin (after confirmation request).
144 MANAGER

Object manager
The object manager lists all objects contained in the current project and makes it possible
to edit selected object parameters.

To display the object manager, click the "Manager" button in the toolbar, and then select
the "Objects" tab in the manager window.

Menu: Tools -> Manager -> Object manager

Keyboard shortcut: Ctrl + Shift + O

You can export object manager information as a text file. Click "Export text" in the toolbar
to do this. The Windows text editor opens with an excerpt from the marker manager list.
The following information will be saved:

 Project name and project path

 Track and object name
 Start position in the project
 Source file path

You can find this file in the project folder (Projectname.txt).

Object view and selection

These objects are displayed via a tree structure according to tracks. Tracks are only listed if
they also actually include objects. Further instances of the listed objects can be moved into
the Arranger using drag & drop.

You may optionally choose to display objects in the current tracks only (toolbar:
"Options").

You can use the +/- keys on the toolbar to open and close the track object
display for the complete window.
 MANAGER 145

Click on the “+” symbol left of the track number to explode the view of a
single track.

Select objects: A square check box in front of the

object name enables select of a single or multiple
objects. This is also visible immediately in the
project window.

If an object that is part of a group is selected, the other objects of the selection will also be
selected in the project window and object manager. Grouped objects are also recognizable
via the number of the object group in the "Group" column.

Objects that are currently playing are highlighted

with color in the object manager.

Searching for objects: Like 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.

Delete, rename and edit objects.

You can delete Objects directly in the Object Manager by selecting one or several Objects
simultaneously and pressing the “Del” key. Alternatively, you can delete an Object via its
context menu. You can rename Objects by double-clicking on the Object names and
entering a new name. Alternatively you can also use the context menu.

To edit an object directly in the object manager, right click the object entry you want to edit
and start the object editor using the context menu that appears. In the same context menu
you can also duplicate objects.

Edit object parameters

You may edit the following parameters via the object manager:

 Start position
 Name
 Length:
 end cap
 Volume
 group
 Lock

To edit a parameter, double click the respective entry and enter a different value. Numeric
values may be changed by dragging with the mouse, and "Ctrl" and "Shift" allow larger or
smaller changes. "Tab" moves to the next editable value. "Play cursor up/down" navigates
vertically within a column, provided this is a text column.
146 MANAGER

Track manager
All tracks in the current project are displayed in the track manager, which allows direct
access to the "Solo", "Mute", and "Record" functions, as well as hiding tracks in the project
window and mixer.

To view the track manager, click on the "Manager" button in the toolbar and then select the
"Track manager" tab at the bottom of the manager window.

Tools -> Manager -> Track manager

Keyboard shortcut: Ctrl + Shift + S

Track view and selection

The track manager contains all tracks of the current project. Double click 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: Like 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 "Enter". Located tracks are highlighted.

Sort, rename, delete, and insert tracks

To sort tracks in the track manager, just pick them up with the mouse and drag them
vertically to the desired position.

Delete tracks via the manager by selecting one or several of these tracks and pressing the
"Del" key. Alternatively, you may also use the context menu to delete a track.

Rename tracks by double clicking the track names and entering a new name. Alternatively,
the context menu also provides an option for this. "Tab" moves to the next editable value.
"Cursor up/down" navigates vertically within a column, provided these are text boxes.

You may also insert new tracks directly in the track manager. Right click on a track entry
and select "Insert track" from the context menu. You may also add track folders, submix
buses, AUX buses, Surround buses, or attachments. The "Track settings" are also made
available by right clicking.
 MANAGER 147

Hiding and displaying tracks

Besides the "Solo", "Mute", and "Record" features, you can also hide tracks. To remove a
track from the project window or mixer, click the check the box in the "Arranger" or "Mixer"
column. Hidden tracks are still available and are still played and edited while they are
hidden.

To display a hidden track, reactive the check box.

Write text file

Click the "Export text" button and Samplitude will create a text file with a listing of the
tracks used in your project. The button beside this imports a list of track names from a text
file.

Marker manager
The marker manager displays all markers contained in the current project (regardless of
type), and makes it possible to jump directly from the list to them or to play them.

To view the marker manager, click the "Manager" button in the toolbar, and then select the
"Markers" tab in the "Manager" window.

Menu: Tools -> Manager -> Marker manager

Keyboard shortcut: Ctrl + Shift + Alt + M

The following marker types may be displayed in the marker manager:

 Markers with numbers or names

 CD track markers
 CD subindex markers
 CD pause markers
 Source markers
 In/out point markers
 Tempo markers
 Beat markers
 AQ marker (audio quantization marker/transient marker)
148 MANAGER

Marker manager information may be exported as a text file. Click on the "Export text"
button in the toolbar. The Windows text editor opens with an excerpt from the marker
manager list. The following information will be saved:

 Project name
 Marker position in project
 Marker type
 Marker name
 ISRC (International Standard Recording Code) for CD markers

You can find the file in the project file (Projectname.txt).

Marker view and selection

The marker manager displays all of the current project's markers.

Marker filter: An optional marker filter limits the view to selected marker types. Select all of
the marker types you want to display in the filter menu by placing check marks and then
clicking the filter button. All non-selected marker types are hidden.

Find markers: Like 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 press "Enter". Located markers are highlighted.

Set range between selected markers: Set a range between the selected markers via the
context menu.

Jumping to and playing from marker positions

Double click a marker in the type column to position the play cursor there.

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 begins.

Deleting markers, changing a marker's name, position,

and type
Delete objects directly in the object manager by selecting one or several objects
simultaneously and pressing the "Del" key. Alternatively, you may also use the context
menu to delete a track.

Rename markers by double clicking the marker name and entering a new name, or use the
context menu. Alternatively, the context menu also provides an option for this. Use the
same method to change a marker position directly from the list. The "Tab" button switches
to the next editable value. "Cursor up/down" navigates vertically within a column.

Tip: You can change the type in the context menu for the respective marker any time, e.g.
if you want to change a position marker into a CD track marker.
 MANAGER 149

Range manager
The range manager displays all areas contained in the current project and makes it
possible to select them directly from the list.

To view the range manager, click the "Manager" button in the toolbar and then select the
"Ranges" tab at the bottom of the manager window.

Menu: Tools -> Manager -> Range manager

Shortcut: Ctrl + Shift + Alt + B

Defining and searching for ranges

Defining ranges: To save a range in the manager, define a range in the project window
first. Next, click "Define new range" 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 the indicators F2, F3, etc.

Search for ranges: Like in other manager windows, the track manager also provides a
search option that allows you to search for ranges in the current window. Enter a search
item into the box and press "Enter". Located ranges are highlighted.

Edit range parameters

Edit the following parameters via the range manager:

 Name
 Start
 Length
 End

To edit a parameter, double click the respective entry and enter a different value. Numeric
values may be changed via drag & drop; "Ctrl + Shift" enables larger or smaller value
changes. "Tab" moves to the next editable value. "Arrow up/down" navigates vertically
within a text column, provided these are text fields.
150 MANAGER

Take manager
Menu: Tools - > Manager -> Take manager
Keyboard shortcut: Ctrl + Shift + Alt + T

The take manager offers you a convenient option for selecting and organizing recording
takes, loop recordings (view page 86), and destructive object edits (view page 131).

When graphical comping with the take composer (view page 152), you can edit together a
new take from available take sections.

Note: A new take is also added after effects calculation and this is displayed immediately in
the take manager if the option "Create copy" is selected in the destructive effects dialog.

Take manager - basic working principle

In addition to the audio and MIDI data, Samplitude 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 multi-track
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.

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.

Examples for using the take manager:

 To select the best takes after some punch loop recording sequences
 To find the best takes from several recording sequences using predefined bar positions
 For a well-structured display of all available takes in a specific SMPTE period
 To merge the best parts of existing takes of recorded vocals to a "perfect take"
 MANAGER 151

The basis for working with the take manager is always a selected object, e.g. the most
recently created object after a punch-in recording. The current object take is identifiable via
the check mark in front of the name in the take list. All the takes matching the selected
object are shown in the list. In the basic settings, this refers to all the takes from the same
track and original position.

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.

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 may be compared directly in the take
composer, and a combination of the various takes may also be cut out.

Rename take: Right click on the take to open the context menu and rename it, edit the
recording position, or delete the take. Multiple selection is also possible.

Edit recording position: This option enables you to make changes in the take manager's
position field.

Delete takes: Right click on the take to open the context menu to 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: In case the audio file is no longer referenced via objects, but contains various takes,
then not every take has to be deleted in order to fully remove it from the hard drive.
Instead, use the "Remove unused samples (view page 465)" function from the Tools menu.

Note: For a better overview, easy-to-use take-naming options are available in the recording
window (view page 582) even during recording.
152 MANAGER

Take management for multi-track recordings

For multi-track recordings, each recording creates associated classified takes on each
track. All simultaneously recorded objects are grouped and also given the same take
name.

Switch takes on all tracks: This allows all takes of a multi-track recording to be
exchanged in one step.

Note: Since the take manager display refers to the last clicked object, the reference track
may be switched at any time.

Take Composer
The take composer is an editing window that displays a selected track's individual object
recording runs (takes) and the created Revolver Tracks (view page 62) below each other.
Produced Revolver Tracks are located below the takes.

Use the take composer to add the best parts of individual recordings of an object to create
the perfect take, or edit the Revolver Tracks for the corresponding track.

Open the take composer by clicking the corresponding button in the manager area.

The take composer opens as an extra window below the arranger.

 MANAGER 153

In the take composer use the space bar to initiate playback in sync with the arranger.

In the manager's marker menu you can specify, if you want to display Revolvertracks, if the
take composer should open in its own window or should be docked to the arranger, and if
the take manager should run in sync with the arranger.

To quickly execute comping (see below), switch to "Cut" mode or close the take
composer.

The current take selection of the respective track is displayed in the first track's take
composer. During so-called "comping", you can edit the best passages of the individual
takes together in this master track by using the editing operations described below.

The individual recording takes are arranged in the take composer one above the next
starting from track two.

Monitoring with the arrangement

The take will be played together with the starting arrangement when playback is started
with the space bar.

Monitoring without the arrangement

In order to play the take without the starting arrangement, start playback with the Play
button on the transport console or via "Ctrl + space bar".
154 MANAGER

A range will also be created that stretches from the cursor position across all selected
objects.

To listen to the individual receiving passages switch the corresponding track to "Solo" and
start playing. The default solo modus is "Exclusive solo".

In case multiple takes or tracks should be played back simultaneously in the take
composer, click the corresponding track numbers and then press the shortcut "Alt + S"in
the corresponding track header for the desired tracks. You can switch all selected tracks to
"Solo" mode.

Note: If you have an object selected in a take, then the key combination "Ctrl + space
bar" has the effect that you will only hear this object during playback – even if "Solo" is
active on another track.

Comping
"Comping" refers to the process of combining several takes to create a single one.

Comping in cut mode

For this process, the take composer offers a specially modified scissors tool for quickly
cutting/copying take sections into the first take composer track.

Select the scissors tool by selecting "Cut" mouse mode. The mouse pointer becomes a
scissors icon.

Now click on the desired cut point in the respective take. The selected take is inserted from
the current position up to the end of the first track in the take composer. Auto crossfade
(view page 526) mode is activated as a default during the process. Cut the suitable
sections from the respective take in this way along the timeline into the top track.

If you only want to transfer specific ranges of a take into the comping track, drag out a
limited range with the scissors tool by holding down the mouse button. When the mouse
button is released, the section indicated in the respective take will be copied to the first
track.
 MANAGER 155

The keyboard combination "Shift + click" replaces an object in the comping track with the
contents of the take composer track over which you are holding the scissors tool.

To play a take from the cursor position in "Cut" mode, use the keyboard shortcut "Ctrl +
mouse click".

Comping in "Universal" mode or in "Range" mode

Another comping option is to select the desired take range in a track.

In "Universal" or "Range" mode, drag out a range in a take composer track. Use the
keyboard shortcut "Shift + C" to transfer the selected object's section to the first track.
Auto crossfade mode (view page 526) is also activated by default during this process.

If however you don't mark/select a take range, the shortcut "Shift + C" will insert the
selected take from the current position up to the end of the first track in the take
composer.

This enables you to select the best parts of the available takes and add them to the top
track in the take composer. These parts may be combined to create the perfect take.

When the take composer project is closed, changes may be confirmed, which transfers the
take manager's comping track into the original project.
156 MANAGER

VSTi manager
The VSTi manager facilitates easy display, insertion, and deletion of MAGIX, VST, and
ReWire instruments in the current project. Right clicking the selected instrument opens the
plug-in dialog for the selected VSTi. If the plus sign beside the instruments display is
clicked, the outputs to the assigned tracks will be shown. By right clicking "Output to
track", a track may be selected which should only be fed the individual output of each. The
assigned output then appears in the target track's plug-in slot.

The general instrument outputs are routed in the VSTi manager via "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 were selected, routing to a track is canceled by pressing the "Del" key.

Detailed information about instrument routing settings and about managing single outputs
is provided in the chapter "Software/VST instruments -> "Routing instruments (view page
318)".

Routing manager
The routing manager provides a clear overview of the matrix of inputs and outputs and
AUX connections of all tracks.

You can assign several tracks to the same inputs and outputs by selecting the desired I/O
for the first track and then assign the same I/O by pressing "Shift" + clicking on the last
track. Routing may be arranged vertically or diagonally.

In the output section, all tracks are displayed as potential submix busses behind the
playback devices; a track may be quickly converted into a submix bus by clicking the
corresponding matrix field.
 MANAGER 157

Similarly, an AUX bus may be routed to an individual track. Right clicking allows you to
define the AUX bus as a pre-fader send or as a sidechain send, or access the stereo editor
for panorama specification for the respective AUX bus.

Soundpool manager
In the Soundpool Manager you can integrate you Soundpool loop content in a clear form.

In the input field next to the magnifying glass enter a combination of letters which should be
in the loop you're looking for. Clicking on the magnifying glass symbol starts a search for
the corresponding loop name.

You can access a selection menu by clicking on the cog symbol. Here you can:

 Add styles: Search the folder system for the desires soundpool style
 automatically play the selected loops
 Hide instruments without available loops
 reset the soundpool. The list of styles shown in the Soundpool will be deleted.
 Clean Soundpool: With this function only the styles available on the hard drive will be
displayed in the Soundpool. Soundpools on storage devices as well as styles deleted or
moved from the hard drive will be removed from the Soundpool view.

With the play arrow symbol you can start and stop the selected loop.
158 MIXER

Mixer
Mixer overview
You can open the Samplitude mixer via "Window > Mixer". The mixer is very similar to a
hardware mixing board. As a result of the digital environment, however, Samplitude's mixer
is far more flexible than an analog mixer.

All settings made in the mixer are processed and edited in real time. This includes track
and master effects, panorama and level settings, device assignments for individual
tracks/buses, and device assignments for the master section.

Using the mixer

Every VIP track has a corresponding mixer track. However, you can hide any VIP or mixer
track in the track manager.

Alternative mixer skins

The system options (shortcut: "Y") in "Design -> Skins" feature alternative mixer skins. A
further option for changing the Mixer skins is to click on the System menu in the Mixer
window (the Samplitude symbol in the top left corner of the Mixer window). The "Hardware
controller (view page 365)" function is also located here.
 MIXER 159

Mixer keyboard shortcuts

 Cursor buttons: Use the cursor buttons on your keyboard to select the various mixer
elements and select active elements (fader, knob or switch).
 Page up/page down: Changes the value of the active mixer element. Hold the "Ctrl"
button simultaneously to change the value in large increments, and hold down the "Shift"
button for smaller increments.
 Home: Resets the mixer element to its preset (passive) initial value. If you press "Home"
again, the element is reset to the last value, providing a simple comparison between the
changed and initial preset states.
 End: Opens the assigned sub-window of an element, e.g. the EQ window for one of the
EQ knobs. This function corresponds to right clicking a knob with the mouse.
 Enter: Opens the numeric entry field for a control. Switches are turned using the "Enter"
key and "Page up/Page down" keys.
 Del: An activated plug-in slot may be reset via 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.

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).

Hint: After selecting several mixer elements, you can form these into one
group (view page 167). Use the "Group selected controls" button to do
this.

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 opposing movements of two grouped faders or move
panorama faders of two tracks in the opposite direction.

Ctrl & Left-click: A single control element can be temporarily positioned within a group by
pressing the “Alt” key and operating the element.

Double-click on numbers: Opens the entry box to allow manual entry of numeric values.

Double clicking on control knobs: Resets the control element to its preset (initial) value.
Double clicking again sets the value back to the altered value.
160 MIXER

Left clicking on value displays: Clicking on the area below the faders or on the left button
corners decreases the values. If the mouse is held down, the value is automatically
reduced until the key is again released or the end of the scale has been reached. (Shortcut:
Page down)

Clicking on the area above the faders or on the right button corners increases the values. If
the mouse button is held, the value is automatically increased until the key is again released
or the end of the scale has been reached. (Shortcut: Page up)

The level faders can be adjusted very precisely. If you click on these, whilst keeping the
left mouse button pressed and moving the mouse pointer left or right from the fader you
can fine tune the settings by moving the mouse on a vertical plane. The steps 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 can be set in two different ways. After clicking on a knob you can move the mouse
around the knob or move the mouse up and down like with 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 (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 mixer: You can rearrange individual channel strips in the track number box
or name box 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 EQ 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.
 MIXER 161

Note: If a certain effect is already available, a repeat drag and drop of the same effect onto
the same track performs a reset of the effect to the values of used effect, and does not
copy it; the original values will be overwritten.

If all you want to do is move shift effects between the channels in the mixer instead of
copying them, simply keep the Shift button pressed while dragging & dropping.

Channels
Each track in the VIP is fed through a specific mixer channel. 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 on the corresponding arrow symbol.

In (Input): In this field you determine the recording mode for the incoming signal:

 If you select "1+2 - Stereo in", the channel input will be switched to stereo and the
signal will be picked up on two channels.
 If you select "1 - Mono in", the channel input will be switched to mono and the signal
will only be picked up on one channel.
 If you select "Mono mix in", the channel input will be switched to mono and the signal
will be picked up on two channels and then mixed down to one.
 "Mono effect processing" enables you to switch the processing for the complete
channel from input to panorama fader to mono. This results in all object effects and track
effects being calculated before the panorama fader in mono. This function saved CPU
resources, given that it is supported by every plug-in. Opening "Mono effect
processing" switches the input to mono automatically. This function corresponds with
the mono switch in the track editor. This option is not available for buses because they
always calculate in stereo.
162 MIXER

In: Specifies the audio input for recording.

Gain: The mixer adjust the input amplification for the respective channel.

AUX sends: This section allows you to activate and set up the AUX
component for different AUX buses (view page 172). Open a menu by right
clicking for advanced settings such as Pre fader send, "Sidechain send" or
AUX pan editor". The upper "AUX" button above turns all AUX paths either
active and inactive, which effectively makes it an AUX bypass switch.

Inserts: Here you can add effects to the channel strip. Clicking on the arrow
right of the accordant Insert Slot, opens the selection menu. The "Insert"
button above activates all effects (FX inserts + plug-ins). A visual indicator (*)
is displayed for plug-ins that were previously active and are active the next
time "Insert" button is pressed.

Equalizer: This section lets you change the sound of the track signal by
means of a 4-band parametric equalizer. The knobs change the volume of
the filter band.

You can numerically edit the gain and frequency of the corresponding filters.

Right-click on one of the dials for fine-tuning. Samplitude shows the EQ

dialog in which you can specify exact settings.

Panorama: Here you can set the direction of the signal in the stereo
panorama. The settings of the knob have a different effect on mono and
stereo tracks. When set to the center position, the track signal is held in the
center of the panorama irrespective of the whether the track is mono or
stereo. If the knob is moved away from the center position, the mono signal
is moved to the left or right within the stereo field. For a stereo track, the
alignment between the left and right channels within the track signal
changes.

Beside the panorama dial, you'll also find a switch to reverse the phase.

Right click one of these two control elements opens the stereo panorama
dialog (view page 220) to adjust additional settings like panning laws or the
stereo width.
 MIXER 163

Detailed information about the stereo panorama dialog can be found in the chapter "Stereo
panorama dialog (view page 220)".

Link: This button connects the corresponding channel with the one to the right of it. All
faders, panorama, input, AUX sends, as well as EQ settings and adjustments now affect
both channels. Both panorama faders are linked through inverse selection. With this
keyboard shortcut Ctrl + Shift + left click on knobs and faders: you can switch the
behavior of corresponding panorama knobs within a linked group (inverse selection).

Automation: This button gives you access to the channel's automation functions

Detailed information about automation is available in the chapter "Automation (view page
327)".

Solo: The solo button mutes all channels with the exception of the selected channels.
Right clicking enables the selection of the output device for the channel.

Shortcut: Alt + S

Solo exclusive: This setting switches the active track to "Solo exclusive" mode, i. e. only
the active track is audible. All other tracks are silenced in solo mode.

Shortcut: Shift+ Alt + S

Detailed information on the global solo modes can be found in "Global buttons -> Global
solo modes" (view page 171).

REC: This button activates the track. Right click to determine the recording mode for the
incoming signal. (see "In (Input)").

Mute: The mute button mutes the selected channel. Right clicking enables the selection of
the output device for the channel.

Shortcut: Alt + M

Mute/Inactive: Mutes and also deactivates the track. This increases performance as
caching and FX processing of this channel are not necessary.

Shortcut: Ctrl + Alt + M

Mute bus inputs: Use this function to mute the bus inputs routed to this channel.

Volume fader: Controls the track levels. The behavior of the volume fader in the MIDI track
is preset on controller 7 (MIDI volume). Alternatively, you can also specify that "Volume
fader" mode does not change for MIDI tracks or that the volume fader for MIDI tracks
164 MIXER

should match the MIDI velocity scaling (view page 244). To do this, right click the track's
volume fader.

Note that a virtual synthesizer's audio output can usually be created, edited, and mixed on
the same track as the MIDI data the instrument is receiving. In some cases, this results in
duplicate use of the volume fader which, on the one hand, controls velocity or MIDI volume
(CC7), and on the other, this controls the audio level. These are not identical parameters.
For instance, you may include a MIDI instrument played with high velocity quietly in the mix
and vice versa. For this reason, the volume fader may be assigned differently.

Hint: You can also enter levels higher than 6 dB numerically.

Monitoring: Click the loudspeaker symbol to activate the monitoring function. Audio
material will be passed through the inputs of the sound card and forwarded to the outputs.

If the "Hybrid Engine" is set up for monitoring, all mixer channel effects for the feeds can be
used. This requires working ASIO drivers for the sound card. Samplitude can therefore be
used as a live effect device for example.

More details on Monitoring can be found in the chapter "System settings >"Monitoring
settings" (view page 27).

Track name: You can enter the name of the VIP track here. This name can be edited by
double clicking.

FX: This key activates the effects routing dialog for the corresponding track, and can be
used to configure and edit the effects chains. This specifies the sequence of the effects.

More information about this is available in the chapter "Buses and routing -> Order of
effects calculations and signal manipulation (view page 173)".

Right clicking the "FX" button opens a context menu. Here you can open the effects
routing dialog for the channel, as well as preset effects settings. Track effects settings can
be copied, inserted, reset, saved, or loaded. Save your personal track effect settings in the
program directory in "FX presets -> Track FX". Of course, new subfolders may also be
created.

Out: Sets the channel's audio output. This may be either a submix bus in the mixer or a
playback device.
 MIXER 165

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

Master plug-ins: This function can be used to set effects

inserts, MAGIX plug-ins, VST or DirectX plug-ins for the master
out signal. Right click on the control button to show the plug-in
dialog. To switch the plug-in effects on or off quickly, click the
control button.

De-hisser: The "De-hisser" mastering effect helps reduce

existing distortions like high-frequency hissing. Open the "De-
hisser" dialog by right clicking it.

FFT EQ: A right mouse-click opens the FFT filter dialog.

Vocoder: Here you'll find the Vocoder for the entire signal. A
right mouse-click opens the dialog.

Room simulator: The room simulator for the entire signal. A

right mouse-click opens the dialog.

Multi-band Dynmics: A right mouse-click opens the entire

multi-band dynamics section.

Advanced dynamics/limiter: Right click to open the compressor/limiter dialog for the
master signal.

Master Equalizer: This Equalizer affects the sum signal.

Stereo enhancer (SE): The multiband stereo enhancer is used to modify the entire signal's
stereo picture. Three bands are available for the bass, mids, and high frequencies.

Mono: This button plays the entire signal in mono. Its purpose is to verify mono
compatibility.

Normalize (N): This is the master normalization. If this key is selected, the output level will
be adjusted in such a way that the loudest signal sections reach 0 dB levels. The maximum
level reached during the last playback will serve as the basis during this process and will be
displayed on the peak meter.
166 MIXER

Hint: Click the level display in stopped state, and the play cursor will jump to the position
indicated by the level.

Link: This key connects the left and right channels of the master signal.

Faders: Both of these faders adjust the left or right master signal. Reset the faders to the 0
dB position by double clicking them.

FX: Opens the effects/routing dialog for editing and configuring any number of effects
chains. This specifies the sequence of the effects.

More information about this is available in the chapter "Buses and routing -> Order of
effects calculations and signal manipulation (view page 173)".

Mix to file while recording

The Mix to file and On buttons may be used to mix down in real time and to change any
of the mix's parameters during playback. At the end of the playback process, the mixdown
created will be written to a wave file.

1. Click the "Mix to file" button to open a dialog to specify the name and place where the
created wave file should be saved. When the "On" button is active, the master output
of the mixer can be written to a wave file during playback.
2. Now start playback of the VIP
3. On playback, any parameter may 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 "Mix to file – on" button is deactivated if the master signal
should not be mixed into a new file. Otherwise, the system creates a wave file every time
the file is played.

The "Mix to file" function does not necessarily need to be used to record dynamic mixer
movements during playback. Effects may be controlled via AUX busses, and volume and
panorama curves may be automated.

Note: The "Mixdown" button is available in some mixer skins, e.g. "Multi-track mixer" or
"Recording mixer". This function also mixes down and saves the entire VIP, including all
settings, to a single file. In contrast to "Mix to file", no parameter changes during playback
are taken into consideration, but the track is merely "bounced". Detailed information may
be found in the menu reference under "Menu tools -> Track bouncing (internal mixdown)".

Device/master out: Enter the playback device for the stereo signal. Select "Master
inactive" if the master playback device should not be used in the project (e.g. multiple I/O
setups).
 MIXER 167

Note: If the settings for the master playback device are changed, all tracks routed to the
master will also automatically change settings. If this automatic process is not helpful,
select "Master inactive" before setting up a new device.

Global buttons
Some further buttons for adjusting the global settings of the Mixer window and Mixer
handling can be found at the right side of the Mixer window.

This includes clockwise from bottom left:

Start track: If the arrangement has many tracks, only a

section of the corresponding mixer channels are
generally displayed in the mixer window. The visible
section can be moved using the scroll bar at the
bottom of the mixer.

Hold the "Shift" key down and click on one of the "Start track" buttons to save the current
view (a left click is sufficient the first time).

The previously saved section may be recalled by clicking the "Start track" button again.

Right click the "Start track" button to open a context menu to select between "Load
snapshot", "Save snapshot", and "Delete snapshot".

Solo/Monitor/PFL/AFL/Solo in Place: (view page 170)

Show functions: Individual sections of the mixer window may be

switched on and off to the right of the master volume fader.

Group selected controls: These two buttons are used to group and
ungroup elements of the mixer.
168 MIXER

To group track controls, select the desired elements while holding down "Ctrl" and then
activate "Group track controls". To ungroup, choose one of the elements in the group and
then press "Ungroup controls".

Note: If you have previously selected multiple tracks, this is also available to group selected
controls in case the same control elements are involved. More about grouping tracks in
Samplitude is available in "Working in the project window -> Selecting/grouping multiple
tracks (view page 98)".

Multi-channel selection: Multi-channel selection in the mixer functions exactly like multi-
track selection in the arranger, i.e. by clicking the track number/name while holding down
the "Ctrl" key or "Shift". In order to clear a group of channels, click a channel before or after
the selection and activate a control element.

Play/stop: Playback of the VIP can be started and

stopped with this button. Right clicking opens the
transport console.

AutoRec: This display will light up if the level automation is

written in Master.

Bypass: Using this button you can switch off active effects in the project for comparison
purposes.

Solo/Mute: All solo/mute functions can be globally activated and deactivated using these
buttons.

Load mixer setup/save mixer setup: These buttons

enable the current mixer settings to be saved as a preset
(without snapshots) or previously saved mixer setups to be
accessed.
 MIXER 169

Snapshots:The Snapshot Function is particularly useful to

compare various Setups with each other. You can easily
switch between setups. Naming snapshots is possible by
double clicking the name field. Right clicking a snapshot
opens a context menu to save, load, or delete snapshots
or to switch snapshot banks. Using this process, up to 32
mixer snapshots can be saved.

Save mixer to file: Save mixer settings to a separate file via this menu item.

Save mixer with snapshots: This option enables mixer settings to be saved including
snapshots. When these mixer settings are loaded in the future, a dialog will ask whether
the saved snapshots should also be included. If this is confirmed with "Yes", then you will
overwrite any snapshots used up until this point.

Load mixer from file/load mixer from file (including track names): Complete mixer
settings may also be accessed with or without track names.

Load last mixer: When loading a snapshot, the current mixer settings will be saved
temporarily and these may be recalled via the command "Load last mixer". This makes an
A-B comparison between the snapshot and the settings possible.

Reset FX: This enables you to remove effects from the signal path for all
channels.

Reset peaks: This enables the LED peak meter to be reset (peak hold
display).

Reset EQ: Resets all equalizer settings.

Reset AUX: Resets all AUX portions of the channel strips to their default values (= no AUX
portion).

Reset (stereo): Resets all mixer settings to the default settings for stereo tracks (when
working with stereo wave projects). This reset function refers to the track panorama
settings (view page 220).

Reset (mono): Resets all mixer settings to default settings for mono tracks (when using
mono or LR wave projects). This reset function refers to the track panorama settings (view
page 220).

Setup: The mixer setup dialog can be opened by clicking the "Mixer
setup (view page 468)" button.

?: Click this button to open the help file, which includes detailed information about the
mixer.
170 MIXER

Solo/monitor volume fader

A solo and a monitor level is available in the master section of the standard mixer.

The solo fader controls the monitor volume in "Solo" mode, while the monitor fader
influences the level on the monitor output. The audio monitoring point may also be set
using the AFL/PFL switch.

 PFL = Pre Fader Listen

 AFL = After Fader Listen

In general, the monitor bus behaves like "Main to Monitor", meaning that the content of the
master may be heard at the same time on the monitor bus. As soon as solo is activated,
only the solo state is played over the monitor bus.

Solo in Place (default)

This solo button method has been available in Samplitude since the beginning. "Solo in
place" sets channels to solo in the mixer at their corresponding positions within the stereo
picture of the mix. Simultaneously, all other channels are muted. "Solo" mode is normal
during mixing to identify instrument tracks and edit them.

Switch to "Solo in place" mode by deactivating the solo output bus and switching to "Solo
bus inactive/Solo in place" in the device selection under the AFL/PFL button.

Caution: When using the monitor fader in this mode, it's possible to influence the audible
master level and thereby the level of external devices connected to the stereo master. You
can set the monitoring volume in the mixer without using external volume controls. The
audible result is different than the peak meter display in the mixer, which is the reason for
the numerical level values in the mixer displaying in red. Additionally, the solo fader
influences the volume of the solo tracks that are played via the master area. The internal
level for bouncing and burning, however, remains unchanged.

Another function of this mode in Samplitude is to toggle between "Pre-fader listen" and
"After fader listen" in "Solo in place" mode by clicking the AFL/PFL switch.
 MIXER 171

Solo/monitor bus (in the "Hybrid Engine" only)

Use this bus to monitor tracks individually by pressing the corresponding solo buttons
without influencing the stereo sum signal. This also affects mastering or live mixing.

The signal may be accessed at two different positions:

PFL: PFL (pre-fader listen) accesses the signal before the faders and effects, but after the
input gain.

AFL: AFL (after-fader listen) includes all panorama changes/fader movements and
influences the monitoring signal accordingly.

To set up an AFL/PFL monitoring line, switch the button to AFL or PFL by clicking it, and
then select an output in the slot under your sound card as a solo bus.

Global solo modes

You can use the solo bus selection to set the global presets for using solo. This may also
be accessed by right clicking the solo buttons.

Global: Solo is not explicitly listed as a mode. If no check is set for a solo mode, then
global solo will be active and you will hear the solo channels without AUX return channels.

Global: Solo safe: While in "Solo in place" mode, every channel switched to solo may be
heard including the AUX return channels automatically.

Global: Solo PFL (available only in hybrid mode) switches solo tracks to PFL mode. The
signal is accessed before the fader and effects, but after the input gain. When deactivated,
the solo tracks are accessed after the fader.

Note: Economy tracks cannot be monitored with PFL.

In Global: Solo exclusive mode, only one channel may at a time may be switched to solo
by clicking the solo button. In this case, the solo state is deactivated for all other tracks. If
you activate the "solo" button for another channel, only this will be switched to solo. Solo is
172 MIXER

deactivated for the channel previously switched to solo. This enables you to quickly "walk
through" individual channels.

To listen to the AUX return channels on the channels switched to "solo", select "Global:
Solo safe" mode as well.

Note: While in "Global: Solo exclusive" mode, to still be able to listen a single channel in
"Solo exclusive" mode, click the channel's "solo" button while holding down the "Shift" +
"Alt" keys.

If you have already set "Solo exclusive" as the global solo mode, the same key combination
deactivates "Solo exclusive" mode in order to hear multiple channels "solo" at the same
time.

Buses and routing

AUX buses
An AUX bus combines all signals of the corresponding AUX sends from 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") where effects are added. The fader of the AUX bus represents "AUX return".

Note: AUX tracks normally don't contain objects in the arranger view. They provide objects
on other tracks with effects.

Submix buses
A submix bus combines several tracks. It controls the volume, panorama, and effect
settings of all tracks that are "routed" to the submix bus. For example, all drum tracks (hi-
hat track, bass drum track, etc.) may be combined as one submix bus so that the entire
drum kit may be controlled via the volume controller of the submix bus.

Creating submix/aux buses

 An AUX/a Submix Bus can be created in the Mixer at any time.
 To create an AUX bus, click with the right mouse button on the number of the channel in
the mixer. In the context menu, select "Insert tracks -> New AUX bus". Another option
for adding an AUX bus is to access an unused slot in the AUX area of the track
editors or the mixers. This creates a new AUX bus automatically.
 If an AUX bus has already been created, you can the feed the signal of the previously
created AUX section into the the newly created AUX bus.
 To integrate a submix bus, click with the right mouse button on the number of the
channel in the mixer. In the context menu, select "Insert tracks -> New submix bus".
The submix channel is integrated behind the channel that is accessed. If the output of
several previous channels is now routed through this bus, the volume of these signals
may be controlled via the newly created bus.
 Right clicking the number of a channel provides an option to select between the
properties "AUX bus", "Submix bus", or even both for the respective channel strip.
 MIXER 173

 Submix or AUX busses are always meant for stereo busses.

 Submix and AUX buses may be used for all channel effects, including volume, panorama
automation, and AUX send. The outputs may be routed for any channel to output
devices or other submix buses with higher channel numbers.
 Automation of AUX and submix busses works the same as on all other channels.

AUX Routing

By right clicking on a mixer channel's AUX button the AUX routing dialog will open. Right
clicking on the channel number will cause a dialog to appear above, if you select "Track
effects > AUX sends" in the context menu You can enter the intensity of each AUX bus in
numeric values or by moving the orange bar (the bar is not visible in Off mode).

By default all AUX buses are routed "post" in Samplitude. Activate the corresponding "pre"
box for pre-routing. Use the effects routing dialog (view page 174) to specify the precise
position of the "pre" and "post" AUX buses within the effects chain.

The "Pan" button applies a complete panorama section for every AUX send, which
operates analogous to the stereo panorama dialog (view page 220) of a track. This enables
the stereo width to be changed or the phase to be inverted for the AUX send, for example.

New AUX bus: Creates a new AUX bus.

Reset AUX Sends: All AUX settings are reset.

The sequence of effects calculations and signal

manipulations
The sequence of gain, panorama, and filter manipulations has no effect, at least when
working with 32-bit float. In this case, it is not important whether you filter first and the
change the gain, or vice versa. Most other effects are also independent on the input signal.
This includes the Room Simulator, Stereo Enhancer, Delay, Resampling, and Time
Stretching or Pitch Shifting.

All dynamics functions and those that remove or reduce noise (De-hisser and noise
reduction) are dependent on the input signal level and, in some cases, on the frequency
response of the input signal. Once the optimal settings for a parameter have been found,
other effects located in front of the effects should not be adjusted. For example, use the
De-hisser and the multi-band dynamics section in the mix master only after all other
changes have been applied to the individual objects and the mixer channels.
174 MIXER

Effect routing/plug-ins dialog

Open the effects routing/plug-ins dialog to specify the most important settings for real-time
effects/plug-ins. This dialog is available at object level ("FX routing" in the object editor),
channel/track level ("FX" button in the track editor), and at mixer level ("FX" button in the
stereo channel strip).

Effects Sequence/Plug-ins
All available effects are displayed in the effects list in the respective context (track, object,
or master).

The sequence of the effects may be configured freely via the effects routing dialog. Open
this dialog via the "FX" buttons in the track editor, track box, and mixer.

You can set new sequences using the arrow keys. Order the FX inserts before or after the
EQ or the dynamics. The free movement of the effects in the insert slots of the track editor
or the mixer channel is limited by this order.

Note: Effects inserts may only be moved as a group.

Right click on an effect in the effect routing dialog to access the settings dialog directly.
 MIXER 175

You can add plug-ins via the "Plug-Ins" dialog:

Plug-ins pre or post

The plug-ins dialog enables you to introduce effects "Pre" or "Post". Highlight "pre" or
"post" in the plug-in list before loading a plug-in. The plug-in is then inserted "pre" or "post"
fader, respectively. Effects may be moved freely into the track editor or mixer channel's
insert slots, but they are limited by the fixed position of the plug-ins in sequence (view page
174), e.g. DirectX/VST plug-in (pre) and DirectX/VST plug-in (post).

Effect routing/plug-ins dialog parameters

Save/load/delete: Manage your individually customized settings here.

Up/down buttons: Change the position of an effect or plug-in with the up/down arrows.

On/off: Switches of the corresponding activated effect or the activated plug-in. Activating
or deactivating the checkbox preceding the corresponding effect/plug-in has the same
effect.

Edit: Opens the dialog for the active effect/plug-in. Another way to open an effect/plug-in
dialog is to right click the desired effect or plug-in's name.

Detailed information about the plug-in dialog is available under "Software instruments/VST
plug-ins/Rewire -> Plug-in panel - graphical display (view page 319)".

Delete: You can also remove internal Samplitude effects (insert effects) and plug-ins
instead of just deactivating them, if you want to save resources.

Reset: Returns all settings to the Samplitude basic settings.

Copy/paste: Use these buttons to quickly apply the settings to different tracks/objects.

Play/stop: Starts and stops playback at the current cursor position.

176 MIXER

Plug-in latency/force latency: Samplitude works with latency compensation for all plug-
ins. Plug-ins report their latency to Samplitude, and this value is transformed into a time
shift in the audio material; time shifting no longer occurs when plug-ins are used. If the
values reported by a plug-in remain incorrect (time delays result from the use of a plug-in in
spite of this), then you can force a specific latency value to compensate.

Plug-in options -> Settings: Opens the VST/DirectX setup dialog in the plug-in options
area.

VST / DirectX / ReWire setup / Plug-in buffer

VST plug-in path: Set the path to your VST plug-in effects and VST instruments here. If
you click the folder icon, a context menu will appear. This allows you to use the VST folder
already set for your system as the plug-ins path or select any other VST folder. The
selected folder is then scanned by Samplitude for VSTs. Plug-ins are then checked for
usability within Samplitude. This scan is only necessary once per folder, since available VST
plug-ins are saved during this process. If multiple VST plug-in folders are present on your
computer, then you may enter additional sources by scanning them with the option "(Re-)
Scan selected VST folder" once more. If individual plug-ins are not integrated as
expected, then try using the option "(Re-) Scan selected VST folder including failed
plug-ins" to check them. Samplitude detects newly installed plug-ins automatically, but
only in the specified folders.The corresponding data is saved in the file "VSTplug-ins.ini".

Activate ReWire: If this option is selected, rewire-compatible client applications can be

integrated into Samplitude as synthesizers.

ReWire is generally used for sample-exact, real-time transmission from audio channels
between two programs. Both programs can be connected with the same sound card. The
transport functions of the applications (such as playback and forward/reverse) are
connected via ReWire. If you are working with ASIO drivers, you can direct sounds from
ReWire-compatible applications to different sound card outputs.
 MIXER 177

To integrate ReWire applications into Samplitude, find the ReWire-compatible instrument

that you want to connect to Samplitude in the "MIDI out" slot of the track editor via "New
instrument -> ReWire". The ReWire application's instrument outputs can be opened via the
"Audio in" slot for each track.

The tempo is always oriented according to the settings specified in Samplitude, i.e.
Samplitude is the master. The tracks/channels connected to the ReWire-enabled software
may be edited with the equalizer, effects, and other plug-ins, and then routed to the
available buses.

Note: Please make sure that the sample rates set for the applications connected via
ReWire match one another so that playback may be guaranteed at the correct pitch.

Additional information about ReWire is available in the chapter "Software instruments/VST

plug-ins/ReWire -> ReWire client applications (view page 325)".

Plug-in buffer

The default presets usually cover most cases when working with plug-ins. Try out various
presets if you are experiencing any problems with plug-ins or DSP cards. You can specify
the buffer size directly that is sent to the plug-in for XD and VST plug-ins. The following
special values apply in this case:

0: The program specifies 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.

DirectX preload buffer size: If you enter the value "-1" in this case, the entire buffer size
will be used for DirectX start initialization.

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.

The option "Write DirectX logfile" is for support purposes. This may normally remain
inactive. You may also activate the option "Start all object-related plug-ins at play start".
Some plug-ins cause delays when switched on; in this case, these plug-ins should be
switched on before starting playback, since otherwise errors may occur when the
corresponding objects are played.

Disable all DirectX effects while scrubbing/jogging": DirectX plug-ins may cause errors
when scrubbing or jogging. Use this option to disable communication with DirectX plug-ins.
178 EFF ECTS – ORGANIZATION AND WORKFLOW

Effects – organization and workflow

In general there is a difference between effect types. The following effects are available in
Samplitude:

Realtime effects / Virtual effects / Non-destructive effects

(accessible via track editor plug-ins, object editor plug-ins, the track header plug-in
selection field, the "Effects" menu (in which case a check may not be placed next to
"Process Effects Offline"), or via the "Insert" section in the mixer)

These effects are calculated during playback or export. The effect settings may be
changed at any time to optimize the sound.

Real-time effects differ according to where they are applied:

 Object effects that may be accessed via the object editor or the "Real-time effects"
menu
 Track effects/mixer channel effects (able to be accessed via the track editor, track
header plug-in selection field, the track header plug-in button, or the insert section of the
mixer)
 AUX effects (accessible via the track editor, track header plug-in selection field, or the
AUX track header plug-in button)
 Surround effects (able to be accessed via the insert selection field of each Surround bus
channel, the track editor, track header plug-in selection field, or the track header plug-in
button)
 Master effects (can be accessed via the master section of the mixer)

Internal offline effects/destructive effects

(able to be accessed via the "Effects" menu. A check must be placed next to "Process
Effects Offline".

These effects are calculated into the original wave file or a new wave file once. After this
time, the settings can no longer be changed.

In contrast to real-time effects, during playback, all resources are used during the playback
of the effect.

Here too, the effects can be differentiated according to their location of application:

 Non-destructive audio editing: The effect for the selected area will be written into a
temporary file. When saving the wave file, the original and the changed areas will be
recombined again.
 Destructive WAV editing: The effect for the selected area will be written directly into the
original file. The "Undo" function is available for reversing operations.
 Application in a VIP object: The effect will be calculated for the selected area of the
object. Depending on the settings for application of destructive effects, calculation takes
place directly in the original material, at the end of the original material, or in a new file.
 EFF ECTS – ORGANIZATION AND WORKFLOW 179

Plug-in effects

Besides internal effects, additional effects may also be applied as plug-ins.

Samplitude supports plug-ins in the following formats:

 MAGIX plug-ins: A selection of included plug-ins, including Analog Modelling Suite (only
for Samplitude Pro X) Vintage Effects Suite, Am-munition, essentialFX (efx), Vandal, and
VariVerb Pro.
 VST effects (VST FX): This includes all external VST effects
 DirectX effects

These effects can be accessed as real-time effects via the track editor plug-ins, object
editor plug-ins, track header plug-in selection field, track header plug-in button, or the
mixer's "Insert" section.

Save effects parameters (preset mechanism)

The effect dialogs contain preset selection boxes. These presets are saved and recalled
to/from the FX preset directory (a sub-directory of the main program directory) and appear
in the selection box after they are stored.

If the desired preset files are not stored in the FX preset folder, these may be accessed via
the "Load" function. However, they will not appear in the selection box. Enter the path to
the effects preset manually.
180 EFF ECTS – ORGANIZATION AND WORKFLOW

Saving new effects parameters

In many new effect dialogs you now have direct access to the automation button and
therefore to the automation menu. This is made possible by a newly created header in the
respective dialogs.

In the presets input field you can load, save or delete presets.

Here the overview of the other control elements:

Bypass: The algorithm is removed from the signal route. This enables the
unedited signal to be easily compared to the result of the algorithm.

By clicking on this button you can toggle between the selected automation
write/read mode. By right clicking you can get to the Automation context
menu.

A/B comparison function. This control element is only displayed when it is

supported by the respective effect.

Reset function. This control element is only displayed when it is supported by

the respective effect.

Play button.

Solo button. This control element is only displayed when it is supported by the
respective effect.

Here you can call up extra help information.

Track effect settings

By right clicking on the track/channel number in the Track Editor, Header or Mixer a
Context menu will open. In the "Track effects" category you can copy, reset, save or load
current/discarded track effect settings. 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 .TRKfiles.

 EFF ECTS – ORGANIZATION AND WORKFLOW 181

Effect routing
The sequence of all real-time effects may be adjusted individually for each track. This
enables individual sequences to be set for the effects.

Detailed information about the FX routing dialog is provided in the chapter "Mixer - buses
and routing -> Effects routing/plug-ins dialog (view page 174)".

External hardware effect integration

(for "Mixer FX monitoring/Hybrid Engine" only)

To integrate external effect devices into your setup, you will require a multi-channel audio
interface. Reserve a channel pair for every external effect device you wish to integrate.

The integration of external effects or synthesizers can be made via the dialog "File >
Program Properties > External effects". Here you can set up the inputs and outputs for 32
external devices, create new Effect Send and Effect Return tracks as well as specify effect
latencies so that they can be taken into account during latency compensation.

The order of inputs and outputs is saved globally for the program. The setup of the external
effect integration is dependent on the project.

Note: Return tracks have to be recorded first in order to be available for track bouncing
and CD burning. For this reason, external effects are integrated via the program's own
tracks and are not available in the tracks themselves as plug-in inserts.

You can open the "External effects" dialog via "Project options" or via the keyboard
shortcut "I".
182 EFF ECTS – ORGANIZATION AND WORKFLOW

Routing the effect

First, replace the description FX01, FX02, etc. in the name column with the name of the
integrated effect. Clicking the next column opens a selection of the available output devices
to feed your effect device as an effect send function. In the "Input device" column, select a
free input device as a carrier for the effects return channel. Next, activate the external effect
device by clicking the first column and connecting your effect device to the physical audio
inputs and outputs that were set up previously.

At all points in the program where input and output channels are set up, you may also
integrate external effect devices, e.g. in the mixer, in the track editor or alternately, by right
clicking on "Mute" or "Record". In this case, the names of external effects are displayed
behind the device name.
 EFF ECTS – ORGANIZATION AND WORKFLOW 183

Creating effects send and effects return tracks

The lower part of the "External effects" dialog lets you create effect tracks for your external
effect device.

Effect as AUX
Under "Add effect tracks", select the options "Add FX Send track" and "AUX bus", then
tick the box beside "Add FX return track", and finally click the "Create tracks" button.
You'll now see two newly created tracks or channels in the arranger and in the mixer that
control the send or return signals of the external effect device.

Next, set up the send level of every integrated effect device in the AUX slot for each mixer
channel using the mouse, and position the effect signal in the mix using the fader of the
effect return channel.

Effect as insert
If you want to add an insert effect, select "Add effects track", then the options "Add FX
send track" and "Submix bus", then set a check next to "Add FX return track", and click
"Add tracks".

Two new created tracks will be created in the arranger and in the mixer to control the send
and/or return signal of the external insert effect device. For the track to which an insert
effect should be added, select the send (submix) track for the external effects device as the
output device.

Use the effect return channel fader to set the effect signal's return volume.
184 EFF ECTS – ORGANIZATION AND WORKFLOW

Note: Make sure input monitoring is switched on for the effect return track. Activate the
loudspeaker button in the return track to do this. The loudspeaker symbol is highlighted
and you will hear the effect return signal.

The routing settings for each channel may also be adjusted in the track settings dialog.
Right click on the track name to start. For the effect send channel, set the output for the
sound card connected with the external effects input via "Playback". For the effect return
channel, set the input of the sound card that is connected with the external effect output
via "Record". For the channel intended to work with the external device, set the effect-send
track via "Playback" [e.g. submix: PCM70 Send (track 16)].

Use the double arrow buttons beside the track name field in the track settings dialog to
switch the track settings to those of the neighboring track.

It is also possible to use an effect combined as AUX as well as a submix bus. To do so,
both options have to be active when creating new tracks. FX sends may be changed later
by accessing the track properties (right click on the track header for the FX send bus) and
setting a check next to the corresponding setting, i.e. "AUX bus", "Submix bus", or "Pre-
master bus".

Effect as pre-master bus

If you select "Pre-master bus" when creating tracks, the new tracks will be added at the
end of the project, and all project tracks will be routed to the input of the send track. The
return track is automatically routed to the master. This enables the external effect to be
used as a master effect.

Setting latencies for external effects

Almost every external device features latency that needs to be compensated to function
synchronously with the tracks in the arrangement.

Use the "Set latency of the effect" button to set the latency of an effect. A ping signal is
transmitted to the "Send", and the time it takes to reach the "Return" channel is
determined by this signal. The resulting value features a doubled ASIO buffer size and the
latency of the external effect device.

The option "Automatically identify output (send) device" emits ping signals to all
available devices. The device that matches the effect is detected automatically. The input
device for the effect must be set prior to this.

Integrating external synthesizers

Select the MIDI port as the output device (send) to control the synthesizer here. Specify the
input of your sound card where the synthesizer is located as the input device (return). Press
the "Set effect latency" button to set the latency of the external synthesizer to ASIO buffer
size.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 185

Effects and Plug-ins in an Overview

Real-time effects at track, object, and master level
Amplitude: Normalize, normalize (quick access), loudness adaptation, fade in/out, set zero

Dynamics: Dynamics, advanced dynamics, multiband dynamics, sMax11,

efx_Compressor, eFX_Gate, AM-munition (Samplitude Pro X Suite), AM-track (Samplitude
Pro X Suite), AM-phibia (Samplitude Pro X Suite), AM-pulse (Samplitude Pro X Suite)

Frequency/Filter: Parametric EQ, EQ116, FFT filter/spectral analysis, brilliance enhancer

(optional), Filtox, De-esser

Delay/reverb: Delay, room simulator, efx_Reverb, efx_StereoDelay, Ecox, Variverb

Time/Pitch: Resampling/Timestretching, Elastic Audio

Distortion: Distortion, Ampsimulation, Vandal, eFX_VocalStrip, eFX_TubeStage

Restoration: De-clipper, de-clicker/de-crackler (optional), de-hisser, de-noiser, get noise

sample, remove DC offset (offline), spectral cleaning (offline)

Stereo/phase: Switch channels, multiband stereo enhancer, invert phase (both channels,
left channel, right channel)

Modulation/special: Convolution, vocoder, efx_ChorusFlanger, efx_Phaser,

eFX_TremoloPan, Corvex, reverse

Sample manipulation: Change sample rate (offline), sample number/2 (offline), sample
number *2 (offline), reverse, form loop (offline)

plug-ins

essentialFX: eFX_ChorusFlanger, eFX_Phaser, eFX_Reverb, eFX_StereoDelay,

eFX_Compressor, eFX_Gate, eFX_DeEsser, eFX_VocalStrip, eFX_TubeStage,
eFX_TremoloPan.

MAGIX Plug-ins: AM-Munition (Samplitude Pro X Suite), AM-Track (Samplitude Pro X

Suite), AM-Phibia (Samplitude Pro X Suite), AM-Pulse (Samplitude Pro X Suite), Corvex,
Ecox, Filtox, VariVerb, Vandal

Process Only Left Stereo Channel

Process Only Right Stereo Channel

Process Effects Offline: Tick the checkbox here to process effects offline

At object level you can swap object channels, invert phases, Object EQ, Object Dynamics,
Pitchshifting/Timestretching, Object backwards, Elastic Audio, and MAGIX plug-ins.
186 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Cleaning/Restoration Suite (optional)

With the optional "Cleaning/Restoration Suite" the following cleaning effects are available as
real-time effects and as offline effects:

 DeClicker/DeCrackler: The DeClicker removes crackling and clicking noises, which are
typical on scratched records.
 DeClipper: The De-clipper removes overmodulation
 DeHisser: The DeHisser eliminates regular, "white" noise, typically produced by
recordings, microphones, pre-amplifiers or transformers.
 DeNoiser with Noise Print Wizard: The DeNoiser removes annoying background noise
from audio material.
 Brilliance Enhancer: The included Brilliance Enhancer compensates for the loss of
higher frequencies, for example due to MP3 compression or in the case of old tape
recordings.
 Spectral Cleaning: This removes distortions (like coughing, whistling, or singular claps)
from a recording without influencing the wanted signal. The graphical interpretation of
the music can be seen in the Spectral Cleaning Editor via a spectrogram.

Once you've bought the Cleaning/Restoration Suite effects DeClicker/DeCrackler,

DeClipper, and DeNoiser and Spectral cleaning you can find them in the Effects menu
under "Restoration".

Once you've bought the Brilliance Enhancer you can find it in the Effects menu under
"Frequency/Filter."

You can find more information on the Cleaning/Restoration Suite in the PDF document
"Cleaning/Restoration Suite" included with the program.

DirectX and VST effects

Microsoft's DirectX and VST-compatible plug-ins may also be used for processing effects
in Samplitude. This allows almost any effects algorithm and VST instrument from third-party
vendors to be used in addition to the effects included in Samplitude.

VST Instruments
Additionally in the Track Editor the MAGIX synths Revolta2, Robota and Vita are accessible
for the first effect slot of each track, plus a list of the included VSTi instruments, object
synths Atmos, BeatBox 2, DrumnBass and Livid including connected devices using
ReWire. You can include your VST plug-in folder via "Menu File > Program preferences >
Effects > VST/DirectX/ReWire (view page 483)" in Samplitude.

Detailed information about plug-ins can be found in "Software/VST plug-ins/ ReWire (view
page 312)".
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 187

MAGIX Plug-ins
MAGIX plug-ins are effects that are accessible via the track editor plug-ins, object editor
plug-ins, track header plug-ins selection menu, track header plug-in button, the insert
section in the mixer, or via the "Effects" menu. These are further divided into the Analog
Modelling Suite (AM-Phibia, AM-Pulse, AM-Track)(only Samplitude Pro X Suite),
Vintage Effects Suite (CORVEX, ECOX, FILTOX), essentialFX (eFX_ChorusFlanger,
eFX_Phaser, eFX_Reverb, eFX_StereoDelay, eFX_Compressor, eFX_Gate,
eFX_DeEsser, eFX_VocalStrip, eFX_TubeStage, eFX_TremoloPan), VariVerb Pro, AM-
Munition (only Samplitude Pro X Suite) and Vandal.
188 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Object synths
Synth objects represent a special form of synthesizer. The instrument selected, i.e. the
synth object, is a component of the object created. Objects created in this way are not
based on previously created MIDI data. They may be edited easily and can therefore be
conveniently used as an audio building block.

Synth objects therefore form individual synth objects. Synth objects may be moved across
tracks in Samplitude in any way without changing the synthesizer settings. The synth
objects are Atmos, BeatBox 2, Loop Designer and LiViD.

Synth objects are available as installation options. After installation, they are located in a
separate folder, i.e. "Synths".

Synth objects may be accessed via "Object -> New synth object" or via the first plug-in
slot of the plug-ins section in the track editor for the respectively selected track. A 4-beat
loop object is created at the current play cursor position. The instrument interface for the
synth object that is created may be accessed by double clicking the object.

The shortcut "Ctrl + space bar" plays the selected synth object in "Solo" mode.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 189

Atmos
Atmos is a synthesizer that can be used to easily create realistic nature sounds. From
thunder and lightning to animal sounds and traffic noise, Atmos helps you design natural-
sounding atmospheric noises for your projects.

 In the upper edge of the window, select "Scenario", the top category. Select a nature
sounds category (e.g. "Thunder and Lightning") here.
 In the middle of the window, a collection of control elements appears for designing the
desired ambience. Each element has its own description (e.g. "Thunder") and two
faders, i.e. "Volume" and "Intensity". The "Volume" controller adjusts the loudness of the
element. The "Intensity" controller adjust the sound, behavior depending on the variable.
For "Thunderstorm", for example, this sets the frequency of thunder and lightning; for
"Rain", this sets the strength of the downpour.
 The bottom right border features a master volume fader for setting the master volume of
the synthesizer. The parameters "Random" and "Auto" are also available. "Random"
produces randomly placed settings, and the "Auto" parameter switches on automation
of the individual parameters.
190 EFF ECTS AND PLUG-INS IN AN OVERVIEW

BeatBox 2
BeatBox 2 is a 16-voice pattern-based drum computer featuring hybrid sound synthesis
and a step sequencer. The interface includes a multi-effects section (one effect per drum
instrument), auto copy, and a convenient velocity editing function.

A drum sound is created in BeatBox 2 using a sample, which is combined with a synthetic
sound that can be created using up to three different synthesis models (hybrid sound
synthesis). BeatBox 2 also enables detailed editing and automation of all sound
parameters.

BeatBox 2's interface uses two states. While closed, you can listen to the included sounds
and patterns 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:

1. Volume controller: Controls the volume.

2. Peak meter and preset name: The peak meter enables the output from BeatBox 2
to be checked visually. Clicking the triangle beside the preset name opens the preset
list.
3. Previous/next preset
4. Save preset: The preset includes the drum kit in use, the pattern, and any possible
automations (see page 249).
5. Play/stop: The playback controller in BeatBox 2 starts the BeatBox solo, i.e. without
playing the arrangement.
6. Edit button: The edit button opens BeatBox 2 for you to program your own beats
and sounds.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 191

Maximized BeatBox 2 plus window:

1. Drum kit: This section is where drum kits (collections of different drum instruments)
and the individual drum instruments are loaded.
2. Selected drum instrument: The settings in the synthesis section (5) and
velocity/automation (4) always affect the selected drum instrument.
3. Pattern editor: Programs the beat sequence. In the top part, different patterns
(sequences) may 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, then the respective drum instrument will be
triggered at this position.
4. Velocity/control: This section has two modes: velocity and automation. The
"Velocity" setting displays the velocity levels for the selected instrument's beats as a
column. The "Automation" setting allows automation to be set for sound parameters
in the synthesis section (5).
5. Synthesis: The selected sound parameters and effects settings for the selected
drum instrument may be edited here.

The following section explains the sections of BeatBox 2 individually:

192 EFF ECTS AND PLUG-INS IN AN OVERVIEW

BeatBox - drum kit

This section loads drum kits (collections of different drum instruments) and the individual
drum instruments. You can also try out an already programmed pattern with different kits
or exchange individual drum instruments.

1. Select drum kit: Use the <> buttons to cycle through the different drum kits. A drum
kit is a collection of percussion instruments with matching sounds, e.g. rock kit or
electronic drums à la TR 808. By changing the drum kit, you can add an entirely
different sound to the rhythm you have already created.
2. Save drum kit: Use this button to save the current collection of drum instruments as
a kit.
3. Drum kit list: Click the arrow to the right of the name to open a complete list of
available drum kits.
4. Select drum kit: The arrow buttons function the same way as with the drum kit. The
sequence of drum instruments in the kit may be resorted via drag & drop.
5. 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 may by added to the current drum kit via 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. Drag a complete folder featuring
wave files to the drum kit to create a kit based on those samples.

BeatBox - context menu

Right clicking a drum instrument always 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: Adds the standard instrument. This features the standard
parameter for all synthesis shapes and serves as the starting point for your own sounds.
 Reset automation: Several of BeatBox 2's own presets contain automations. These are
dynamic sound parameters like filters or pitch changes. This command allows these to
be completely removed from the selected instruments.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 193

BeatBox - pattern editor buttons

1. 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.
2. Clear track/all: All events for the selected instrument (track) or all events for the
pattern (all) are removed by clicking this button.
3. Bar selection: The bar you wish to edit may 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" displays all bars of the pattern.
4. "1>2-4" auto copy: If more than one bar is set as the pattern length, "Auto copy"
mode ensures 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, e.g. making faint variations detectable only in the fourth bar.
5. Bars: The maximum length of a drum pattern is four beats. This length may be
selected via the small scroll bar.
6. Shuffle: This controller changes the timing of BeatBox 2; if the controller is turned to
the right, 1/8th notes in the rhythm will be played more and more as triplets. If that
sounds 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.
7. Grid: Set the time resolution for BeatBox here. Choose from 1/8th notes (only for very
simple rhythms), 1/16 (default), and 1/32 (for more refined constructions).

BeatBox - pattern editor matrix

This is the heart of BeatBox. A click on any position in the drum matrix creates or deletes
drum notes (events). Clicking and dragging draws in a series of notes. Together with the
velocity editing options (see velocity), it's easy to create drum rolls.

If "Shift" is held while notes in the range are clicked, a rectangle will be drawn out which
selects the notes contained within this rectangle (lasso selection). Selected notes may 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:

194 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Shift + double click: Select everything in the selected beat.

Ctrl + shift + double click: Select everything

A single mouse click cancels the selection. The selection is automatically canceled after
copying. To keep the selection, hold down "Ctrl" while copying.

Many functions in BeatBox 2 can be controlled with the keyboard; for example, a beat may
be triggered with the "Enter" key live in a running pattern. Here's a complete list of the
keyboard commands:

General:

 e -> Open/close the editor

Pattern editor options:

 a -> "1>2-4" auto copy

 f -> Follow
 1..4 -> Show beat 1..4
 0 -> Show all beats
 +/- -> Grid finer/rougher

Selected drum instrument:

 Arrow up/down -> previous/next

 p -> Preview
 Enter -> Live input
 m -> Mute on/off
 s -> Solo on/off

BeatBox - velocity
Use "Velocity" mode to edit the velocity/automation of the individual drum notes for the
selected drum instrument.

1. Reset: Sets all velocity levels to 100%

2. Mode switcher: Switches the range between velocity control and automation (see
page 249).
3. Random: The random parameter adds random variations to the set velocities. This
helps make your beats sound more natural.
4. Amount: No function in velocity mode.
5. Velocity level: Enables every set note for the selected instrument to be edited via the
height of the column. Multiple columns may be edited at once; see "Editing velocity
values and automations".
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 195

BeatBox - automation
Every parameter for a drum sound, including effects, may be automated, i.e. so that it
changes during a pattern. For example, make your snare drums more lively by adding
higher voices to loud hits or by setting accents on individual hits with reverb effects.

The synthesizer section below enables the selection of a

parameter for automation via the small blue LEDs above a
parameter controller. More about the parameter controllers is
available in the "Synthesizers" section.

1. Reset: Sets all automation values for the selected parameter to "0".
2. Mode switcher: Switches the section between velocity control and automation (see
page 249). This happens automatically when selecting parameters.
3. Random: The random parameter adds random variations to the set automation. This
helps make the 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.
4. 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 effect of the amount controller on the automation values is made visible by a
slightly brighter line in the value columns.
5. Automation values: The selected parameters may be drawn in as a column with the
mouse. Automation values may also be drawn between the set notes; the sound of
the drum instrument changes during playback. The automation values are added to
the original parameter value.

Editing velocities and automation values

Hold down "Shift" and select any number of bars for velocity or automation with the
mouse. Two special commands are available for selection:

Shift + double click Select everything clicked on in the bar

Shift + Ctrl + double click Select all

196 EFF ECTS AND PLUG-INS IN AN OVERVIEW

The "Copy" button copies the selection to the clipboard. If you select this or that track in
another editor, you can paste the notes there now from the clipboard. If the target selection
is larger than the contents of the clipboard, then it will be inserted again. This lets you
quickly add a short section throughout the complete length of the pattern.

The three handles allow the velocity or automation values to be edited together.

The middle handle increases or lowers the values together.

If the handles are moved horizontally, you can change the curve shape of the transition.

A single click in the automation section cancels the selection again.

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 track.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 197

BeatBox - synthesizers
Use the lower section of BeatBox to set the sound for the selected drum instrument.

Synthesis in BeatBox 2 consists of a combination of a simple drum sampler and a

synthesizer. There are three different synthesis models possible for the synthesizer: "Phase
distortion synth" (FM synthesis), "Filtered noise", and "Physical modeling". The mixed signal
of both components is then processed by a multi-mode filter. An envelope curve
("envelope generator") time-dependently controls modulations of in all components.

1. Preview drum instrument

2. Save drum instrument
3. Select sample: Clicking the arrow selects samples from the categories like kick,
snare, etc.
4. Select synthesis mode: Switches between the three synthesis models.
5. Mix: Mix ratio between drum sampler and synthesizer.
6. Parameter controller: All six sound parameters for a drum sound may be set directly
and automated via the parameter controllers. These parameters depend on the
currently loaded drum sound. By clicking the name of a sound parameter, a menu
opens for you to add parameter controllers to each drum sound's synthesis
parameters.
7. Automation: This selects the controller's parameter for the automation.
198 EFF ECTS AND PLUG-INS IN AN OVERVIEW

BeatBox - effects section

Each of BeatBox 2's drum instruments includes an effects unit which is fed in after the
actual sound synthesis and editing. Each of these effects units includes a series of high-
quality algorithms to add "audio polish" or to place the sound in a production-typical
context.

1. FX on/off
2. Parameter controller: An effects module includes four adjustable parameters. The
fourth parameter, "Mix", is always available and the remainder possess a function
dependent upon the selected algorithm.
3. Automation: This selects the controller's parameter for the automation.
4. Effects algorithm: Click the arrow to select an effects algorithm.

The available effects algorithms are described in the following:

 Mono delay (tempo sync/millisec.)

Simple, monophonic delay effect.

Parameters

-Time: Delay time controlled by musical measure (sync) or free

-Feedback: Repetitions
-Damping: High damping of the repetition

 Stereo delay (tempo sync / millisec.)

Stereophonic repetition, separately adjustable per side

Parameters

-Left/right: Delay times, synced or free

-Feedback: Compared 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 the so-called "ping-
pong" variety, i.e. the signal is sent alternately so that it 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 function as two independent time-delay units.

 Chorus
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 199

Produces a typical "floating/shimmering sound" by modulated detuning of a signal to

"thicken up" its sound or spread it across the stereo field. Detuning is achieved via a short
delay, the length of which can be varied by the modulation. This produces the so-called
"Doppler" effect.

Parameters

-Time: Delay time in milliseconds. This may be understood as the "base" modulation that is
stretched or compressed by the modulator.
- Rate: Modulation speed
- Depth: Modulation amplitude. Low values modulate only a little; higher values create a
clear vibrato.

 Flanger

Algorithmically similar to chorus, but different in that the delay time is significantly lower and
delay works with repetitions (feedback). A flanger sounds more "cutting" and up-front than
a chorus.

Parameters

- Rate: Modulation speed

- Feedback: Delay feedback
- Depth: Modulation of amplitude

 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 to
create so-called "comb filter effects". The phaser effect is suitable for pads and
"psychedelic" sounds.

Parameters

- Rate: Modulation speed

- 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" to 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" (air molecules are constantly moving and the
reflection process is quite complex), 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.
200 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Parameters

- Decay: Reverberation length

- Damp: Damping of highs to simulate absorption via air, wall materials, and objects
- Mod: Modulation strength

 Lo-fi

This algorithm gives the sound a little bit of "grit", or a certain measure of signal destruction
depending on its setting. An ideal partner for creative sound design. 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
may be produced alongside the unavoidable loss of highs resulting from "down sampling".
Bit resolution is clearly changeable, too.

Parameters

·Rate: Sample rate

·Crush: Number of bits
-Low-pass: Low-pass filter at the output to smooth out induced noise

 Distortion

This overdrive effect works similarly to common guitarist effect pedals. Everything is
possible, from light, bluesy signal saturation to hard "metal shred boards". In this case, a
dual-band EQ works on the in and output signals and to provide a rich palette of sounds.

Parameters

- Drive: Controls the internal level and the overdrive

- Low: Bass portion
- High: High portion

 Analog filter 12/24 dB

An additional filter may be applied across the entire drum sound.

Parameters

·Cutoff/resonance: Filter frequency and resonance

·Type: Filter type
-Drive: Filter saturation

Vintage compressor

A compressor with a special "analog" controlling behavior for more pumping bass drums.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 201

Parameters

-Input: Input level

·Attack/release: Time constants for compression.
·Ratio: Compression ratio

Synthesis models

The sound synthesis in BeatBox 2 consists of a simple sampler and a synthesizer which
includes three different synthesis modules.

Sampler

The sampler plays short sound recordings ("samples") in different pitches. The sampler is
used to create all kinds of drum sounds; the sounds are static and unnatural if the pitch is
not altered. This is why the sampler is combined with one of the three synthesis models.

Filtered noise

White noise is filtered by two band-pass filters with separate 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 may 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
may be used to produce bass lines or melodies.

Physical modeling

This is a simple physical model of an "abstract" percussion instrument. A feedback network

of delays is caused to oscillate by an impulse of filtered white noise (exciter). Depending on
the setting of the exciter, the size of the model (surface), and the damping, a wide
spectrum of natural sounding percussion instruments like cymbals, claves, gongs, or
triangles can be created.
202 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Loop Designer
The Loop Designer unifies the notable style elements of the Drum'n'Bass genre in a single
device: twisted beats and throbbing bass lines. Create authentic drum 'n' bass sounds
without previous experience using this machine.

The upper half of the synthesizer controls the rhythm section, and the lower half controls
the bass section. Between this on the left edge, a symbol is provided to control both
sections or shut them off. For example, the bass section may switched off so that only the
breakbeat in the drum section is added to the arrangement. When mixing the arrangement,
only the drum section is added to the mix file.

The right edge includes a "Volume" controller that is used to control the volume of the two
sections. The "Play" and "Stop" buttons play your drum & bass creations.

In the "Velocity presets" submenu, help functions are available for programming the velocity
sequence (see below for description). Homemade drum loops and bass samples may also
be loaded there.

Loop Designer - Rhythm Section

This section makes it easy to create complex and authentic-sounding jungle breakbeats.
Jungle breakbeats are produced in professional studios by taking a drum loop and splitting
it into little "bites" and then putting them together into another sequence. The Loop
Designer makes this laborious process a lot easier.

The top sequence, i.e. the "steps" row, specifies the new sequence. The blue cells indicate
the individual sections ("count times") the loop is divided into.

Left clicking one of the blue cells allows one of six icons to be selected. Each symbol
indicates other notes or another type of note playback. Each time a blue cell is clicked, the
next symbol will be selected.

A short description of the symbols:

 EFF ECTS AND PLUG-INS IN AN OVERVIEW 203

1: Play drum loop from start

2: Play drum loop from second note
3: Play drum loop from third note
4: Play drum loop from fourth note
Reverse symbol: Play in reverse from this position
Stop symbol: Stop playback

Right click the step cells individually to delete them. The "Clear" button the right deletes all
step cells; the drum loop is played back in its original condition.

In the "Velocity" row, intensity values of 0 to 16 may be specified with the mouse (left
button increases the value, right button reduces it). The manner in which these values
influence the loop may be specified via the 3 buttons below the "Velocity" row. If "Volume"
is selected, then the velocity value changes the volume in this cell (16= loud, 0 = quiet). If
"Filter" is activated, the velocity value specifies the filter strength in this cell (16 = bright, 0 =
dull). The "Off" button deactivates the velocity values.

Loop Designer - Bass Section

The bass section produces matching bass lines. Just like in the rhythm section, there are
also two step rows here:

 The first row, the "Notes" row, specifies the progress of the notes, i.e. the harmony. Left
clicking on a cell opens a popup window for selecting a note. Right clicking deletes a
cell. Clicking with the right mouse button on an empty cell produces a "Stop" symbol.
This symbol behaves the same as in the rhythm section, i.e. playback of the bass line
stops at this position.
 The "Octave" row specifies the octave of the bass line. Octave 1 creates a deeper
sound, and octave 3 creates a higher sound. Octave values may only be set, if a note is
also present in the row above. Just like in the rhythm section, the "Clear", "Random
notes", and a red selection field are available in the upper edge of the bass section. The
red selection field may be used to select the bass sound.
 Below the step rows there are two faders for altering the sound:
 The "Vibrato" controller causes the pitch of the bass tone to "sway". If the fader is all the
way to the right, the sound will fluctuate more, and if it is all the way to the right, then the
pitch won't change at all.
 The "Decay" fader specifies how long it should take until the sound has stopped. Set all
the way to the right, the fader causes the sound to dissipate quickly (after approximately
1/4 seconds); all the way to the left, and the sound will reverberate permanently.
204 EFF ECTS AND PLUG-INS IN AN OVERVIEW

LiViD - Little Virtual Drummer

MAGIX LiViD is a great help for creating songs. Only a few details need to be entered for it
to play a complete drum track with an intro, verses, refrains, fill-ins, etc., and it provides the
exact structure for the entire song. Brilliant stereo drum samples, played by studio pros
and adjustable via the "Humanize" effect, create a genuine drum feeling and the perfect
sound.

Select one of four styles (pop, rock, funk, latin), which are also divided into four substyles
(TYPE), which are further broken down into six song parts per style/substyle (intro, verse,
bridge, chorus, fill-in, outro).

Scramble: Creates a random series of four single-beat patterns per style/substyle/song

part. "Scramble" regenerates this sequence.

Shuffle: Moves the second and fourth sixteenth of the beat smoothly backwards (100% =
triplets).

Humanize: Moves the position of all events randomly forwards/backwards/not at all.

Attention! These movements are only very slight and may not be heard clearly!

Snare: Changes the hit style of the snare between "normal", "side stick" (hit on the edge
with stick on drum) and "rim shot" (hit on edge and drum simultaneously). Exception: The
quietest velocity level of the snare always stays normal ("ghost notes").

Hi-hat: Changes the hit style between "soft" (not opened) and "hard" (half opened).
Exception: completely opened hi-hat (pop, type 1, verse).

Ride: Changes the hit style of the ride cymbal between "ride" (on the edge) and "ride bell"
(on the cymbal bell).
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 205

MAGIX synths
Samplitude includes Robota, Vita, and Revolta 2, software synthesizers based on VST
technology

Robota: Eight voice drum computers for "mean" electronic beats.

Vita: A sampler with incredibly realistic-sounding, "classic" instrumental sounds like

different guitars (power chords, clean electric guitar, acoustic guitar, bass guitar), different
pianos, percussion, strings, brass, woodwinds (each as an individual set & as an ensemble
set), and much more.

Revolta 2: An analog, varied, and powerful-sounding 12-voice synthesizer featuring a

sound matrix, noise generator, and nine effect types. Use this synthesizer to create any
electronic music you can imagine.

The following differences define the synth objects:

 MAGIX synths are always loaded to a certain track

 All MIDI objects on this track control this instrument
 All editing options in the MIDI editor are available
 MIDI recordings are possible via the MIDI keyboard
206 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Robota Pro
Robota is a single octave drum computer VST instrument that is based on virtual-analog
synthesis. You can access it via the first plug-in slot of any track by selecting "MAGIX
Synth > Robota".

Samples are not usually used as drum sounds, but rather the sounds are created in real-
time with a specialized drum synthesizer. Typical analog sounds of classic drum computers
like Roland TR-808, TR-909 or those of more modern manufacturers like Korg Electribe or
the Jomox X-Base may be created using Robota. The tool is controlled via a step
sequencer with programming or via MIDI.

The Robota drum map can be found in the Samplitude program folder under "MXSynth ->
Robota -> ROBOTA.map"

Robota - technical data

 8-track sequencer
 64 steps (4 x 16 or 2 x 32)
 "Notes" mode (velocity information per step)
 Snapshot mode (instrument setting can be saved for each step, variable "snapshot
recall" time)
 Groove presets ("swing" & "velocity" information)
 "Follow" & "auto copy" mode for simplified editing
 8 "instruments" (1 per sequencer track). Available for each instrument:
 Oscillator section (sine/triangle/saw tooth/ .WAV) + noise generator
 Modulation (FM/ring)
 Lo-fi section
 Filter section (multimode filter (12/24dB), comb filter, filter envelope)
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 207

 Tube simulation
 Compressor
 Volume + pan
 Output routing for stereo output pair 1 4
 Sorting of 8 instruments as "drum kits"
 "Setup" files as overall machine status (pattern + instrument setting + further settings)
 "Config view" with enhanced settings (MIDI trigger, controller matrix, performance
parameter, etc.).

Robota - sound synthesis

The eight voices of Robota are setup identically. The synthesis of Robota is quite
complicated, since every voice has to generate a large variety of drum sounds, ranging
from hissing hi-hats to heavy bass sounds.

The Robota drum synthesizer consists of an oscillator with a selectable wave form (sine,
triangular or saw tooth) or a sample. You can also add a noise generator or use this as a
pitch modulator (in which case the "noise" controller determines the speed of the
modulation).

The oscillator features a pitch envelope and attack/decay controls. It also features
frequency and ring modulation. The modulation depth may be controlled by means of an
envelope parameter (FM/rng dcy). This is followed by a "Lo-fi" section consisting of
distortion (rectify, diode rectification), bit rate reduction (crush) and sample reduction
(downsample). The duration of the lo-fi effects may also be adjusted via an envelope (lo-fi
dcy). This is followed by a multimode filter (high-cut/band-pass/low-cut) filter featuring a
cut-off steepness of either 12 or 24 dB. A comb filter may also be added. You can also
modulate the filter frequency via an envelope. A compressor circuit adds "impact" and
"power" to the sound ("compressor": intensity; "response": attack and decay) and a tube-
amp stage lets you enhance this before it proceeds to the output.

Click "M" to set the instrument to mute; "S" for solo.

You may preview the instrument by pressing the loudspeaker button. Alternatively, use a
MIDI keyboard to edit sounds, to trigger the individual voices with “note-on” commands,
and to change the individual synthesis parameters via MIDI control change (also explained
in “Config view”). Ensure that the “MIDI trigger” button is activated for triggering via MIDI.
208 EFF ECTS AND PLUG-INS IN AN OVERVIEW

(to edit in "Stop" mode, ensure that you have activated input monitoring in Samplitude).

Robota provides 8 audio outputs as 4 stereo pairs. It makes sense to use more than one
stereo pair to edit patterns with many tracks and individual sounds separately in
Samplitude's mixer. When editing an instrument, choose the output to send to (horizontal
slider below the display).

All instruments are routed to the output pair 1 by default. Make sure that the changes are
not saved with the instrument but always as a "Setup".

Robota - master section

"Volume" controls the master volume of the Robota. "Tube" adds a controllable tube
distortion to give the sound more power and make it sound rougher. The peak meter
controls the output level; if this appears in the red area, reduce the master volume.

Robota - sequencer
Classic flashlight programming is used to control the drum patterns, as is the case with
practically all classic drum computers and groove boxes. The step sequencer consists of
16 individual step buttons with LEDs which correspond to the sections of a bar (16 or 32
beat, whereby only half a bar is displayed). A flashing button corresponds to the drum
sound at this point in the bar. Left clicking switches on the step, and an additional left click
deletes the step again.

The maximum length of a drum pattern is four beats. The length may be selected via the
small scroll bar above the button list.

Use the appropriate “Edit” button to select the beat you want to edit. Use the "Follow"
button to select "Follow" mode, i.e. the step display follows the steps of the currently
played beat.

If more than one bar is set as the pattern length, "Auto copy" mode ensures that the drum
notes set in the first bar are automatically placed into the next bars. This 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 copy" function, e.g. which makes it easy to add a light
variation in the 4th bar.

Programming a new drum pattern:

1. Use the slider to select the pattern length.
2. Select "Event" mode.
3. If you are editing during playback, switch off “Follow”. Choose the track you want to edit
by using the “Edit” button.
4. Use buttons 1-8 to select the instrument you want to edit.
5. The “Clear” button deletes all tracks in the current bar of the selected instrument.
6. Switch on the appropriate step buttons. Use the “Velocity” slider to define the velocity of
a beat.
7. Repeat the process for the other instruments.

Robota - snapshots
It is also possible to automate the sound parameters of a drum sound with so-called
“Snapshots”. This enables the sound parameters of an instrument to be saved on the step
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 209

buttons of the sequencer. Doing this, you may model an individual event within the sound
and, for multi-beat sequences, program very lively and “crazy” processes. This enables you
to program melodies by changing the tuning of the affected steps (make sure that the
oscillators are working in “Chromatic mode” via config view.

Automating a drum instrument using snapshots:

1. Set the editing mode to "Snap".

 If you are editing during playback, switch off “Follow”. Choose the track you want to edit
by pressing the “Edit” button. The snapshot automation should be deactivated
beforehand (press “On” button). The settings you have just made would otherwise be
replaced by a snapshot already recorded at the current position.
 Select an instrument and change the sound according to your preferences. You can
check the sound of an instrument once playback is stopped by clicking the loudspeaker
button or by triggering the sound by MIDI (requires activated monitoring in Samplitude).

2. Save the sound as a snapshot to one of the step buttons.

3. You may now change the sound of the drum instrument and save the settings to one of
the other step buttons.

Note: Parameter changes do not happen abruptly, but are faded internally instead to
prevent crackling. Use the "Time" slider to specify how fast the parameters should be
faded to the new sound. This allows you to create interesting "morphing" effects. The
settings of this controller are saved with the pattern (or setup file).

4. You can jump between the individual snapshots by using the cursor keys if you want to
correct individual scenes (input monitoring in Samplitude must be activated).
5. Now click "On" to activate snap automation.

Robota - groove control

The secret to "groovy" beats is to play the individual beats delayed or earlier according to
certain patterns. For example, shuffle is used for house beats, in which case the even
1/16s are delayed.

Robota features groove velocity and groove swing presets. Groove velocity presets feature
a certain offset for every step of a beat by which the original velocity is increased or
reduced; groove swing presets feature a time delay for every step, in order to delay or
bring forward the step. The result is a considerably more lively-sounding drum sequence.
The strength of each effect can be selected with the % controller.

Groove presets can be selected from the lists in config view.

Robota - setups, drum kits, presets, and patterns

Loading/saving

Instruments, drum kits, patterns, and setups may be selected via the "up/down" keys
located next to the display. Alternatively, you may click the display to open a list with
available presets. To save a preset, click the "Save" button (disk symbol). The current
210 EFF ECTS AND PLUG-INS IN AN OVERVIEW

preset name will be selected. However, you may also enter a new file name and delete
unused presets from the folder view.

(Note that Robota always uses the predefined directories, even if you switch to somewhere
else. You cannot save files in a different location.)

Robota organizes sounds and beats according to the following hierarchy:

 An individual drum sound is saved to an “instrument”.

 The 8 instruments may be saved together as a “drum kit”. The individual instrument
parameters, however, are not saved, but rather the 8 references to the file names.
Therefore, if you manually delete an instrument from your hard disk or change one of
these sounds later and save it again, this will affect the drum kits that this instrument
uses. “Drum kits” are therefore suitable for organizing frequently used sounds. If you
have prepared your own drum sounds by changing existing presets and would like to
save these as a drum kit, save the instruments as new presets and then the new drum
kit.
 All note information and snapshots are saved in a pattern.
 The combination of everything (instruments + pattern + further settings) produces a
“setup”. In this case, it's not important which instruments belong to which drum kits and
whether you have made individual changes to the parameters. A setup always saves the
current master status, including all sound parameters, notes, snapshots, and groove
settings.
 In general, all edit processes may be saved as a “setup”. This would “freeze” everything
safely to continue from this position at any time. We recommend the following instead:
 Create a personal “instruments” library.
 Group regularly used instruments as a “drum kit”.
 Create a sufficient basis of “basic patterns”.

This lays the groundwork for future projects. You may now use “setups” specifically by
using these primarily the basis for songs. The advantage is that in addition to triggering
individual events by MIDI notes, you may also changeover the patterns and drum kits.
(Please also read the section about config view).

You can switch individual setups in Samplitude in the preset list (below the instrument
selection) or via MIDI program change (1-128).

If you save a project in Samplitude, the last selected setup is opened. Please make sure
that you save the state in the setup before closing the VIP.

(When using program changes, note that the storage locations may move when inserting
new setups). Setups do not have fixed program locations, but are sorted according to the
alphabet.)
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 211

Robota - config view

Use the wrench symbol in the top right of Robota to access the back of the device.

Change the following settings here:

 “MIDI play” section:

 Set the MIDI receive channel to trigger the 8 voices externally
 Specify the “trigger keys” for the individual instruments
 MIDI controller matrix: The left list features a selection of „MIDI Control Change (CC)“
numbers for operating the controllers of the currently selected instrument externally. By
default, this list contains the default CC numbers of the M-Audio Oxygen 8 keyboard.
The right list displays the available parameters of the engine for every source. You may
customize the controller matrix and even route one source to several targets.

Robota - PATTERN/DRUM KIT PLAY section

 Select the "Play" channel. This does not necessarily have to correspond to the "MIDI
play" channel, depending on how the MIDI working environment has been arranged.
 Select the “trigger key” and the corresponding pattern or drum kit. This lets you “play”
patterns or kits on the keyboard.
 “Change“: Select the time when the change is to take place (immediately, with the next
beat, or always on bar 1).

Robota - GROOVE PRESET section

 “Swing”: If necessary, choose a swing preset from the list. The level of the presets may
be adjusted in the sequencer section via the % controller.
 “Velocity”: Select a preset to modulate the volume of your pattern.
212 EFF ECTS AND PLUG-INS IN AN OVERVIEW

Robota - MACHINE GLOBALS section

 Accuracy vs. CPU: “Normal” is selected by default; a compromise of an appropriate
timing and medium CPU load. “High” is even a bit “tighter”, particularly in the event of
intensive use of the filter modulation and the pitch envelope. You should only use “low” if
the processing time is exhausted due to other instruments or effects, since the timing
and the envelopes are less prioritized.
 “Oscillators”: “Retrigger” resets the phase of the oscillators for every phase so that wave
shape and modulation sound identical for every step. When set to “free”, all oscillators
are constantly active, and depending on the application, this may sound more lively and
“analog”.
 “Tuning mode”: By default, the “tune” controller locks into place on “tonal” values
(“chromatic”), so that you can also program melodies, arpeggios, or bass loops using
suitable sounds. “Free” tuning is also possible.
 "Knob mode": Select whether you would like to move the sliders vertically, horizontally,
or prefer circular movements. The latter is the most precise option for fine changes while
"hor./vert." is recommended for rough changes.

Robota - CONFIG MEMORY section

 “Save with current setup”: If this button is activated, all changes made in config view will
be saved when the next setup is saved, and are restored when this is opened again.
 “Save as default”: This saves the current configuration as “default”. This is useful for
restoring the same conditions in the VIP.
 "Restore default": Use the "Restore" function to overwrite a “Config” setting created
using a loaded setup with your “standard”.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 213

Vita
Vita is provided as an installation option.

The MAGIX Vita synthesizer specializes in realistic playback of "real" instruments by utilizing
sampling technology. Short samples of real instruments in different pitches, playing
techniques, and volumes are used, combined, and played again at the correct pitch.

The VITA synthesizer is controlled via the MIDI objects.

Vita - the interface

1. Layer selection/peak meter: The Vita sounds, also known as layers, may be selected
here using the arrows. Right clicking on the display opens the layer menu.

2. Main parameter: Set the volume, panorama position, pitch characteristics ("transpose"),
and the fundamental frequency ("master tune") here.
214 EFF ECTS AND PLUG-INS IN AN OVERVIEW

3. AMP: This is the volume envelope. This influences the temporal progression of a track's
volume. A(ttack) stands for the volume increase at the start, D(ecay) for the length of time
the decrease in volume takes on a section set with S(ustain) at the maximum volume.
R(elease) is the length of time it takes for the sound to ring out.

4. FILTER: Switch on a filter to influence the sound here. FILTER TYPE selects the filter
type. "Cut-off" regulates the filter frequency; "Resonance" controls the strength of the
amplification of the filter frequency. "Velocity" specifies how strongly the velocity should
influence the filter frequency, while volume can be balanced using the "Gain" controller. The
filter envelope (ADSR slider) influences the filter frequency depending on the time.

5. DELAY: Switches on an echo effect; "Time" controls the delay time, "Level" controls the
strength of the echo sound.

6. REVERB: Switches on a reverb effect, "Time" controls the delay time, and "Level"
controls the strength of the echo sound.

7. VALUE DISPLAY: The value display shows the exact value of the parameter that has
been modified.

8. DYNAMIC RANGE: Usually, the relationship between the created volume and MIDI
velocity is proportional. Since some MIDI keyboards produce a velocity that is too hard for
loud sounds or vice versa, this behavior may be compensated with "MIDI input curve".
"Dynamic" and "dynamic curve" influence the dynamics of the sound, i.e. the relationship
between the quietest and loudest sounds.

9. Voices: Control the number of voices played simultaneously here. If notes are no longer
played during fast passages, increase the amount of voices here (performance will not be
as good).

10. Keyboard: A preview of the Vita sounds. This only works during playback or recording.
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 215

Revolta 2
Revolta 2 is polyphonic and may be played with up to 12 voices. It includes a series of
additional features, like an additional noise generator, a step sequencer, and an extra
flexible modulation matrix. Its effects section of 9 different effects and presets, designed by
a famous designer, make it a full-fledged synthesizer for all kinds of lead, sequence, and
pad sounds.

REVOLTA 2 has a whole array of presets. The sounds have been created by professional
sound engineers and demonstrate the huge potential of this instrument right from the start.
But first of all, we encourage you to try out the various control functions and to experiment
as much as you like. The sky's the limit to your creativity.

Revolta 2 - the interface

The Revolta 2 interface may be displayed in two sizes. In "Rack" mode, only the elements
necessary for preset loading are visible:

Clicking the "Edit" button opens the entire user interface.

1. Main parameter: The volume, panorama position, pitch characteristics ("transpose")

and the play modes (POLY, MONO, LEGATO) may be set here. GLIDE controls the
portamento time.

2. Oscillator section: Two oscillators are available with a smoothly adjustable curve form
and a noise generator. Both oscillators may be tuned to each other and used to modulate
frequencies.
216 EFF ECTS AND PLUG-INS IN AN OVERVIEW

3. AMP: This is the volume envelope. This influences the temporal progression of a track's
volume. A(ttack) stands for the volume increase at the start, D(ecay) for the length of time
the decrease in volume takes on a section set with S(ustain) at the maximum volume.
R(elease) is the length of time it takes for the sound to ring out. VEL specifies how much
the envelope curve depends on the velocity.

4. FILTER: Switch on a filter to influence the sound here. FILTER TYPE selects the filter
type. "Cut-off" regulates the filter frequency; "Resonance" controls the level of amplification
of the filter frequency. VEL" indicates how much the velocity influences the filter frequency,
"KEY" changes the filter frequency depending on the note pitch ("Keytracking"). The filter
envelope (ADSR slider) influences the filter frequency depending on the time. "Env mod"
controls the strength of the filter envelope curve, and "drive" may be used to overmodulate
the filter.

5. FX1/FX2: Mix in 2 different effects out of a total of 9 available effects.

6. LFO1/LFO2/STEPSEQUENCER: Two LFOs and the step sequencer may be used to

modulate single parameters of Revolta 2.

7. Options and modulations matrix: The two buttons open Revolta's 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, where the pitch will be modulated via an LFO (vibrato), may 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 may influence more targets.

8. VALUE DISPLAY: The value display shows the exact value of the parameter that has
been modified. You may also use this to find out the load of the twelve voices.

9. Preset section: Select different Revolta presets here. Every sound may be previewed,
and an A-B comparison between two sounds is also possible (e.g. an edited and the
original sound).
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 217

Plug-ins at track, object, and master level

MAGIX Plug-ins > Analog Modelling Suite: AM-Munition, AM-Phibia, AM-Pulse, AM-
Track (Samplitude Pro X Suite).

AM-munition is an extremely versatile, dynamic tool for editing groups or signal sums,
especially in the domain of mastering. It has separate units like compression, filtering, side-
chain, limiter and clipper. All modules and parameters are optimized to perform their
fundamental functions without any compromises: effective enrichment of the program
material without causing bothersome artifacts, a high maximum volume, and an "analog"
behavior with an individual sound signature.

AM-phibia is a tube amplifier/channel strip. It combines an optical compressor with a pre

and post filter unit. By selecting the filter presets the suitable setting can be chosen
depending on the input signal. When interacting with the compressor section, am-phibia
may be used as a vocals pre-amp, tube guitar amp, or simply for creating a warm sound.

AM-pulse is a "transient modeler", a creative tool for editing envelope and sustain
processes on percussive or dynamic signals.

AM-track is a combination of an analog compressor and a tape simulator in a single

device. This is used primarily for so-called "tracking", i.e. editing individual channel strips or
subgroup signals.
218 EFF ECTS AND PLUG-INS IN AN OVERVIEW

MAGIX plug-ins -> Vintage Effects Suite: CORVEX, ECOX, FILTOX

This suite enhances the repertoire of Samplitude with a chorus/flanger, delay, and filter
plug-in. CORVEX, ECOX, and FILTOX are each based on the same basic handling
principle: as required, a modulator (LFO) controls almost all of the controllers accessible via
the "frontplate".

MAGIX plug-ins -> VariVerb Pro

VariVerb Pro is a classic reverb unit which performs classic and modern algorithm-based
reverb generation without accessing impulse responses. The effect includes several rooms,
halls, hall plates and non-linear algorithms that can be edited in two different modes in
many ways.

Note: You can open the MAGIX plug-ins via the plug-in section of the mixer, track editor,
track, or at the object level via "Effects". Detailed information about MAGIX plug-ins can be
found in the help file "Menu effects -> MAGIX plug-ins (view page 698)".
 EFF ECTS AND PLUG-INS IN AN OVERVIEW 219

VST/DirectX/ReWire: All DirectX plug-ins installed on your system are written into the
Windows registry and are available via the effects slot or the menu item "Effects -> Object
DirectX/VST plug-ins". At track or master level, you can access plug-ins by clicking on the
"FX" button.

VST FX: This is a list of all VST effect plug-ins included in the VST plug-ins folder. The path
for VST plug-ins can be determined via "File > Program preferences > System/Audio (view
page 176)", shortcut "Y".

Vandal
(Vandal in Samplitude Pro X Suite / Vandal SE in Samplitude Pro X)

The main concept of the Vandal guitar amp (view page 745) consists of virtual switching
that models three different preamps and two power amps. This can be achieved by
switching the mode functionality on an easy, single front view.

essentialFX
The essentialFX Plug-in Suite (view page 685) offers high-quality audio tools for all-around
tasks. Each plug-in has a number of important qualities for producing quick and accurate
results:

 Low-resource DSP functions in spite of great quality algorithms

 Low space requirements for interfaces
 Easy operation thanks to reduction of function elements featuring only the most
important parameters
 Consistent operation of all interfaces
 Simple, straightforward preset management via the tried-and-true file/folder basis;
simple upgrades for users
 Color coding: Each plug-in has a color code in the top part of the window for quick
identification; modulation effects = blue, dynamic plug-ins = orange

The following essentialFX are available: eFX_ChorusFlanger, eFX_Phaser, eFX_Reverb,

eFX_StereoDelay, eFX_Compressor, eFX_Gate, eFX_DeEsser, eFX_VocalStrip,
eFX_TubeStage, eFX_TremoloPan.
220 REMIX AGENT

Remix Agent
The Remix agent is a powerful tool for determining the BPMs (beats per minute) and the
time position of quarter note beats of any song.

Detailed descriptions of the Remix Agent can be found in the menu reference in "Menu >
Object >Remix Agent".
 ST EREO EDITOR 221

Stereo Editor
Right clicking in the panorama controller in the arranger, mixer, and track editor allows you
to change panning from the left to right channels for every track in the stereo editor as
well as further settings related to the phase of the track.

Note: The settings made here are not effective if the track is routed to a Surround bus or
Surround master, or if the option "2-channel Surround mode" is activated. In both cases,
the Surround editor is used for panning.

For mono tracks, conversion from mono to stereo takes place in the signal flow exactly
according to the panorama controls. At this point, effects or plug-ins may be inserted in
stereo. The routing positions may be changed in the Effects routing dialog (view page 536).

Stereo dialog options

Panorama: Set level distribution between left and right here.

Stereo width: Adjusts the stereo bandwidth for each track.

If set to the center, no changes occur. If you move the controller to the right, you will only
hear the mono portion.

Right click to set the enhancer function for the corresponding track. The middle and side
signals will be separated and their volumes edited separately.

Note: Because mono signals have no side signals, this only changes the middle signal with
the stereo width control. If set fully to the right, the mono source material will no longer be
audible.

Detailed information is available in "Effects -> Stereo/phase -> Multiband stereo enhancer"
222 ST EREO EDITOR

Copy L-R

Change the channel assignment of the tracks here. If you activate "Copy L -> R", only the
left channel will be audible on both sides; "Copy R -> L" has the same effect for the right
channel. Activate both options so that the left and right channels are swapped.

Center channel damping (panning law): In order to balance volume fluctuations while
panning (particularly for automation), it is common to additionally dampen the track volume
at the center position, while no additional damping occurs if the pan controller is moved to
the left or right limit. The value should be selected according to the audio material. Here are
some common values:

0 dB: This setting is recommended for stereo material. No damping occurs at the center
position, i.e. if panned to the right, the right channel volume remains the same, if panned to
the left the left channel remains unchanged. The audio material is not changed if set to the
center position. The volume may be perceived slightly louder if the signal is mono.

-6 dB: This setting may be used to automate mono tracks. In the middle, the volume of the
right and left channels will be halved.

Common setting for automating stereo signals are -3dB or -4.5 dB.

The panning law settings can be applied to all tracks by activating "All tracks".

Phase: Inverts the phases of the individual channels. However, the switch in the mixer or
track editor always switches both channels.

2-channel Surround mode:

Detailed information about this option is available in the chapter "Surround sound -> 2-
channel Surround mode (view page 234)".

The individual parameters are processed in the following order:

Copy L-R -> Stereo width -> Phase invert -> Panning/panning law
 ST EREO EDITOR 223

MS-Processing
"MS" stands for "Middle/Side" and describes the process by which the channels are
separated not into left and right, but into middle ("M") and side ("S").

MS recordings
With MS microphone setups files will be received after recording with separate middle and
side parts, rather than a left and right channel. With the stereo panorama dialog's presets
provided you can edit MS recordings (here we assume that these are available as a stereo
file with M left and S right).

MS processing of mono original material

To extract the correct stereo picture from an MS file, duplicate the output material and save
it as a new track. For the first track, select the "Left channel only" preset. This results in
the M signal being played in mono only. On the second track, use the preset Side signal
(Stereo) (from M/S source) to only play the side signal in stereo, i.e, left +side and right -
side. Both tracks can be mixed together each at 0 dB

MS processing of stereo original material

Another requirement is the independent editing of mids and side parts even if the output
material is available in stereo format. To do this duplicate the output material and save it as
a new track.

"Mono (get mid signal from stereo source)" extracts the mid part from the output
material as the first track, while "Side signal (Stereo) (from stereo source)" extracts the
side part in stereo as the second track. Here you can subsequently mix both tracks each
with 0dB.

Advanced MS processingIn Samplitude there are additional options for processing stereo
signals in mono tracks.

Mono (get mid signal from stereo source): In this case, only the mid component of the
stereo signal is used in the mono track.
Left channel only: In this case, use only the left component of the stereo signal used in
the mono track.
Right channel only: Use only the right component of the stereo signal used in the mono
track.
Side signal (mono) from stereo source: Use only the mono side component of the stereo
signal used in the mono track. This way, you can apply all subsequent object and track
effects to the side part as mono parts.
Side signal (mono) from stereo source: Use only the mono side component of the stereo
signal used in the mono track. This way, you can apply all subsequent object and track
effects to the side part as mono parts.
Convert side signal (mono) to stereo: Converts the mono side component to stereo.
224 SURROUND SOUND

Surround Sound
Samplitude offers several possibilities for mixing audio material in various multi-channel
formats.

One of the pre-requirements is the use of a mixer configured with a Surround Master
corresponding to the target format. So-called target formats are 5.0 ITU, 5.1 ITU, or 7.1
SDDS (for example).

In "Project Surround Setup" (File > Project Properties > Mixer Setup > Surround Master >
Setup) you can route the channels of the Surround Master to any playback devices you
like. The audio material of the tracks in an arrangement may be distributed across the
existing Surround buses by right clicking the "Pan" button in the track.

Objects can also be routed directly to the Surround Master and distributed in the Surround
Panorama irrespective of the track they are assigned to.

The Surround Panorama module provides four different modes for sorting the signal into
the Surround panorama. Various surround effects are provided in the Mixer for mixing in
multi-channel format.

Samplitude also offers 2-channel surround, which can be used for stereo projects and is
based on "Dolby Surround ProLogic". A regular stereo audio card and Dolby Surround
ProLogic compatible receiver/amplifier are sufficient for working with 2-channel surround.

Adding a new project with a Surround mixer

Create a Surround project via "File -> New Virtual Project
(VIP)"
Select "Mixer setup -> Surround" via "Setup for new project (VIP)". Select the desired
format under "Surround setup" (e.g. 5.1 ITU).
 SURROUND SOUND 225

Besides the audio track's channels, the mixer in the new VIP now also contains the
Surround master in the selected format (e.g. 5.1 ITU L, R, C, LFE, Ls, Rs). All mixer
channels for the corresponding project tracks are automatically routed to the Surround
master. The mixer's stereo master will be hidden initially, but it may be displayed by clicking
the "Master" button in the mixer. The individual mixer channels may be routed to either the
Surround master or the stereo master.

Converting an existing stereo VIP into a VIP with mixer in

surround format
In the mixer of an existing VIP click on the mixer "Preset" selection button at the bottom
right corner under the "Setup" and select "Surround". The "Project Surround setup" opens
to select the preferred Surround format (for example 5.1 ITU).

Project Surround setup

Setting the physical output of the surround buses
The "Project Surround setup" dialog opens by clicking the audio device button in the
Surround master on the mixer or on the "Setup…" button in the "Surround panorama
module" or by selecting the "Setup" button in the master section of the "Project mixer
setup" dialog.

The Surround format for the mix is set in the "Project Surround setup" window. You can
access various presets (e.g. 5.1, ITU, DD, DTC...) or edit and save your own formats. The
filter settings for the LFE channel are also set here.
226 SURROUND SOUND

Presets
Previously added Surround formats may be accessed and new formats may be saved
here. A preset features the Surround buses, their name as an abbreviation, the sequence,
and the position coordinates of the speaker. When loading a preset, the playback device
settings will feature the default values set for the preset.

Get default
Pressing the buttons loads the default configuration of the playback devices belonging to
the currently active preset.

Set default
The current assignment of the Surround buses to the playback devices is saved as a
configuration of the currently active preset by pressing this button. This configuration will be
loaded whenever the preset is accessed.

Audio device settings via load/save

Activating this option saves the current playback device configuration during playback,
independent of the default configuration in the setup.

Channel configuration
Name: This determines the name of the individual Surround buses. The abbreviation used
in the "abbreviation" column is generated from this description. The first letters or
subsequent upper case letters of the words are used for the abbreviation.

Left = L
Left Surround = Ls
LFE = LFE

This abbreviation is used in the Surround panorama module and for labeling the
corresponding mixer channels. During Surround trackbouncing, the abbreviation is
automatically added to file name of the wave files being created.

Example: The file name "Mastermix" is selected when bouncing a 5.1 Surround mix in 6
mono files. The following wave files will be generated: "Mastermix_L.wav",
"Mastermix_R.wav", "Mastermix_LFE.wav".

Median/frontal: These columns describe the position of the respective speaker in relation
to the median and frontal levels.

Position X/position Y: This describes the precise position of the speaker in a system of
coordinates. This may be edited by entering the value manually. The settings refer
exclusively to the speaker positioning in "Sound field" mode.

Audio device: Assignment of a physical output on an existing sound card for the
respective Surround bus. A default device setting may be saved for each Surround preset;
see "Get/set default".
 SURROUND SOUND 227

Lock channel position

If this is selected, the position of the loudspeakers cannot be changed using the mouse in
the Surround panning module. This function is always initially activated and should only be
switched off in special cases (e.g. variable speaker positioning).

Up arrow/down arrow buttons

If a line has been selected in the configuration table (corresponds to a Surround channel),
this line may be moved up or down within the table.

The order of the Surround channels in this table determines the order for display of the
mixer, Surround panorama module (e.g. peak meter), and the Surround effects windows.

LFE settings
You can activate a filter for the LFE channel in "Project Surround setup". Select between a
4-band filter (default setting) and an FFT filter. These filters can be edited by clicking on
"Edit".

Cut-off frequency: Determines the cut-off frequency for the low-pass filter.

Dampening: The dampening of the filter above the cut-off frequency is set to 12
dB/octave for the 4-band filter.

Edit: Opens a window to edit the filter settings.

Surround panning
Now that the basic settings have been made, proceed to the actual mixing. There are two
methods for mixing audio material displayed in the VIP window into the Surround master:

Track-based Surround panning

Each audio track in the arranger may be assigned to a position in the Surround panorama
module via the Surround panorama module of the corresponding channel strip of the
mixer. All objects on this track are thereby positioned in Surround panorama at this point.

Object-based Surround panning

Each object may be routed directly to the Surround master or another Surround submix
bus via the object editor. The object editor for the current object is opened by double
clicking it, and in "Pan/mute/invert", the "Output..." button is set to "Sur master". The
corresponding Surround panorama module opens for this to set the desired positioning.
Later corrections to the panorama setting may be made at any time via the "Object editor -
> Pan/mute/invert -> Surround send -> Edit".

"Stereo" in the "Output" selection indicates routing of the object to the VIP track and the
corresponding mixer channel, i.e. track-based Surround panning (basic setting). "Surround
master" indicates direct routing of the object to the Surround bus, i.e. object-based
Surround panning.
228 SURROUND SOUND

Object-based surround panning is identified in the VIP object display by the "Sur" extension
to the object name.

Note: Object-orientated Surround panning will not route the audio signal through the
channel strip of the corresponding mixer track. All settings made here (AUX send, EQ, etc.)
have no effect on this object.

For most applications, an object should be mixed to the Surround bus either via track-
based or object-orientated Surround panning. However, by pressing the "Ctrl" key while
selecting the output, you can select "Stereo" and "Sur bus" together.

Surround panorama module

The panning of a track or object within the Surround bus is set and edited via the Surround
panorama module.

There are several options for opening the Surround panorama module for track-based
Surround panning:

 right click the Surround pan display for the corresponding mixer channel strip or
 right click the pan button or fader for the corresponding track in the VIP or
 right click the track information to open the track menu to choose "Pan/Surround
editor..." or
 Select the required track in the VIP and choose "Pan/Surround editor..." from the
"Track" menu.

The Surround format and the track currently being edited are displayed in the title bar.
Example: "Surround panorama module: 5_1 ITU - track 4"

To open the Surround panorama module for object based Surround panning, double click
the corresponding object:

Open "Object editor -> Pan/mute/invert -> Surround send -> Edit".

The Surround mode for the object currently being edited is displayed in the title bar of the
Surround panorama module.

Display elements
A two-channel input meter is located on the left of the stereo track area in Samplitude.
Both scales display the mono signal of the mono input signals.

The level meters of the Surround master's channels are on the right side. Only the levels of
the material currently being edited in the Surround panorama module are displayed.

The loudspeaker channels of the Surround setup are displayed as blue dots in the main
panorama window. Their position within the Surround panorama field depends on the
selected mode. Muted channels are marked with a gray dot. A red dot marks the sound
 SURROUND SOUND 229

source that is to be positioned within the Surround panorama. Depending on the "Pan L/R"
settings, these may also be displayed as two dots.

A two-channel input meter is located on the left of the stereo track area in Samplitude.
Both scales display the mono signal of the mono input signals.

The level meters of the Surround master's channels are on the right side. Only the levels of
the material currently being edited in the Surround panorama module are displayed.

The loudspeaker channels of the Surround setup are displayed as blue dots in the main
panorama window. Their position within the Surround panorama field depends on the
selected mode. Muted channels are marked with a gray dot. A red dot marks the sound
source that is to be positioned within the Surround panorama. Depending on the "Pan L/R"
settings, these may also be displayed as two dots.

Activating the options below the main panorama dialog display the following information:

Name: The loudspeakers are described using the abbreviations specified in the "Project
Surround setup" window.

Volume: Level information is displayed for each loudspeaker. This displays the value of the
signal share that is passed on to this bus by the sound source. In stereo modes, the sum
of the levels of both sources is always displayed. Holding the "Shift" key and clicking on a
source can briefly display the value of a single source only.

Sound field: The meaning of this display depends on the module used by the Surround
panorama module.

Channel: Mutes or changes the level of the bus outputs of the Surround panorama module
to the Surround buses. Deactivates bus outputs/speakers are displayed as gray dots in the
panorama field.

LFE: Level share of the signal that is reproduced via the LFE channel.

LFE only: The source is routed only to the LFE channel.

Center: This parameter controls the portion at the center for assignment of the sound
source to the front channels. In certain areas (e.g. film sound), it is normal to reserve center
230 SURROUND SOUND

channel dialogs and mix music and sound in the center. A signal placed directly in the
center is played back in 5.1 format only in the center if center = 100%; at 0%, this is only a
phantom sound source that is output by the channels L and R. This parameter is often
referred to as "divergence".

Pan L/R: Mono and stereo sources may be positioned via the Surround panorama
module. The "Pan L/R" function determines how the mono and stereo signals are be
positioned. A distinction must be made between the types of signal. For more information,
please read the chapter entitled "Stereo and mono signal processing in Surround projects".

Panorama modes in the Surround panorama module

Panning in the surround panorama module can be carried out in different modes. This
makes editing of different panning processes easier. Stationary sources of sound can be
positioned in the surround panorama, and you can also design the most diverse
movements of sound sources.

Note: The different panorama modes work according to different background principles.
Changing to a different mode can therefore partly change the acoustic location of the
sound source. Exception: The precise level ratios are adopted when changing to matrix
mode.

The size of the “Surround panorama module” is scalable. Under certain circumstances
some settings can be made more precisely if the screen display is set to a higher
resolution.

In all modes (exception: "Matrix" mode) the source of sound (red dot) is moved to the
required position in the panorama. The x and y positions can also be changed by entering
the value into the corresponding number box, vertically dragging the mouse pointer over
the active number field or by using the mouse wheel.

The movements of the sound source can be coordinated and restricted holding down the
following keys and moving the mouse pointer:

X + Mouse movement: Only position changes that are parallel to the x-axis are possible.

Result: L -> R movement

Y + Mouse movement or Z + Mouse movement: Only y-axis movements are possible.

Result: Front -> Rear movement

C + Mouse movement: The distance of the sound source to position 0 (x=0, y=0) remains
the same. The result is a circuit.

Result: circular movement

 SURROUND SOUND 231

A + Mouse movement: The sound source can only be moved with constant angle. A line
running from the initial position of the sound source through point 0 of the system of
coordinates determines the movements.

Result: Diagonal movement with consistent angles.

Sound field mode

In "Sound field" mode, the input signal is displayed as a concentric sound field. Each red
line corresponds with a 3dB drop in the sound field level. The loudspeakers are positioned
so that the distance from a single speaker to a neighboring speaker remains constant. This
positioning permits a uniform distribution of the sound source across all channels. Level
ratios develop between the channels that cannot be achieved in other modes.

Example of use: Very accurate localization, particularly for movements

Con: Level conflicts, e.g. movements in a constant direction ("Angle" mode is more suitable
for this)

Width: Influences the sound field width of the loudspeakers

Sound field characteristic (pan setup): This adjusts the character of the sound field.
"Invers. logar." produces a quick drop of the sound field and short fades between
loudspeakers. "Logarithmic" provides a slow reduction of the sound field and longer
transitions between speakers.
232 SURROUND SOUND

Panning law mode

 This mode operates with a display of the Surround panorama as known from many
digital mixers.
 The positions of the loudspeakers are displayed at the outer borders of the usable
panorama. By clicking the "Sound field" option, you can visually display the graphical
levels displayed across the Surround buses. The level distribution between two adjacent
loudspeakers is performed according to the -3dB law, which causes both speakers to
emit a sound source of -3dB at the exact center location.

Example of use: Simple static 2-dimensional panning, rough localization.

Con: No precise localization, not suitable for dynamic panning (automation).

Pan law: The value of -3dB is changed with this setting.

 SURROUND SOUND 233

Angle mode
A sound field is displayed which extends from from the center of the circle. The sound
source is located on the central axis of this sound field. The loudspeakers are aligned in a
circle. The level shares of a sound source that are routed to one channel are determined by
the angle ratio between the sound source and the loudspeaker, as well as the aperture
angle of the sound field. If the angle of the sound source and the channel correspond with
each other (i.e. the middle axis of the sound field is pointing directly at the speaker: angle
difference = 0), the level of this channel will be the highest. If the angle difference increases,
the level of this channel continuously decreases.

Example of use: Good localization of direction of movements (e.g. airplane passing, etc.)

Con: Not suitable for distance panning.

Width: Determines the size of the sound field aperture angle.

Sound field character (pan setup): You can adjust the character of the sound field.
"Inverse logarithmic" creates a larger aperture angle and shorter transitions between the
speakers. "Logarithmic" produces a smaller aperature angle and longer transitions between
the speakers.

Maximum sum output level constant (pan setup): If this function is active, the total level
of all channel outputs of the Surround panorama module will not exceed this value. If this
setting is activated in "Angle" mode, level drops in the sound field connected with larger
aperture angles will be avoided.
234 SURROUND SOUND

Matrix mode
The level of the input signal sent to the individual surround buses may be entered directly in
"Matrix" mode. Entering the values manually by double clicking the numeric field.

Dragging the mouse over the level bars while holding the left mouse button also changes
the value. Fine tuning is possible by additionally holding the "Shift" key down.

Example of use: Analytical tasks like routing after track bouncing or simultaneous
distribution of a signal over several Surround channels. Distribution over 3-dimensional
alignments, e.g. 2+2+2 setup.

Con: No automation possible.

Unlike other modes, the "Pan L/R" settings in "Matrix" mode mean:

Pan L/R mono: The levels of the left and right input signals are applied equally.

Pan L/R stereo: Controls the levels of the left and right input signals individually.

The remaining "Pan L/R" settings do not apply. No reflection sources will result.
 SURROUND SOUND 235

2-channel Surround mode

Two-channel Surround is a method for adding additional room features to a normal stereo
signal. No additional audio channels are required. The result is also a stereo format
including additional Surround information ("encoded").

Using a Dolby ProLogic-compatible amplifier system (also referred to as Dolby Surround),

additional Surround information may be decoded and played back via 4-5 speakers. In
addition to the stereo speakers, there are then one or two additional (rear) Surround
speakers and an additional center speaker.

Dolby Surround ProLogic only supports one rear channel. If two rear speakers are present,
the same signal will be played back on both speakers.

The signal remains fully downward compatible with stereo playback; it may be played on
any system not featuring Dolby Surround.

From a technical viewpoint, the output signal is a regular stereo signal. No additional output
devices are required and, consequently, nor are Surround buses/Surround masters.

Samplitude is able to work simultaneously with 2-channel Surround tracks and

stereo/mono tracks. The left and right signals of conventional tracks are played back in the
Surround mix via the L and R speakers, the center channel is fed the mono signal (R+L).
For each track, the 2-channel Surround may be activated via the track info dialog or as a
parameter in the track settings.

The Surround panning module may be opened by right clicking the pan controller in the
mixer window or by right clicking the "Pan" button in the VIP. You may also click the
Surround control box in the mixer window (only visible if "Surround" mode is active).

Now select the position of the sound source within the Surround space by placing the red
circle at the desired position with the mouse. In "2-channel Surround" mode, the
automation functions available in the other Surround panorama modes are also available.
236 SURROUND SOUND

Pan setup
The "Pan setup" window allows you to make further changes to the Surround panorama
module. Open this window by clicking "Pan setup" in the Surround panorama module or by
right clicking the sound source.

Sound field offset (dB): The set offset is included for sound sources that are directly
positioned and routed to a single Surround channel/speaker. For example, signals traveling
from directly routed positions to panning between individual channels may be
compensated if they are too strong.

Sound field characteristic (only available in the Surround panorama module in "Sound
field" or "Angle" mode): This parameter is described in the section covering "Sound field"
and "Angle" modes.

Maximum sum output level constant (pan setup): If this function is selected, the
maximum level of all channel outputs of the Surround panorama will not exceed the set
value. This function is especially useful in case of automation and if sources are intended to
move throughout the room. Unintentional fluctuations of the max level may therefore be
compensated as positions change.

Link all tracks: Changes in the following settings within the Surround panorama module
are always transferred to all tracks of the VIP: sound field offset, level drop characteristics,
output volume sum constant, center, pan-law/width, LFE level and settings, channel
settings such as level changes or mute.

Copy settings to all tracks: The settings made in this Sound panorama module (sound
field offset, level drop characteristics, output volume sum constant, center, pan-law/width,
LFE level and settings, channel settings such as level changes or mute) are copied to all
other tracks once.
 SURROUND SOUND 237

Surround presets
Frequently used settings may also be saved as presets in the Surround panorama module.
The pan L/R mode and settings are also saved besides the position of the sound source.

Use "Load preset" to load previously saved presets.

Stereo and mono signal processing in surround projects

Mono (pan L/R settings): The following applies to stereo signals: a mono sum will be
created using the left and right signals. This is positioned as a single mono sound source in
the panorama.

The following applies to mono signals: this signal is positioned as a single mono sound
source in the panorama.

X-sym (setting pan L/R): The following applies to stereo signals: the left and right
channels are symmetrically aligned to the x-axis. For example, this allows you to pan a
stereo signal to front L/Ls.

The following applies to mono signals: a second (mono) mirrored sound source of this
signal is positioned in addition to the original mono source.

The x-axis is the mirror axis.

Y-sym: The following applies to stereo signals: the left and right channels are symmetrically
aligned to the y-axis. For example, this allows you to pan a stereo signal to front L/R.

The following applies to mono signals: a second (mono) mirrored sound source of this
signal is positioned in addition to the original mono source. The y-axis is the mirror axis.

XY-sym: The following applies to stereo signals: the left and right channels are
symmetrically aligned to the x and y axes. For example, this enables you to pan a stereo
signal to front L/Surround R.

The following applies to mono signals: a second (mono) mirrored sound source of this
signal is positioned in addition to the original mono source. This mirrors the original source
along the x and y axes.

Parallel: The following applies to stereo signals: the left and right channels are kept in
constant distance from each other and are moved in parallel. The distance between the
two sound sources may be changed by holding down "Ctrl".

The following applies to mono signals: the original and mirrored sound sources are kept at
a constant distance from each other and are moved in parallel. The distance between the
two sound sources may be changed by holding "Ctrl".

Stereo thru: For stereo signals, depending on the position of the sound source, the same
level ratios are reproduced on different channels. However, only the left signal is used for all
238 SURROUND SOUND

left channels, and only the right signal for all right channels, and the mono share for the
center and LFE channels.

The following applies to mono signals: no special function, identical with "Mono" mode.

The sum of the levels of both sources is always displayed under each loudspeaker in any
mirror mode (if display options are active). Holding the "Shift" key and clicking a source
briefly displays the value of the individual sources.

Alternating between stereo and Surround formats

Each channel strip of the mixer may be routed either to the Surround master or to the
stereo master. Simultaneous routing is not possible. However, you can use mixer
snapshots to mix stereo and Surround more or less at the same time.

For example, first set a Surround mix. This may be saved in the mixer as a snapshot. All
panorama settings, filters, etc. are saved.

The "Stereo" preset is then selected in the mixer. All mixer channels are thereby routed to
the stereo master. If the stereo master fades out in the mixer, it is faded back in after
clicking the "Master" button again. All required settings for the stereo mixer may now be
set again. This is then also saved as a snapshot.

You may now alternate between the stereo and Surround mixes by switching between the
two snapshots.

Both mixtures may be saved with the "Trackbouncing" function as a new wave files (*.wav).
Trackbouncing is done separately for each mix, and the respective mixer snapshot (stereo
or Surround) must be accessed for this.

Automating the Surround panorama module

Panning movements on tracks set to Surround panning may be automated. To do this, first
activate the automation in the Surround panorama module.

Pressing the pan button for the corresponding track in the VIP window can also do this. If
the sound source is now moved during playback, this movement is recorded and displayed
as a curve in the VIP. This curve may now be edited in the VIP using "Panorama mouse"
mode.
 SURROUND SOUND 239

Drawing Surround automation curves

To use this automation mode, you must first select the range in the VIP where you would
like to add the change. Draw mode is now activated in the Surround panorama module.
You may now draw any movement for the sound source in the Surround panorama. This
sequence is then applied in the previously selected time span when playing back the VIP
the next time. This curve may be edited after in the VIP by using the mouse in "Curve edit"
mode.

Effects in Surround projects

Difference between stereo and Surround effects
The following Surround effects are available for Surround buses:

 Dynamics
 Multiband dynamics
 Advanced dynamics
 Room simulator
 FFT filter
 De-hisser
 Vocoder

Effects may only process up to 6 channels in parallel instead of only two (stereo) when
working with Surround.

You may define the number of channels by grouping.

Accessing Surround effects

Surround effects may be used in Surround buses (including the Surround master) and in
Surround AUX buses.

Grouping mechanism for Surround FX, Surround control

group
Grouping and ungrouping: Hold the "Ctrl" key while clicking the channels in the output's
mixer for the channels routed to "Sur mast" that you want grouped together or removed
from a group.

Add effects to Surround bus (Surround FX): If Surround channels have been grouped,
all of the channels in the group will be processed using a single instance of the effect, i.e.
the parameters affect all channels in the group equally.

Surround control group The Surround channel buttons are located in the Surround
control group that appears with the Surround-capable effects below the effects dialog.

Grouping effects:

 The parameters entered in the effects window affect all channels of the active group (as
they would affect two stereo channels in "Stereo" mode).
240 SURROUND SOUND

 If presets are loaded into the presets window, the parameters affect all Surround
channels of the group activated in the window but not the Surround channels of other
groups.
 For dynamic effects (including the multiband dynamics module), the control signals are
generated using all channels of the group (just as they would be generated from the two
stereo channels in "Stereo" mode).

Editing Surround sound automation

Automation recording in the Surround sound dialog
When recording an automation, the source signal may be moved to any position in a room.
Samplitude records this movement during playback or recording and creates automated
events on the corresponding curve in the VIP track.

To change the start position of a reverb source, start the recording process of the
automation by clicking and holding the desired position of the reverb source in the
Surround panorama module right after playback starts. The source signal position will be
automatically registered and the resulting movements will be recorded by Samplitude.
Samplitude indicates that recording is in progress with a red "Record" indicator in the
window.

Draw mode in the Surround panning dialog

In order to prepare to drawing and move Surround sound as the source signal, a range in
the VIP track where the automation will take place must be selected first. "Draw" mode
must also be activated in the Surround panning window. Now you can move the source
signal to a new position in the panning window. Samplitude creates automation events
automatically to generate this movement for the automation curve.

Drawing automation curves in the VIP track

Samplitude allows you to draw new Surround sound automation curves in a VIP track or
alter existing alter existing ones. Ensure that the "Pan" of the respective VIP track is
activated. The "Automation on" feature may also be selected in the Surround panning
window. "Panorama draw" mode must then be selected in the tools menu. Use this to
draw new curve events in the VIP track. Position the mouse pointer close to an existing
curve and click the left mouse button. While the key is held down, record new events for
this curve.

Surround bouncing
Surround track bouncing allows you to automatically record complex sound mixes to a
new wave file. The outputs of the individual surround buses are used as a recording signal.
 SURROUND SOUND 241

The dialog "Trackbouncing (internal mixdown)" opens via "Tools".

Surround Bouncing provides selection between creating a wave file or an MP3 files.

An interleaved file may also be created:

RIFF64 (also known as RF64) is a format for combining individual channels into a Surround
sound production (e.g. for 5.1) as an interleaved file.

The remaining settings may be selected during regular trackbouncing (view page 456). The
abbreviations for individual Surround buses set in the "Surround audio devices" will be
added at the end of the selected names of files to be recorded.

Example: The file name "Mastermix" is selected when bouncing a 5.1 Surround mix in 6
mono files. The following wave files are generated: "Mastermix_L.wav",
"Mastermix_R.wav", "Mastermix_LFE.wav". The following combinations are output as
stereo files: "Mastermix_LR.wav"; "Mastermix_LsRs.wav"; "Mastermix_CLFE.wav", and
"Mastermix_CLFE.wav".
242 MIDI IN SAMPLITUDE

MIDI in Samplitude
MIDI setup
All global MIDI settings are provided in the system dialog (shortcut: "Y") under "System
options -> MIDI".

Please read "System settings -> MIDI settings" (view page 31) for more.

Import, record, edit

Recording MIDI tracks
For MIDI recording and MIDI recording modes, please read "Samplitude Quickstart -> MIDI
recording (view page 88)".

Importing MIDI data

Existing MIDI files may be imported into a Samplitude VIP project as objects.

Menu: File -> Import -> Load MIDI file…

Shortcut: Shift + M
Mouse: Drag & drop from file browser or Windows Explorer

Set the playback cursor to the position at which the MIDI file should be inserted.

When importing MIDI files, note that only type 0 and 1 standard MIDI files (SMF) are
compatible with the import function. This corresponds with tracks featuring format 0 and
multiple tracks featuring format 1. Each file should feature the file extension .MID in
order to be detected as a valid import format.
 MIDI IN SAMPLITUDE 243

The following dialog is displayed automatically:

Standard MIDI files often also contain tempo information. Samplitude displays this
information in BPM (beats per minute) in a separate section of the dialog. At this stage of
importing, select whether to adjust the virtual project tempo to the tempo of the
imported MIDI file or not. Place a check next to "Use MIDI-BPM in VIP" to do so.

If the option "All MIDI channels in one VIP track" is selected, Samplitude inserts the MIDI
object into the currently selected track in the virtual project. The MIDI object that is
created contains all the tracks of the MIDI file.

To provide a separate track in the virtual project for each MIDI channel of a standard MIDI
file (format 1), select the option "All MIDI channels in a new VIP track".

Samplitude also offers the option "Create new track" for multi-track import of MIDI files.
If this function is not selected, existing tracks will be used for importing.
244 MIDI IN SAMPLITUDE

Editing MIDI objects

Editing MIDI objects in Samplitude follows the same principle as editing audio objects: MIDI
objects can be copied, split and trimmed, have fade handles for fading in or out, and a
volume handle that scales the MIDI velocity.

Freeze MIDI object ("Object > Freeze objects (view page 563)") causes each selected
object to be rendered as a new wave file. The original MIDI objects are replaced in the
arranger by audio objects.

Note:Make sure to check that the your MIDI receiver's audio return signal (VST of ReWire
instrument) is routed to the MIDI track.

Freezing is advantageous if a very system-intensive real-time plug-in is activated. The

original object always remains preserved and may be re-edited using the "Edit object
freeze" function or put back into the arranger via "Unfreeze objects".

MIDI objects can also be edited using the MIDI object editor as well as in the different MIDI
editors such as the Matrix editor, the drum editor, the controller editor, the event list and
the note editor.

MIDI object editor

Object: Object editor
Shortcut: 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 MIDI object can contain events in up to 16 channels. For example, it's
possible to control a multi-output VST instrument using a single object on several MIDI
channels. Notes in the corresponding MIDI editor can be edited simultaneously or only in
one selected channel within this object.

If there is only one channel in the MIDI object, settings will only be available for this MIDI
channel.

You can also use the MIDI object editor to quantize MIDI files into MIDI objects.
 MIDI IN SAMPLITUDE 245

Note: These settings influence the MIDI object in real time and not destructively, making
the changes invisible in the MIDI matrix or drum editor.

Important functions and settings in the MIDI object editor:

Velocity: The velocity fader works comparably to the volume fader in the wave object
editor.

Normally, every MIDI note contains a velocity value which determines how "hard" the note
will be played back. Changing the velocity value in the object editor scales the volume of
the notes in the MIDI object to their physical maximum or minimal value (0 or 127),
calculating it together with the actual velocity note value. Changing the fader is identical to
changing the top-center handle of the MIDI object in the VIP track.

MIDI real time effects: Here you'll find the settings for a MIDI channel:

MIDI OUT channel: Here you can redirect the MIDI files of a channel to another channel.

Program: : The values preset here will always be sent if the object is played back again.
Use these settings if various objects in a MIDI track should use different programs of a
sound generator.

Bank High/Low: This sets the MIDI Bank Change bytes.

Transp.: This button transports all MIDI notes of the corresponding channel.

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 control via the SysEx files.

Position: Here you can specify the object start / position, object length, object end and
step size. 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 tick the checkbox here, then you will set the MIDI object to "Loop" mode.
Now drag the bottom left object handle to the left 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 this may also be edited.

In the square field to the side you can select the object color.
246 MIDI IN SAMPLITUDE

Using the arrow keys you can "jump" up or down to the object of a neighboring track.

Use the double arrow buttons to jump to the previous or next object. If multiple objects
are selected, these buttons will not be active.

If the "To all" option is active all selected objects are updated when the object editor is
opened. All recently applied settings that have been made in a selected object, will be
applied to all other selected objects.

Note:

In an 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 (Shortcut: space bar).

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" (view page 549). 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 buses and AUX paths are also observed at
playback.

Mute: This button mutes the selected object. You can also mute the left and right channels
individually too.

Commentary: You can type comments relevant to the selected object in this field.
 MIDI EDITORS 247

MIDI Editors
Open MIDI Editor
The MIDI Editor is opened by double-clicking on a MIDI object in the project. You can also
start the MIDI Editor for all selected MIDI objects by selecting "Object > MIDI Editor ..." in
the menu or by clicking on the "MIDI Editor" button.

In case you open the MIDI Editor in the Docking bay (view page 50) there is the option use
the toolbar by right clicking in a free range.

Once opened it displays the MIDI files starting from the currently active position over the
length of the object or within the selected range.

The MIDI editor always shows the current MIDI object and the current arranger track from
which this object originates. In the field to the right you should see the MIDI out or the plug-
in activated for this track.

If no MIDI Object is selected, a window appears which lets you create an Object at the
playback position. You can then choose between a menu of pre-defined MIDI templates
from within the Samplitude “Templates” sub-folder.
248 MIDI EDITORS

Now you can draw in events into the MIDI editor (view page 250) or record notes via your
MIDI keyboard.

Detailed information about MIDI recording is provided in the chapter "Samplitude

Quickstart -> MIDI recording (view page 88)".

Working with the MIDI Editor

MIDI data can be edited in the MIDI Editor in five sub areas:

piano roll editor

drum editor

Controller Editor (for example, velocity, MIDI volume…)

Event list

Note editor

Various tools are available for editing, e. g. the pencil or eraser tools. Exact values for each
MIDI event can also be set in the edit fields via the event window.

Fundamentally, changes such as moving or deleting notes, always refer to all selected MIDI
events (red) with just a few exceptions. Changes to the selection in a range always apply to
every other range as well. You can, for example, select a group of notes in the Matrix Editor
 MIDI EDITORS 249

and then change the velocity of these note groups which modifies all selected notes
simultaneously in the Controller Editor.

MIDI editor: Select events, delete events

(Matrix-Editor, Drum-Editor, Controller-Editor, Event list, Note editor)

 Select event: Left click on the event or pull a frame with the left mouse button over the
event
 Add/Remove event to/from selection: "Ctrl" + left click on event or "Ctrl" + pull the frame
over the new event
 Change/Set current event within multiple selection: Left-click on selected event
 Set current event, deselect all other events: Double-click on event
 Selection of events within an area: Left click on the first event, then left click with held-
down Shift key on the last event. Or: Drag a frame over the desired event(s).
 Selection of all notes of a pitch: Double-click on the assigned key on the keyboard
display.
 Select all notes behind click position: Shift + Alt + Double click
 Select all notes: Ctrl + A
 Freehand note drawing and lengthening (back and front): Alt
 Select previous/next note: Left/Right arrow keys
 Delete events: Right mouse click

MIDI editor: Copy/duplicate events

You can copy selected events using "Ctrl + C" and then paste them at any play cursor
position using "Ctrl + V".

Copying and pasting MIDI data is available not only within the MIDI editor, but also
between different MIDI objects. Copied MIDI data is always inserted at the current position
of the play cursor.

Duplicate: Press "Ctrl + D" to copy selected notes and add these to the next snap point
behind the selection. Activate the quantization grid ("MIDI menu -> Quantization grid
active") to do this.

MIDI-Editor: Move events

To move events, move the mouse over the event. The mouse pointer turns into move icon.
Now you can move the event. If you have snap turned on, the events move horizontally
according to the snap quantization values.

To temporarily remove a event from the snap quantization, hold the "Alt" key when moving.

If you only want to move an event horizontally, avoid accidental vertical movements by
simultaneously holding the key "H". The move symbol will turn into a horizontal double
arrow.

If you only want to move an event vertically, avoid accidental horizontal movements by
simultaneously holding the "Shift" key. The move symbol will turn into a vertical double
arrow.
250 MIDI EDITORS

MIDI Editor: Zoom use the scroll wheel

Just like in the project window, you can set the vertical and horizontal picture detail as well
as the zoom factor in the MIDI editor using the scroll wheel:

Scroll wheel: Horizontal scrolling

Shift + Scroll wheel: Vertical zoom
Shift + Ctrl + Scroll wheel: Vertical scrolling
Ctrl + Scroll wheel: Horizontal zoom

You can change the scroll wheel settings at any time by going to "File > Program
Preferences > "Edit Keyboard Shortcuts and Menu (view page 488)".

Synchronized image view in Arranger and MIDI editor:

If you change the horizontal display using the scroll bars, holding the Shift key changes the
corresponding Arranger window.

MIDI editor: mouse mode/toolbar

There are many different editing tools available for event creation and editing within the
MIDI editor. For every tool (except the eraser), editing events functions in the same way as
described above. The tools behave differently only when clicking in free areas. Access the
mouse modes/tools via the MIDI editor's "Mouse modes " menu and via the following
buttons:

Selection (Shortcut: 1)

Lasso: Hold down the mouse button to draw a selection window.

Click in an empty space to remove an existing selection.

Draw notes (Shortcut: 2)

Draw an event by clicking the selected MIDI editor and dragging to the right with the
mouse. The event snaps according to the current snap-quantization values. If the "Alt" key
is held down, then the event may be drawn freely (without the snap function).

Draw drums (Shortcut: 3)

A sequence of notes may be drawn with this tool. The length of the notes and the note
intervals are determined by the current quantization settings. Moving the mouse back (to
the left) while holding down the mouse button removes previously drawn notes.
 MIDI EDITORS 251

Draw pattern (Shortcut: 4)

Select the MIDI events to use for the pattern first, then save this pattern via the keyboard
shortcut "Ctrl + P". Next, draw in a sequence of previously selected patterns with the
"Draw pattern" tool. Moving the mouse back (to the left) while holding down the mouse
button removes previously drawn notes.

Change velocity (Shortcut: 5)

When this tool active, drag the mouse vertically, and the velocity values of the selected
events will be increased or decreased relatively to each other. Holding down "Shift"
changes all velocity values absolutely, i. e. every changed event has the same velocity
value after editing. To recognize velocity of events by their levels, switch on "Velocity" for a
controller slot button in the Controller Editor Range.

Eraser/Delete (Shortcut: 6)

This deletes the MIDI notes by left clicking. If multiple notes are selected beforehand, then
all notes will be deleted. The eraser tool can also be used on specific MIDI notes to delete
them. The eraser is also available to for all other tools (except the magnifying glass) by right
clicking.

Magnifying glass (Shortcut: 7)

Zoom in with the left mouse button to the length display horizontally; use the right mouse
button to zoom back out.

The combination of left mouse button + dragging zooms in on the range. The zoom
mode may be temporarily accessed again by holding the "Z" key at any time. After
releasing the key, the mouse mode is active once more.

Glue notes (Shortcut: 8)

If a MIDI note is clicked on using this tool, then the note will join with the next MIDI note of
the same pitch.

Separate draw notes (Shortcut: 9)

252 MIDI EDITORS

This tool separates a note on the matrix into two notes. The separated note snaps to the
next snap point.

Mute (Shotcut: M)

This mode mutes individual notes or selected groups of notes by clicking/activating them
again. This function is also available as a command in the MIDI editor menu, "MIDI
functions" (Shortcut: "Ctrl + M").

Tips:

 "Shift to pencil": The "Shift" key is now the hotkey for "Draw notes" mode. This does not
apply to the magnifying glass mouse mode, since "Shift" activates the vertical zoom in
this case.
 The keyboard shortcuts to switch the mouse mode/tool can be freely defined via the
MIDI editor menu "Shortcuts -> Edit shortcuts".
 "Delete" mode may be activated anytime by clicking/dragging with the right mouse
button. For instance, use the pencil to insert new notes by left clicking, or remove
already inserted notes by right clicking (without having to change tools).
 No matter what the present mode is, "Draw" mode may be switched on temporarily by
holding down the "Shift" key.
 Notes created in "Draw" mode contain the MIDI channel and velocity specified by the
editing fields below the toolbar.
 Select the preceding/following notes with the left/right arrow keys. Change the pitch of
the selected notes gradually with the up/down arrow keys.
 MIDI EDITORS 253

MIDI editor: Editing fields

Editing selected events (editing fields): The properties of every event in the piano roll,
drum editor, controller, and listen editor can also be edited with the editing fields under the
editing tools. The following buttons are available for each note:

 Channel
 Pitch (byte 1)
 Velocity (byte 2)
 Starting time in bars:beats:ticks
 Length in bars:beats:ticks

The display of the ticks has a resolution of 384 PPQ. 384 ticks correspond to a quarter
note.

Hold the left mouse button in the desired field and drag upwards or downwards to increase
or decrease the value. The value steps are greater if you press "Ctrl".

This value may also be edited numerically with the keyboard. Double click in the editing
field you wish to change and enter the value via the keyboard.

A few special properties result when multi-selecting events:

For the "Pitch" and "Level" parameters, you can change the values relatively by dragging
with the mouse, or by entering the values numerically and then confirming with "Enter". You
can make absolute changes for all selected events by simultaneously holding "Shift" while
dragging with the mouse in the editing field, or by finishing the entry process with "Shift +
Enter".

For the "Time" and "Length" parameters, you can change the values relatively by double
clicking the desired value field and then confirming with the mouse wheel.

Note: MIDI channel changes are always permanent for multiple selections.

MIDI functions
The commands in the MIDI functions menu always refers to all selected notes. If no notes
have been selected, all functions are applied to all notes.

Legato: Notes may be prolonged and played back in bundles.

Shortcut: Ctrl + L

Note Quantize (standard): This command conducts standard quantization of the lengths
of the MIDI notes of all selected MIDI objects according to the MIDI quantize settings.

Shortcut: Ctrl + Q

Extended Quantize:
254 MIDI EDITORS

Start Q: This command quantizes the start positions of the MIDI notes for all selected MIDI
objects according to the MIDI quantize settings. The grid view corresponds to the start
quantization value.

Start and Length Q: This command applies quantization to the start and length of the
MIDI notes of all selected MIDI objects according to the MIDI quantize settings.

Soft Q (quantize approximation): This command includes the current Soft Q level value in
the quantization options.

Q length/quantize MIDI length: This command applies quantization to the lengths of the
MIDI notes of all selected MIDI objects according to the MIDI quantize settings.

Quantize Note Ends to Grid: This command quantizes the ends of the MIDI notes of all
selected MIDI objects according to the MIDI quantize settings.

Reset Quantization: Use this command to reverse all completed quantization steps.

Hint: "Reset quantization" is still possible after saving and loading a VIP. During
quantization, the distance to the next grid position saved together with the note and
recalculated after "Reset quantization" is selected. This way the original groove or phase of
a note can be restored even after displacement or copying.

Quantization settings: Make detailed changes to the quantization settings in this dialog
(see below).

Quantize/Thin out controller: Controller values may be quantized or reduced with this
function.

Humanize: This command considers the current Humanize value in the quantization
options.

Mute notes (mute): Mutes and unmutes notes.

Remove note overlaps (polyphonic): Notes may be shortened to avoid any overlaps.
Chords (simultaneously played notes) are recognized and left uncorrected, i. e. chords are
not split up.

Remove double notes (monophonic overlaps): Notes may be shortened to avoid any
overlaps. This function forces monophonic voice leading.

Transform sustain (CC64) to note lengths: You can transform sustain values of events
into notes lengths and display them in the MIDI editor.

Transpose: Here you can transpose the pitch of selected events into half steps.

MIDI Timestretching: With this function you can make various changes to selected
events, e.g
 MIDI EDITORS 255

 double the tempo

 halve the tempo
 scale to range length.
 manual stretch. This allows you to enter individual values in the Stretch Factor field.

If, when using this command you don't select any notes it is the same as selecting all
notes.

Retrograde (Reverse): With this function you can reverse the playback sequence. The
events move by a further quantization step each time they are reversed again.

This command affects all events inside the specified range i.e. all selected events. If you
have not selected anything, all events will be affected.

Melody Inversion: This function mirrors the selected events in terms of the pitch of the
current note.

If you don't define any particular notes, the mirroring will affect the mid pitch of all notes.
256 MIDI EDITORS

Velocity dynamics
The MIDI velocity dynamics can be accessed as an offline effect via "MIDI editor MIDI
Functions > Velocity dynamics", or as a real-time track effect in the track editor.

"Velocity dynamics" is a MIDI effect that edits the MIDI velocity dynamic of the selected
MIDI notes. It can be used in real time as a track effect during playback and for MIDI-Thru
(button in the MIDI section of the Track editor), and also offline via the corresponding
menus.

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.
 MIDI EDITORS 257

Gain (-128 – +128): The gain controller sets the amplification factor for events after they
have been processed by other parameters

Auto: If this option is activated, the gain parameter will be adjusted automatically to reach a
consistently full overdrive (Velocity 127).

Limit maximum and Limit minimum are used to limit the top and bottom velocity ranges
by entering a minimal or maximum velocity value.

Offline mode

Offline mode makes the Set value button available. 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.
258 MIDI EDITORS

Quantize
Irregularities when recording patterns maybe evened out with quantization. Samplitude
features audio quantization as well as MIDI quantization.

Details about audio quantization are provided in the menu reference "Object > Quantize >
Audio Quantization wizard (view page 550)".

Recorded MIDI events may be set to the exact note start and note length values using MIDI
quantization. Quantization may also be varied with additional parameters like "Soft Q",
"Swing", or "Humanize", which adjust quantized MIDI notes to the musical properties of
each song.

The quantization functions are featured in the MIDI Editor via the "MIDI functions".

The settings for MIDI start and length quantization can be found in the "Menu Object >
Quantize > MIDI Quantize settings" or in the "Grid quantization value" and "Length
quantization" fields of the MIDI editor's toolbar. If in the length quantization values input
field you enter the value # the value will be linked to the respective snap quantization value.

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.

The grid view in the MIDI Editor corresponds to start quantization value. If you also hold
down the "Alt" key, the grid will be disabled temporarily.

Clicking the "Quantize" button at the top right in the MIDI editor quantizes the start
positions of all selected MIDI objects according to the MIDI quantize settings (view page
259). If no notes are selected, then all notes will be quantized.

Shortcut: Ctrl + Q

Right clicking this button opens the dialog for the global grid/quantize options (view page
259).

The command "Extended The command "Extended MIDI quantize (start and length
Q)" applies quantization to the start and length of the MIDI notes of all selected MIDI
objects according to the MIDI quantization options.quantize (start and length Q)"
applies quantization to the start and length of the MIDI notes of all selected MIDI objects
according to the MIDI quantization options.

"Soft Q (approximate quantization)" includes the current soft Q values in the quantization
options.
 MIDI EDITORS 259

Quantize Note Ends to Grid This option may be used to extend the ends of the selected
notes to the next snap point according to the set values.

Reset quantization: This function resets all quantization processes.

Quantization - window view

In this case, the quantization snap grid (Q snap) is displayed graphically, and the Q range
appears gray. Only notes or slices within the Q range will be changed.

The beat names in the quantization grid depend on the beat signature that is set. The blue
lines depict the effective Q snap as well the velocity level (bar height) for groove templates.

Note: The beat signature in the quantization dialog is independent of the tempo map.

Quantization settings
For precise specification of the global grid and quantization options, a separate dialog is
available to you in the menu under "Object > Quantize > MIDI Quantize settings":

This dialog can also be accessed in the MIDI editor via "MIDI functions -> extended
Quantize > Quantize settings" or by right clicking on the "Quantize" button. This dialog
displays the main view depending on the settings in the quantization area and the
respective quantization snap points.
260 MIDI EDITORS

Settings applied here also affect the behavior of the "Input Q (view page 58)" button in the
track editor.

In this case, MIDI quantize settings changed in the VIP are applied as a preset for new
VIPs.

Quantization presets
Here you can select from a number of presets:

 5-tuplet: Quantization occurs in fifths

 Magnetic quantize: The "Q window" value is set to "50", i. e. only 50% of quantization
will be considered. Only events that are within a range of 25% of the grid width left and
right of the grid point will be quantized.
 Swing: The swing parameter is set to "75", i. e. in contrast to the binary rhythm, which
features a "swing" value of "50", inclined/un-highlighted counting times will be set to
delay. This results in a swing feeling
 Triplets: Quantization occurs in triplets
 16th offbeat: The quantization grid's timing is moved back a 16th note
 8th offbeat: The quantization grid's timing is moved back an 8th note
 "New groove" and "More life for hi-hat" provide groove templates

Of course you can create and save your own settings as presets.

Q grid/Q length
Both fields for "Q snap" and "Q length" match the fields in the MIDI editor's toolbar. The
settings for grid and length quantization are also located here. The value "#" in the length
parameter couples the length quantization value to the respective snap quantization value
that has been set.

Tuplets (8th, 5th, 7th)

The Q grid also provides n-tuplet quantization values (for thirds, fifths, and sevenths). For
example, if 7 is entered, the grid will be adjusted for septuplets. The count will be divided
into 7 subsections for quantization. A thirds snap is indicated by a "T" behind the number.

Groove template
You can set a rhythmic pattern on all selected MIDI events or Audio objects with Groove
Templates. Groove Templates adjust the selected range of a recording to a specific
musical grid. So you can bring static MIDI patterns to life, quantize them according with
available audio drum loops or create special metrics like dotted grid values. It is also
possible to make a rhythmic pattern for the MIDI pen. As well as the position the velocity
and note length can be also be changed with the Groove Template (only for MIDI).

A Groove Template enables a freely-definable grid. As a rule it is from one to four beats
long and repeats itself in a loop. The length of the Groove Templates is in principle,
however, freely-definable. You can also create a grid based on a track's bass drum, to
draw a perfectly in-time bass using the MIDI pen. Length and start of the Groove
Templates are continually set to all the beats.
 MIDI EDITORS 261

You can select the grid from the Groove Template selection box, which puts binary, triplet
and dotted note values at your disposal.

If a you have selected a groove template, the "Snap/Quantization value" field of the MIDI
editor will indicate "Grv".

The MIDI editor may be used to create new groove templates yourself by selecting the
MIDI events as the template and then accessing "Edit -> Create groove template from
selection".

This quantizes the Groove Template to entire bar borders. So if you want to create a
Groove Template that is 2 eighths long, choose a 2/8 time signature.

Additional to each note start position both the note length and velocity are saved in the
Groove Template. In the file selection box you can give your Groove Template a name.
Subsequently the Groove Template is immediately active and appears in the grid
quantization list.

Groove velocity (appears only for groove templates): The groove velocity indicates in %
how much the velocity information affects the groove template.

Groove note length (appears only for groove templates): The groove note length
indicates in % how much the note length information affects the groove template.

Note: If a groove template is selected, then the parameters "Swing" and "Offset" will be
deactivated and grayed out.

For audio objects, you can create groove templates by specifying the transients (AQ
markers) for the audio object intended to serve as the template via "Object > Quantize >
Extended audio quantize" and then accessing the "Create Groove Template from
Transients" function. You can also reduce the range in which you want to create Groove
Templates through another active range. Then only the AQ marker within the highlighted
object range will be taken into account.

If you rename the new Groove Template and put it in the "fx-preset/Grooves" program
folder, it will be available in the future in the Groove Template selection box.

Show Grid/Time Signature

Displays the desired beat signature and number of beats. The display window will change
accordingly.

Q Threshold
The parameter "Q threshold" may be used to slightly vary quantization by excluding notes
from quantization that are very close to the next quantization value.
262 MIDI EDITORS

Q Window
"Q window" refers to the interval to the left and right of a grid point; events will be
quantized within this range. No quantization will take place beyond this, and for this reason,
the events outside of this window will remain at their position. The quantization area is
dependent on the values of the parameters "Q snap" and "Q threshold".

Example: Grid: 4 max. Window: 4

 100: The Q range covers the entire area between the grid points on the quantization
grid. All events will be quantized
 50: The Q range covers half of the quantization interval. Events with gaps of ¼ of the
grid width left and right of the grid point (1/16 note values in this example) are quantized
 0: no Q range -> quantization off

Select notes within the Q range

This button activates a display of the selected events that will be quantized for the currently
set Q window size of the quantization range (Q range). The affected events are displayed
with a red outline.

Click in an empty area in the MIDI editor to deselect.

The smaller the window size for the quantization area is, the fewer events will be included in
quantization. The Q range and the graphical velocity display function help, e.g. to assign a
lower velocity to all offbeat notes.

Swing
Set swinging, ternary playing with this value. This enables you to enter the division for an
uneven/unaccented grid points.

 50: "50-50/1:1" split. The unaccented eighths are exactly half way between the even
eighth notes ("even", binary playing method)
 67: "67-33/2:1" tuplets. The beat is split up into three counts, whereby the note is
assigned 2 beats (67%) and the off beat note one count (33%)
 75: "75-25/3:1" split. For example, a pointed eighth and a sixteenth is created from two
eighth notes

Offset
The value range in this parameter stretches from -100 to +100. By changing the offset
values, you move the whole quantization grid. Select a negative value for the offset, and the
quantization grid will be moved by the corresponding value to the left, or forward in time.
On the other hand, if you select a positive offset value, you will set the quantization grid by
the corresponding value to the right, or backwards in time.

A value of -100 corresponds to a shift of half a grid length to the left; +100 corresponds to
a shift of a half a grid length to the right.

Humanize
The "Humanize" parameter creates another variation option, i.e. notes are able to be
assigned according to the randomization principle up to a specific interval to positions
around the exact quantization value. The setting occurs in % of a 16th note. The value
 MIDI EDITORS 263

specified therefore determines the possible interval between the quantized notes and the
exact quantization value.

Soft Q
This value sets the strength or "Soft Q" value of the quantization.

 "100" moves the event precisely to the quantize grid point,

 "50" shifts the event to the middle between the current position and the quantization grid
point,
 "0" means no movement, i.e. quantization off

"Soft Q (quantize approximation)" (in the arranger menu "Object > Quantize > Extended")
considers the current "Soft Q" value in the quantization options in contrast to "Note" and
"Start" quantization.

In contrast, quantization commands "Quantize notes (start and length)" and "Start
quantization" always proceed with 100% strength. This corresponds with a Soft Q setting
of 100.

Note: Use the keyboard shortcut for the approximation of soft quantization and hard
quantization. In this manner, you can always select between approximation soft
quantization and harder quantization without having to switch quantization options every
time.

Standard Quantization
Here you can choose what type of quantization is used as standard after pressing the
"Quantize" button. You have the choice between:

Start Q - Start quantization

Start and Length Q - start and length quantization
Length Q - length quantization
Soft Q - start quantize approximation

The "Apply standard Q" applies quantization according to the selection.

Note: If you give the "Soft Q" parameter a value other than 100, please take care that you
also change the setting to the soft quantization mode. If the corresponding quantization
settings should be considered, you need to set the "Soft Q start" command as the
standard quantization. In contrast, quantization commands "Q start" and "Q start + length"
always proceed with 100% strength (Soft Q).
264 MIDI EDITORS

Undo quantization/reset
With the help of the round arrow buttons, you can undo/redo the last quantization made.
In this case, the counter-clockwise round arrow provides the "Undo quantization" function,
while the clockwise arrow serves as the "Redo quantization" function.

Reset quantization: This function resets all quantization processes.

The "Standard settings" button provides the option of resetting the preset values:

Q threshold: 0
Q window: 100
Swing: 50
Offset: 0
Humanize: 10
Soft Q: 25

Step recording via keyboard or controller keyboard

In the MIDI editor, so-called "Step recording" may also be executed via the computer
keyboard or a MIDI fingerboard. 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 via your keyboard. Note length and step length may be
specified via 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 : Octave entry up/down
CDEFGAH : Note entry in current octave
Shift : Enter chords

Different notes may be entered without the play cursor jumping if you hold down the "Shift"
key. This enables chords to be played.

Of course, notes may also be entered in "Step recording" mode via the controller's
keyboard.
 MIDI EDITORS 265

Cell Edit Mode

This mode may be opened/closed manually by clicking the "Cell" button beside the
horizontal scroll bar. "Cell edit" mode provides an alternative view of the MIDI events:

 Notes are displayed as cells. In this case, the actual note lengths for the individual events
are no longer considered. You may specify a unified display width of all events a lot more
by setting the snap quantization and length quantization values in the MIDI editor's
toolbar.
 The intensity of color of the individual notes increases with velocity strength – for larger
velocity values, the event is displayed in dark blue, and events with little velocity are
highlighted light blue.
 "Cell edit" mode provides a better overview for display of MIDI percussion instruments
(see drum editor (view page 269)), since these often appear as short, explosive events.
Display is limited to the most important information, note starting points, and velocity.

Velocity Mode
If you click the "Vel" button next to the "Cell" button, the view switches to "Velocity"
mode.

In this case, the velocity strength is no longer displayed like before (with different color
intensity of events). "Velocity" mode keeps the events the same color. The respective
velocity may be recognized by the height of the event. The event's velocity may be
changed by dragging the mouse to the upper edge of the respective event. In all mouse
modes (except for "Delete"), the velocity can be changed by directly clicking without having
to switch to the controller editor.

Note: "Edit Shortcuts" in the MIDI editor menu enables the parameter "Event velocity" to
be changed in the MIDI editor via a shortcut assigned by you. The functions "Velocity up"
and "Velocity down" are available.
266 MIDI EDITORS

Matrix Editor (Piano Roll Editor)

For all MIDI objects that show no entry in the "Drum Map" field, you can open the Matrix
Editor with a double click. The button is selected in the MIDI editor if the Matrix Editor is
active.

The Matrix Editor is easy to recognize via the piano icon on the left side of the editor. The
MIDI events displayed are arranged according to their respective pitch.

Note display
Notes which are not selected within the editor are displayed in blue. The intensity of the
colour represents the velocity. The velocity increases while getting darker/stronger in color.

Selected notes are displayed in red. Here too, a more intense color symbolizes increased
velocity

Current event: Selected events appear in bright red with a red border. The properties of
the currently selected events are displayed in the edit fields above the Matrix Editor If an
event is selected with the mouse, it turns into the current event.

Velocity colors: Unselected note (blue), selected notes (red) and current events (red with
border) in the Matrix Editor
 MIDI EDITORS 267

You can also determine the colors of tracks or MIDI channels via the "Options" menu in the
MIDI editor. If no previous track colors have been set, random colors will be assigned for
track color display in the MIDI Editor.

Track color display for MIDI events

In the MIDI channel color display MIDI events are displayed in different colors, based on the
MIDI channel settings.

MIDI channel color display

Display of filtered events: To get a better overview of the events of a MIDI object, you can
filter specific events for the display.

Example: The MIDI object features notes in the MIDI channels 1, 2, and 5. By selecting
both MIDI channels in the MIDI editor menu "Options -> MIDI channel filter", you may
make all notes in channels 2 and 5 available to editing tools. All unselected notes in
channel 1 will be filtered and will be displayed in gray/pale in the Matrix Editor and in the
Event list.

Events in the filtered channels may be hidden completely using the "Hide filtered MIDI
data" in the "Options" menu.

The Event list (view page 277) provides additional display filters that only function within the
list.

Display of muted events: MIDI object settings (view page 244) (shortcut: "Ctrl + O") may
be used to mute notes and filter other MIDI events. Muted events appear paler in the Matrix
Editor and Event list.

Events above and below the current picture section: Two small red rectangles 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.
268 MIDI EDITORS

Matrix Editor: Special selection options

In order to directly select all notes of a certain pitch, double-click on a free section with this
pitch in the Matrix Editor or in the keyboard. Hold down the "Alt" key to select notes with
this pitch from this click position only.

Using the "Shift + double click" key combination on a free area, you can create a new
event and simultaneously select all notes of this pitch.

Note: If you additionally press "Ctrl" during any of these selection methods, the new
selection is added to the current one (i. e. the previous selection is not canceled).

Matrix Editor: Edit events

If you move the mouse over an event the pointer will change depending on which event bar
area the mouse is in. The following options are available:

 Change event start time: drag the event's front edge. The note end remains intact.
 Change event length: drag the event's back edge. The note start remains intact.
 Set fixed event length: for multi-selection, hold "Shift" and drag the currently referenced
event longer or shorter. This function makes all event equal length.
 Scale event length relative: for multi-selection, hold "Ctrl" and drag the currently
referenced event longer or shorter. The lengths of the other selected events change.
 Move events horizontally: move the mouse over an event whilst holding the "H" key. The
mouse pointer will turn into a horizontal double arrow. Move the selected events
horizontally in the timeline. The step size is defined by the set grid value.
 Move events vertically: move the mouse over an event whilst holding the "H" key. The
mouse pointer will turn into a vertical double arrow. Move the selected events vertically in
pitch.
 You can temporarily remove the snap and freely drag the event by holding "Alt".

Relative snap for moving operations ("Options -> Relative movement in grid"): If this
option is active, the interval between events to the next snap position remains for event
moving. This makes preferred implementation of instrument groups easier to rearrange.
 MIDI EDITORS 269

Drum Editor
After opening the MIDI editor (double click on the MIDI object), switch to the corresponding
field

in the Drum Editor. Instead of the piano keys, a list of drum instruments is displayed.

Note:If a drum map is active in the arranger track (recognizable by the word "map" in the
MIDI area of the track editor (view page 58)), the drum editor is loaded automatically when
the drum editor is loaded.

Drum editor track box: In the individual track boxes of the drum editor, you can
individually adjust MIDI channel (K), grid (#), quantization length (L), display width in cell
mode (< >), and the velocity scaling in percent (V) for each drum instrument.

Display width in cell mode: You can determine the display width of the notes of the
current snap in percent with this value. The setting has no effect on playback. At "100" the
displayed note completely fills the cell.
270 MIDI EDITORS

Velocity scaling: The velocity value of each note is multiplied by the V value/100 and
adjusted to the MIDI velocity between 1 and 127. Scaling is audible, but is not visualized
further.

When the drum editor opens cell edit mode (view page 264) activates by default. Here,
moreover you can turn Velocity Mode (view page 265) on.

Mouse modes
The following modes are available for editing events, just like in the piano roll:

Selection mode (shortcut: 1): Use this mode to select drum events, move, or change the
length of one or several events simultaneously.

Draw tool (shortcut: 2): This mode enables you to draw in drum events manually. If the
grid is active, the events will be quantized immediately.

Drum tool (3): This mode also includes a draw function. However, the quantization length
is also included while the events are drawn.

Pattern tool (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
"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. The
lowest note in the pattern is then the pitch you are drawing.

Velocity tool (5): This mode allows you to mark events and change the velocity values of
all selected events in relation to each other. Absolute values are entered when you hold the
"Shift" key, i.e. all changed events receive the same velocity value.

Eraser (6): This tool deletes events with a single mouse click.

Zoom mode/magnifying glass (7): Draw a rectangle. The tool will zoom into the
rectangle. The left mouse button is used to zoom in, the right one is used to zoom out.

Velocity
If this button is active, the bar height is used when displaying the velocity
value of the note.
In all mouse modes (except for "Delete"), the velocity may be changed by clicking directly
on a note without have to switch to the controller editor.
 MIDI EDITORS 271

Drum Maps
A drum map assigns certain qualities to the different drum instruments of a MIDI drum kit.
Besides key assignment for pitch, the export note, the MIDI channel, and the quantization
are defined.

The "General MIDI" map is used by default to distribute drum kits.

You can set the drum map in the drum editor by selecting the "map" field in the desired
drum map. You can also open the drum map under in the track editor under "MIDI".

It may be the case that your synthesizer, VSTi, or the drum computer do not refer to the
GM map, but to a different mapping setup. If this is the case, you will hear a different sound
than you expect when playing the drum events (e.g. a tom drum instead of a bass drum). It
is recommended to create a correct drum map for the current playback device. In this
case, select the command "Create new drum map) and assign the individual instruments to
the corresponding pitch or key assignments of your MIDI keyboard. The quantization
options and MIDI channel options may be defined individually. The newly created drum
map must be saved, and will then appear in the selection menu.

Note: A drum map is already available for the MAGIX Synth ROBOTA PRO. If you embed
ROBOTA into your setup, please select "ROBOTA PRO" as your drum map.
272 MIDI EDITORS

Drum Map Editor

This editor enables you to route each played note to a different one and give them their
own individual names. It's also possible to assign each individual instrument its own
quantization and a new (MIDI) output channel.

Pitch: This parameter indicates the incoming MIDI note. The value cannot be changed, so
the pitch always corresponds to the input note.

Instrument: Name each corresponding percussion instrument here.

Grid: Specify a grid for the start point of the drum events individually for each instrument.
Leave the value set to "Global", and the globally set quantization value in the toolbar will be
adopted.

Length: Specify a grid for each instrument for the length display of drum events. Leave the
value set to "Global", and the globally set quantization value in the toolbar will be adopted.

Output note: Specify the note value each drum instrument or the incoming MIDI note in
the "pitch" field" will be "mapped".

Channel: Specify a defined MIDI channel for each instrument. The value set here disables
the channel setting in the MIDI track.

Note: In addition, you can set detailed quantization settings for each instrument in the
drum map editor using the "Quantization options" button.

Quantization in the Drum Editor

You may also assign individual quantization values to drum instruments. To make the
necessary settings, select the arrow next to the track name of the instrument you want to
edit and open the quantization options.
 MIDI EDITORS 273

Controller Editor
The controller editor is located below the matrix or the drum editor; this may be hidden or
shown via the keyboard shortcut "Alt + V".

ein- und ausgeblendet werden. If you position the mouse below the horizontal scroll bars,
the mouse cursor will turn into a vertical double arrow. Pull it up to enlarge display of the
controller editor.

The controller editor is used to display and edit up to 4 different MIDI controller curves
simultaneously.

Note: To display more than one Controller button, hold the mouse just below the scroll bar
and drag the double arrow that appears upwards whilst holding the left mouse button. If
you now click on one of the Controller buttons, the corresponding Controller line will be
refreshed.

If you click an the arrow for a controller slot, the following controller types are available for
selection:

 Velocity
 Pitch bend (bend the note pitch, just like with the pitch bend wheel of a keyboard)
 Aftertouch (pressure on the key after the first strike to control additional parameters,
specified via the MIDI playback device)
 Program change (selection of program changes for assigning preset sounds to the
corresponding MIDI device)
274 MIDI EDITORS

 with a continuous controller numbered 0-127 The controller selection features the
controller types available to the respective object; a star behind the name of the
controller type indicates that a controller curve already exists for this controller type.
 The velocity values are displayed directly in the controller editor as vertical bars under the
corresponding notes. The height of each bar represents the corresponding note velocity
strength. As velocity increased, the color intensity of the bars also increases. Selected
events appear red in the controller editor.

The values of all other controllers will appear in the controller editor as ramps. In this case,
the height of the ramps and their color intensity also represent the last defined value of an
event. The length of the ramps reaches to the next varying event. Selected event ramps are
also represented in red.
 MIDI EDITORS 275

Selecting and drawing events

Combi tool:

Keyboard shortcut: Ctrl + 1

The mouse cursor button provides you with a combi tool. Use it to select, change values,
and draw freehand and uniform lines.

Click a position on the controller editor and start drawing horizontally, and two red vertical
lines will appear. The first indicates the starting point of the selection and the second
displays the end point. All events located within the limits are now selected and displayed
in red.

Individual events may also be selected by clicking the respective bar.

To delete selected events in the controller editor, press the "Del" key or the back space
key.

Other editing options with the combi tool:

Click on the bar end: The controller value may now be adjusted by dragging vertically.
Hold the "Shift" key down while dragging, and all of the selected events will be set to the
same value.

Alt + drag (with the pencil): This activates freehand drawing, and the mouse cursor
becomes the pencil. Detailed envelopes, ramps, and grades may be created by dragging in
the respective controller range.

Shift + drag (with the cross hairs): This activates line drawing and the mouse pointer
becomes a cross hairs. Create envelopes, ramps and grades, or set all of the events to the
same value by dragging horizontally.

Draw freehand:

Shortcut key: Ctrl + 2

This activates freehand drawing; the mouse pointer becomes a pencil. Detailed envelopes,
ramps, and grades may be created by dragging in the respective controller range. Correct
curves during drawing by dragging backwards. Any existing (multi) selection is ignored.
Create crescendi or decrescendi using velocity curves, for example.

Single clicking creates a new ramp which reaches up to the next controller event.
276 MIDI EDITORS

Shift + click & dragging with the cross hairs to draw a line.

Hint: When editing the velocity, no new notes are generated; existing velocity values are
only modified by dragging and clicking the events.

Drawing lines:

Shortcut key: Ctrl + 3

This activates line drawing; the mouse pointer becomes a cross hairs. Create envelopes,
ramps, and grades by dragging horizontally.

Single clicking creates a new ramp which reaches up to the next controller event.

Hint: When editing the velocity, no new notes are generated; existing velocity values are
only modified by dragging and clicking the events.
 MIDI EDITORS 277

Tips
Copying controller events:

You may copy selected events using "Ctrl + C" and then paste them at any play cursor
position in the corresponding controller editor using "Ctrl + V".

Timeshifting several selected controller events:

First, select all events you would like to move. To select different controller types together,
hold down "Ctrl" at the same time. Now you can move the selection in the time field by
entering a value or by vertically dragging the double arrow.

Use the display filter function for velocity values:

In multi-voiced areas, the velocity bars are located above each other, making it difficult to
select the respective note bars. 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. 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 "Ctrl" or "Shift" for the keyboard area.

Another option to selectively edit velocity bars located on top of each other is to edit the
currently selected note using the mouse. Click on an event inside the piano roll or the
controller editor. Finally, navigate to the desired note with the "Cursor left/cursor right"
buttons and change the controller value by clicking the top third of the red area and
dragging the double arrow that appears.

Quantize controller events

MIDI controller events may be quantized and thinned out; select the "MIDI functions" menu
and the "Quantize/thin out controller" command to do this. Quantization occurs according
to the quantization settings.

Detailed information about quantization is provided in "MIDI editors -> Quantization".

278 MIDI EDITORS

Event list
Open event list: The MIDI editor has an integrated display of all events in list format. This
List Editor can be opened with the button above the keyboard or by using the “Alt + L”
keyboard shortcut.

When the event list is opened and activated for editing, it has a narrow red border. This is
to make clear that certain functions, e.g. select next/previous event (arrow keys) or the
“Select all” (Ctrl + A) command, refer only to the List.

Working with the list editor: The list editor does not only display note events, but also
percussion instruments (in drum editor mode), MIDI controllers, and SysEx messages.
These controllers and messages may be hidden and even filtered by checking the
appropriate "mute" box.

Double clicking on a SysEx entry in the list opens a simple editor for viewing and editing the
SysEx information.

A note on and a note off event (or note on with velocity 0) belong to a note. These are
always selected and edited in pairs. You can show and hide note off events by ticking the
corresponding checkbox beneath the Editor.

You can create new events in event list directly at the play cursor position using the "Insert"
button.

The values of the previously selected notes are still in effect for the edit fields channel,
byte1 (Pitch), byte2 (velocity), time and length.

If you would like to edit only certain events specifically, the event list offers various display
filters. These are small check boxes above the event list columns. If you click a box, it will
change to blue and the respective display filter is active.
 MIDI EDITORS 279

The display filter provides information for the editing fields MIDI event, MIDI channel, pitch
and velocity.

Example: Select a note and click a display filter of the pitch column to only display events
of this pitch. All other events will be faded out:

Display filters can be combined with one another. For example, all control change events of
type 10 (pan) to MIDI channel 1 may be filtered for display. Then, you can select all
matches will "Select All" (Ctrl + A) and edit together in the editing field or delete with the
"Del" key:

Advanced filter functions in the list editor

You can access the following filter functions by right clicking on the display filter buttons:

= equal
!= unequal
> bigger or equal
< smaller or equal

The filter functions listed above relate to the selected event kinds like "Note On" or "Ctrl
Ch". For example, this function filters out all notes with a velocity of 40 or lower:
280 MIDI EDITORS

Multi object editing (MO-Editing)

You can also load several MIDI objects simultaneously in the MIDI editor. All MIDI objects
selected in the arranger are added to the MIDI editor by clicking the "MIDI editor" button in
the Docker (view page 50).

In an already-opened MIDI Editor you can include additional MIDI objects for Multi Object
editing by clicking in the Arranger while holding down the Shift key.

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 should
see 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). In Score mode the current note line is observed.

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 selecting notes or MIDI events or when clicking using the pen tool the associated
object becomes the active object. The current Note line will be automatically converted in
the Note editor.

You can also copy and insert MIDI notes between multiple objects.

The Current object area can be highlighted using the button behind the object selection
field. Areas lying outside the current object will be grayed-out and the notes of other
objects will be paler, but still selectable.
 MIDI EDITORS 281

A display filter for the current track may be activated while in MO editing mode. Data
from other tracks are then grayed out. If the option "Hide filtered MIDI data" in the
"Options" menu is activated, then MIDI events that are not current will be made invisible.

Note: If the note editor is activated at the same time, only the velocity values of the current
staff will be displayed in the controller editor.

In representing notes, the note system of the current track will be highlighted using blue
note lines.
282 MIDI EDITORS

Score Editor
The score editor displays the MIDI data of a MIDI object as notes in real time and also
offers all MIDI editing options in the note display. If you move or extend MIDI data, these
changes are immediately reflected in the score. If you insert a new note in the score editor,
a corresponding "MIDI note on" event is created immediately.

Each track may contain a maximum of 48 staves. During multi-object editing across
multiple tracks, the scores from the systems of each track are compiled together. The
staves of a track may be used as an instrument or instrument group within a score. The
entire score may be revealed via the multi-object editing feature and by showing all MIDI
tracks in the score editor simultaneously. A vocal excerpt can be obtained by showing the
track of the desired instrument only or an instrument group in the score editor.

Open Score Editor

The score editor is integrated into the MIDI editor window. If the MIDI editor is opened, you
can activate the linear score view by pressing the "Score editor (linear)" button.

Score editor (linear) button

Score Editor Modes

Samplitude offers two alternatives for viewing the score: linear display and page mode.

The linear note display may be combined with the matrix display. This offers ideal MIDI
editing options, since the detail in depth of the matrix editor and overview may 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.

Note editor modes - Linear view

Score editor (linear)

In the linear view, not only the Score editor, but also the matrix and velocity display are
available. For detailed editing of the MIDI data in the score, select the linear view. All
parameters such as pitch, note length, and velocity are displayed.
 MIDI EDITORS 283

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

The linear height of the range of the note view may also be modified. To do so move the
line between Score and Matrix editor with the mouse.

The horizontal section can be set above the scroll bar, parallel to the matrix view of the
MIDI notes.

In "Linear" mode, details may no longer be displayed correctly if you zoom out horizontally,
since the note symbols overlap. It may be necessary to reduce the notation symbol size
with the "-" button on the right side. Despite these details being displayed incorrectly,
zooming out can still provide you with a good overview, particularly for large scores.
Samplitude can adjust the notation symbol sizes automatically at the selected section. To
do this, please select "Automatic zoom" in the "Score" menu.

Score editor modes - page view

The side mode displays the notes just like on a musical score, which also serves as a print
preview. This enables you to arrange or delete notes or voices. The design of the score
sheet can be used for editing longer passages. The stave break allows you to display
considerably more bars than with the linear display.

Score editor - Page view

Scrolling in full view mode: Use the vertical scroll bar to scroll from page to page.
284 MIDI EDITORS

Page mode as print preview: You should first change the page format (in the Score
Properties dialog) to the paper format of your printer before setting up the page for printing
as the display depends on the page format. You will then see your score exactly as it will
be printed.

Score sheet
The automatic conversion of MIDI data into score material is usually sufficient for editing
MIDI data; in this case, efficiency is required instead of a perfect, ready-to-print display.
However, it may still be necessary to adjust some of the display options for the musical
material during editing. These display options are provided in the "MIDI score properties"
dialog, which you can open by clicking the corresponding button.

Score settings: Open the score settings dialog for notation system and
page properties

Presets are also located here. These are preprogrammed standard settings for certain
instruments or instrumentation such as strings, piano, or orchestra. Selecting a preset
changes the score display and its legibility:

Before

After the selection of the "Piano" preset

Further explanations of the notation system (view page 291) are provided below.
 MIDI EDITORS 285

Editing MIDI data in the score sheet

Select notes
As usual, you can select notes by clicking them. A group of notes (a chord) may be
selected by dragging a frame over the notes with the mouse button. Select multiple single
notes by pressing the "Ctrl" key.

Note parameters
Parameter pitch, velocity, and length can be changed for one or several selected notes. If
one or several notes are selected, the data for the current note will appear in the info bar
above the score view. Changing a parameter may have a comparable effect on all selected
notes, just like in the matrix editor.

Note: In "Page" mode, notes may not be drawn with the pencil or moved or copied with
the mouse. Use the corresponding menu commands and keyboard shortcuts. This
limitation does not apply in linear display mode.

Move and transpose

To move notes, first select them, and then drag them to the desired position. The infobox
can help you keep track of the pitch or position. The step size when moving is determined
by the selected quantization raster in the MIDI editor.

Copy
Select the desired notes and copy them by holding down the "Ctrl" key and dragging the
mouse. Alternatively, you can also use the copy function in the "Edit" menu.

Insert new notes

You can also insert new notes in the score editor with the pen. Click the desired position
with the pen, hold down the mouse key and correct the position and pitch as required. If
you let go of the mouse key, Samplitude will add a new note featuring the same length as
the selected length quantization value.

You may only insert new notes into the active stave. For instance, to insert a note in the
lower part of a piano system, click the lower staff in the system on the left first. Only notes
that correspond to the current pitch are inserted. Non-scaled notes or chromatic
intermediate steps are skipped. If you enter conventional music material with the mouse,
diatonic insert mode increases the chances of hitting the correct note. If a new prefix is
going to be added to the note, you can move the note chromatically with the arrow keys.
This way, an inserted F in C Major may be transformed into an F# by pressing the "Page
up" key.

Delete notes
Delete notes by

 selecting them and pressing the "Del" key or

 clicking the eraser tool or
 by clicking them with the right mouse button
286 MIDI EDITORS

The menu command "Score -> Selected notes: hide/show in score" enables the selected
notes to be removed from the score, without influencing MIDI playback. Notes hidden in
the scale are indicated in the matrix by a diagonal line. This function is practical for making
trills easier to manipulated, or in order to to remove "control notes" from the score when
switching between playing styles.

Insert notation symbols

Clef symbols may be inserted at the current cursor position by pressing the corresponding
clef symbol button in the active system.

Delete notation symbol

Manually added notation symbols such as clefs and signatures may not be selected, since
these are meta information for the notation display and no MIDI events have been assigned
to them. Nevertheless, these may be deleted by clicking them with the eraser (or the right
mouse button).

Adjusting and optimizing the score

Samplitude 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 optimally read, since displaying note lengths also
plays an important role in this context. In this case, the notation allows flexible
interpretation, so the user usually has to intervene. This is a negative example of a poorly
readable translation of a piano passage in notation:

Automatic notation with unsuitable display settings...

This representation may be correct; however, it is illegible and somewhat confusing. Why is
that? The MIDI events contain very precise information about the start of a note and 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, 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 pause, its harmonic correlations (pitch), and the characteristics of the
dynamic sequences.
 MIDI EDITORS 287

This is why automatic processing of notation always differs from what would be ideal.
Samplitude includes a number of automatically and manually controllable functions for
making it easier to read the notation.The reworked version of the above score excerpt
illustration shows how big the difference can be:

…and editing is finished.

Note allocation in multiple systems

The term "System" refers to an individual line in a staff as well as all staves of a score. In
cases where it is important to be able to differentiate a score and a note line from one
another, we use the term "System" for the score and "Staff" for a single system.

Mostly, what is meant by "system" is the result of the context. For example, a two-handed
piano piece makes reference to the "upper" and "lower" systems.

Samplitude provides multiple systems, e.g. for piano notation or entire scores that are
comprised of up to 48 individual systems per track.

To assign notes manually to a system, click the "Assign to upper system" button

to move the selected notes one line higher on a staff, and correspondingly on "Assign to
lower system"

to move the selected notes a line lower. This results in the note being connected to the line
(independently of the MIDI channel or pitch). This manually set allocation can be undone by
clicking on

Assign notes automatically

to ungroup them.

Note: You can only move notes within the staff of the corresponding track during "Multi-
object editing".
288 MIDI EDITORS

When transcribing a MIDI piano recording, splitting the notes into a two-line piano system
using the split point is recommended. This indicates that notes above the split point pitch
belong in the upper system and that the other notes belong below it. The positions where
individual notes are placed incorrectly can be easily corrected by assigning the notes
manually by clicking the desired system.

Automatic assignment of notes to a specific staff is flexible. 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 staff.

Example: For some standard MIDI files, the notes of a lower system of a particular piano
piece may have a different MIDI channel than that of the notes of the upper system.
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, set up two staves for the system in the note system settings. The
easiest way to do this is with the "Piano" preset. For the first staff, set the MIDI channel
allocation to "Ch. 1" in the "Channel" selection box and "Ch. 2" for the second staff (see
MIDI score settings dialog (view page 290)).

The rules for allocation are as follows:

If the "Automatic system allocation" option (preset) is set for the note, the note lines will be
played until the MIDI channel corresponds with it and the pitch is over or equal to the split
point.

Note: Some notes may not show at all; that's because they haven't been assigned to a
system yet.
 MIDI EDITORS 289

Multi-voice notation
Up to two independent voices may be annotated for each staff. The voices differ in the
direction of the note stems: the first voice is always with the stem pointing upwards, the
second with the stem pointing downwards. Pauses are displayed individually for each
voice.

Multi-voice notation can simplify the score considerably and enable multiple instruments or
parts to be displayed in one staff together.

Mono-voice display

Multi-voice display

You can set the voice by selecting the notes and clicking:

"1. Assign voice (stem direction up)"

and

"2. Assign voice (stem direction down)"

. This sets the stem direction of the notes and therefore the voice assignment itself.

The set voice assignment can be ungrouped again by selecting

automatic voice assignment

to ungroup them.

Tip: You'll find the corresponding commands in the MIDI "Score" menu; keyboard
shortcuts may also be assigned to these.
290 MIDI EDITORS

For automatic voice allocation, the note's MIDI channel has to be analyzed.

To do this, set up a MIDI channel for the second voice in the "Note system properties"
dialog. This can be set individually for each staff. All notes of a system featuring a MIDI
channel that has not been assigned to a second voice are added to the first voice.

Voice allocation via the MIDI channel can be practical for displaying standard MIDI files with
multi-voice piano pieces, e.g. if the right hand voices are set to the first and second MIDI
channels and the left hand voices are set to MIDI channels three and four. Apply the
following settings:

Note: If there is no MIDI channel selected for voice allocation, only one voice will be
annotated (if manual voice allocation does not occur).
 MIDI EDITORS 291

MIDI score settings

The score settings dialog opens the notation system and
page format properties.

Apply the note system and page format settings here. None of the settings have any
influence on the MIDI data itself, but rather only on the display of the score.

Note: The affected note system settings are always applied to all MIDI objects situated on
the current track. The page format settings apply to the entire VIP project.

Note system settings

All templates for the system, the display parameters, and options are available on this
dialog page. Specify the key, clef, and much more here.

Samplitude provides up to 48 staves on one track for MIDI data. Key, clef, display
transposition (for transposing instruments like saxophone, etc.), and display quantization
may be individually set for each staff.

An instrument's prefix ("Name") may also be set, plus the MIDI channel for automatic
system/voice assignment.

Similarly, the split point provides automatic system allocation. Notes above the split point
are added to the upper system, while those under the split point are added to the system
beneath it (as long as the MIDI channel matches).

The active staff is recognizable via the index marked in red. The list of 16 staves can be
scrolled vertically using the arrow buttons (up/down). The active staff's display options are
displayed in the lower range.
292 MIDI EDITORS

Optionally, all changes to settings, display options, key, and display quantization are always
transferred equally to all staves.

During multi-object editing across multiple tracks, the scores from the systems of each
individual track are compiled together. A partial system of a track can be composed of
multiple staves (e.g. 2 lines for a "grand staff" in piano notation). The system lines within a
track will be grouped with struck-through beat lines.

The staves of a track may be used as an instrument or instrument group within a score. For
this reason, consider early on how you would like to distribute multi-voiced pieces to
multiple MIDI tracks to obtain a sensible score display. The entire score may be obtained
by using the multi-object editing feature and showing all MIDI tracks in the score editor
simultaneously. A vocal extract may be produced by showing the track of the desired
instrument only or an instrument group in the score editor.

Display quantization
Using the display quantization ("Quant." column), you can set the rhythmic resolution of the
note display independent of the actual quantization. This enables you to display a freely
imported and unquantized track in sixteenth notes.

Set "Quant." to the lowest value in the sequence of the note value. For a sequence that
contains sixteenth notes as the lowest value, select the setting "16th", not "64th" notes. A
quantization display that is too fine may make the display illegible.

The display quantization does not have any influence on note playback, but rather adapts
the note display to a raster. The actual recording (the MIDI files) is not changed, unlike the
quantization function in the MIDI editor.
 MIDI EDITORS 293

Interpretation options

None of the options have any influence on the MIDI files or playback. An adjustment only
occurs with regard to the note display.

simplify note lengths (interpretation)

Displays pauses and slurred notes in such a way that the score is as legible as possible
without influencing playback.

Display without active interpretation options. Display quantization is set to one sixteenth.

Display with option "simplify note lengths (interpretation)".

hide note overlaps

With this option you can get rid of overlapping of sequential notes which, for example,
arises as a result of playing legato:
294 MIDI EDITORS

Original

Display with "hide note overlaps" option

automatic staccato articulations

A staccato symbol is added to a note whose value is considerably longer than the
displayed MIDI note.

Display with additional option "automatic staccato articulations"

recognize triplets

Activate this option if triplets are present in the MIDI object.

Note: The display quantization value always has to be one step finer than the smallest
discernible triplet value. For example, 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 beat/pulse division

This option ensures that there are no note or pause values longer than a beat subgroup
(pulse). Longer notes are displayed as multiple slurred notes as the case may be. This can
simplify the legibility of the score.

larger beam groups

Beam groups are partially compiled across beat subgroups. This can also simplify the
legibility of the score.

recognize grace notes

Note values which are much shorter than the display quantization value are annotated as
grace notes as long as a base note is present.
 MIDI EDITORS 295

Original

Display with "Automatically recognize grace notes" option

force polyphonic notation

The display of the notation always appears multi-voiced.

Notation symbol
Clef

There are four clefs available in Samplitude: violin, bass, tenor, and alto clef. Samplitude
differentiates between base clef and clef change. The base clef may be set up for every
system in "Score settings" (and applies to all MIDI objects on the current track). A clef that
you enter via the toolbar will be interpreted as a key change. Key changes are possible any
number of times in a song and also within beats.

To add a clef, activate the staff where the key should be inserted by clicking the staff
signature to the left.

Position the play cursor at the desired insert location and click the clef you want in the
toolbar. The clef will be entered musically rather than graphically.

Example: For a key change at position 10:01:000 (the beginning of bar ten), the clef
symbol will be displayed at the end of bar nine just as it corresponds with the notation
rules.

Key changes may also be deleted by clicking the 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.

Time signature changes are possible at full beat borders. Create a beat counter marker
with the new signature (e. g. 6/8) at the desired position via "Edit > Tempo -> Tempo/Beat
marker (view page 301)". If there are no beat count measure changes, setting the time
signature of the piece (e. g. 3/4) in the transport control is sufficient.
296 MIDI EDITORS

Prefix
Enharmonic change

Samplitude sets the sharps and flats according to the clef selected. It is often the case,
however, that enharmonic changes can considerably optimize the legibility of certain
passages. In this case, you can work manually. To change one or more selected notes
enharmonically, click the corresponding button. The function transforms flats into sharps
and vice versa.

Page format settings

Page format settings may be accessed via "Score -> Score settings" in the MIDI menu.
Click the "Page format settings" button.

You may select the paper format independent of the printer settings so that it always has
the same note layout, regardless of where you are working and independent of the printers
installed in Windows.

Samplitude automatically creates the layout of the score for optimal division of staves and
systems on the page. You only need to specify the page size, orientation, and page
borders.

Scale score size (%): Scales the size of the note symbols for the printout. However, the
score display influences the position where a line or page break occurs.

 Set a value smaller than 100% to fit more beats/systems onto one piece of paper.
 Set higher values than 100% to keep larger note symbols on the printout.
 MIDI EDITORS 297

You can also make entries for tempo notation, composer, and an extra text field. Similarly,
you can choose which layout elements should appear on the page (check boxes for beat
numbers, page numbers, and texts).

Print notes
Activate the print process in the "Score -> Print score" menu or via the "Print" button. The
print dialog window will appear which has been adjusted to your printer or printer drivers.
Depending on the printer, there are various options like the selection of pages you wish to
print and the number of copies. Make sure to 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 items won't be printed; they are only visible on the monitor:

 The lines which highlight the page borders on the monitor

 Mouse pointer
 The color display of the currently selected notes and playback areas.

Note: When printing a file (e.g. as a PDF file with a special printer driver), 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.

Score editor – tips

In complex arrangements, we recommend using two separate versions of a song for
sequencing and for note print previews. This way, MIDI events for the note display may be
changed in any way without influencing the playback. You may have to increase or
decrease the length of a note in order to display the correct note value or the correct
pause.

It may also be advantageous to remove trills, grace notes, and other ornaments in order to
be able to print the score in a more simplified form. This manipulations, however, do affect
playback. Compromises are not necessary when working with separate versions for
sequencing and note print preview.

Score music XML export

The score may also be exported as a MusicXML file and then edited further in notation
applications. Finale, Sibelius, Forte, plus many other MusicXML files can import music XML
files. Converters are also available for transforming MusicXMLs into other formats. You can
find out more at www.musicxml.org.
298 MIDI EDITORS

During the MusicXML export, all properties of the score (except for the page layout), like
staves, notes and pauses, bar groups, keys, polyphonic voices, lead signs, enharmonic
change, etc. are transferred. However, page layout, line breaks, and the distance between
systems are not transferred. These may also be a component of MusicXML, but since
these parameters in Samplitude may only be partially edited, they will be removed from
MusicXML export.

Not every staff editing application processes all MusicXML elements correctly, so it may
become necessary to manually correct struck-through bar lines later, or to regroup
brackets for "parts".

If you create your composition in Samplitude, set score settings here in order to be able to
edit and navigate more easily through the score view. You may then continue editing the
score in order to optimize the layout and notation.

Converting to MusicXML format has the advantage (unlike standard MIDI file format) that
many manual settings and optimizations of the score (e.g. number of scores, key, voice
allocation, pitch, etc.) remain the same.

MIDI editor shortcut keys

Apart from few exceptions such as "Space" for stop and playback, the keyboard shortcuts
can be defined freely. Open the keyboard shortcut menu and mouse editor via the
"Shortcuts -> Define shortcuts" in the MIDI menu. For some basic functions such as
scrolling and zooming, all keyboard shortcuts from the VIP are used. You can define
explicit shortcuts for all commands that are available in the MIDI editor menu.

Note: The mouse wheel settings from the arranger are also assumed, as is the switch for
temporary zoom mode (special) which is preset as "Z".
 MIDI EDITORS 299

Play/stop Spacebar
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 Ctrl + C
Insert Ctrl + V
Duplicate Ctrl + D
Select all Ctrl + A
Create pattern from selection Ctrl + P
Delete selected MIDI data Back, delete
Delete all MIDI data Ctrl + Back, Ctrl +
Del
Select next event Right arrow
Select previous event Left arrow

MIDI functions

Legato Ctrl + L
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 Ctrl + O
Audition panic-end played edit notes Ctrl + F

Mouse mode

Selection 1
Draw 2
Drum (draw) 3
Pattern (draw) 4
Velocity change 5
300 MIDI EDITORS

Delete mode 6
Magnifying glass 7
Combine notes mode 8
Split notes mode 9
Mute notes mode M
Select next event Right arrow
Select previous event Left arrow
Event pitch up Up arrow
Event pitch down 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
Move play cursor forward Page down
Move play cursor forward (fast) Ctrl + Page down
Move play cursor back Page up
Move play cursor back (fast) Ctrl + Page up
Velocity controller combi-tool Ctrl + 1
Draw velocity/controller freehand Ctrl + 2
Draw velocity/controller lines Ctrl + 3
 TE MPO EDITING 301

Tempo Editing
Tempo and Time signature changes in the tempo map...
Tempo and Time signature changes are an important means of expression of your
music. You can make these changes in Samplitude by using extensive options.

A precise beat grid is essential for precise editing. Samplitude offers you a convenient
option for adjusting the beat grid to existing material (audio/video/MIDI).

Changes in tempo can be made using the marker or graphically using aTempo track. A
tempo track contains the project's tempo map as an automation curve.In principle
each automation point of the curve corresponds to a tempo marker.

The tempo map displays all the tempo markers and determines the musical positioning
for each time position. Put simply, the tempo map defines the beat grid.

You can adjust the beat grid to certain time positions by using grid position markers
(e. g. existing audio or MIDI events). To do so, just drag a grid line of the beat grid to the
desired time position.

It is even possible to tap the beat or entire bar positions. In this case, use the "Grid Fit
Mode" of the tempo map.

Besides the tempo map dialog (view page 308), the transport console also serves as
optical control of the tempo map and tempo track The transport console displays the
current values for tempo (BPM) and beat type at the current play cursor position.

In the Tempo-Map dialog (view page 308) you can specify which objects or markers in
your position should be adjusted when tempo changes are made.
302 TE MPO EDITING

BPM marker, Tempo curve (>) and beat change (3/8) - under the tempo track.

Tempo markers
Tempo markers appear either as BPM markers or as Grid position markers according to
the Tempo-map mode. Time signature marker (e. g. 3/4) are by contrast, independent
from the Tempo Map mode.

In total there are three types of tempo marker:

 Time signature marker (blue)

 BPM marker (red)
 Grid marker positions (green)

A time signature marker represent a time signature changes (e. g. from 4/4 to 6/8).

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.

Another way of accessing and editing the Tempo marker is by using the Marker Manager
(view page 147).
 TE MPO EDITING 303

Tempo Map Modes: BPM Mode / Grid Fit Mode

In the Tempo Map dialog (view page 308) you can choose between two modes:BPM
mode and Snap adjustment mode. The selection can be accessed from the menu:

Play/Rec > Marker > Insert Tempo change

Play/Rec > Marker > Insert grid marker change

 In Snap mode you work exclusively with grid position markers and Time signature
changes.
 In BPM mode you work exclusively with BPM markers and Time signature changes.

Modes can be changed at any point. The Tempo markers remain the same, but change
their type. The effective Tempo map and beat grid remain unchanged. You can toggle
between BPM markers and grid position markers at any time.

Example 1: Initially in the beat adjustment mode the beat grid is adjusted to a MIDI
recording which contains lots of tempo changes. Subsequently certain musical tempo
changes such as Rubato and Ritardando can be inserted for individual sections in BPM
mode. (The tempo track can only be edited in BPM mode, in snap mode it serves solely as
a display).

Example 2: The time signature of available grid position markers should be changed at the
start of the piece, subsequently however the beat grid positions should be placed more
precisely. As changing the time signature moves the beat borders and with it the grid
position markers, change the markers to BPM markers because this will unaffected by time
signature changes. This is how you swap to BPM mode. Now change the time signature
and the go back to the beat adjustment mode in order to adopt the beat grid changes.
304 TE MPO EDITING

Tempo Change: BPM Marker

A new project first has a single "Master" tempo which can be defined in the transport
console or in the project settings (shortcut: "I").

This Master tempo affects either the entire project or the start of the project up to the first
BPM marker.

Exception: If the tempo should be interpolated to the first tempo marker, the master
tempo is only effective directly at the project start, to then go linearly to the tempo of the
next BPM marker.

You can make any tempo changes directly in the project window at any time or for any
musical position (even between beats) using the BPM marker or corresponding tempo
curve point.

The tempo markers are snapped to the next snap point when the grid is active. By
dragging the tempo markers and holding down "Alt", you temporarily deactivate the grid
function.

Note: Samplitude does not automatically adjust audio objects via tempo markers in case of
tempo change. In order to change the length of audio objects to the defined tempo
changes, use the pitchshift/timestretch mode and drag them to the end of the rear object
edge of the audio object until this matches the original beat marking.
 TE MPO EDITING 305

Time Signature Marker

Beat counter markers change the time signature from the marker position onwards, e. g.
4/4 beat to 3/4.

Therefore you can only insert time signature marker at bar borders and only position them
at full beat borders.

Grid Position Marker

Grid position markers assign a specific musical position to a specific time position. If you
move a grid position marker, you'll see how the beat grid is immediately adjusted. In the
tempo track 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.

Grid Tapping
You can set grid position markers in the tempo map grid adjustment mode during
playback. To do so, assign the menu command "Insert Grid Position Marker" a
keyboard shortcut of your choice, e. g. "P". Press "P" in time with the rhythm during
playback and tap the beat grid or tempo map.

The following will happen: when you press the key, the nearest bar position of the selected
beat grid will move to the current playback position and it will be marked with a grid
position marker.

Tips:

To detect the tempo, work in the bar grid, in entire bar borders first. In a second step in,
you can detect slight tempo variations in the bar grid.

The BPM mode exceptionally allows you to set a temporary bar position marker while
dragging with the mouse and the "Alt" key held down in timestretch mouse mode (or when
loading older VIP projects).

The new command Menu Edit > Tempo > Create click track creates an audio track,
which contains all metronome click as objects.
306 TE MPO EDITING

Tempo Track
The Tempo map is also available as an Automation curve "tempo" and can be graphically
edited.

Note: Only one track can be used as a tempo track. The track that serves as a tempo
track is freely selectable.

Changes to tempo markers or in the tempo track are automatically transferred.

The Tempo automation behaves differently to typical automation curves. 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 (independent of the system
option "Program > General > Snap also applies to curve automation points"). As usual the
snap can be temporarily disabled using the "Alt" key.
 TE MPO EDITING 307

Edit in the Tempo Track (only BPM Mode)

Insert tempo changes

 Double click on the tempo curve in Universal mouse mode:

 In the Curve edit mode: click (and drag) on tempo curve.
 Click in the Automation draw mode:.
 Ctrl key: creates a Ritardando or Accelerando. A special BPM marker with tempo
curves will be created before the tempo marker position ("Pre-BPM"), and, after the
tempo marker a previous/new tempo will be used. The pre BPM value can be set with
Ctrl + dragging.
 Shift: Creates a new tempo marker with tempo curve at the previous tempo marker.

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 point for one tempo marker, one for position
and tempo respectively.
 Alt keys: Temporarily disable snap. Toggle tempo changes and tempo curves as
necessary.
 Shift keys: Only change and set BPM values (horizontal lock).
 Ctrl + Shift + Click: Switches between tempo curve and tempo step.
 Right click: open "Tempo and time signature" dialog (view page 310), to change values
numerically.

Tempo Scaling / Change Global Tempo...

With this menu command all BPM values of the selected tempo curve points can be scaled
with one adjustable factor.
308 TE MPO EDITING

Tempo Map Dialog

Set the playback cursor to the position at which the tempo or Time signature changes
should occur. Now open the Tempo window from the Marker Menu (right-click on time bar)
or from the edit tempo menu.

Click on the "New marker" button in the dialog. A marker is inserted at the current position.
You can now use the marker option to set the properties of this marker. For a new tempo
marker, enter the required tempo in BPM or the new beat for the time signature marker.

Please note 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 one
has been created.

A time signature marker is always placed at the start of a new bar. If the play cursor is at a
different position, the marker position is automatically moved to the beginning of the next
bar.

Edit marker/Tempo map window

If a tempo marker is changed or a grid position marker is moved, this influences the
following markers and audio/ MIDI projects in the VIP.

There are two main possibilities: The time position either remains constant, or the musical
position remains and the time position is adjusted (Tempo/Time Signature window).

The time position in the VIP is the absolute position, the musical position is flexible and is
displayed by the grid.
 TE MPO EDITING 309

Maintaining the musical grid position means that objects or markers are adapted to the
newly created grid, its absolute time position in the project therefore changes. If the time
position is retained the musical position changes accordingly.

When manipulating the tempo markers, the behavior of markers, audio, and MIDI objects is
controlled separately. By default, the grid position of MIDI objects and tempo markers
remains intact, and the time position of markers and objects remains the constant. The
time position is always observed if you hold the "Alt" key when moving the mouse.

In this example the first tempo marker in the second image has been changed. The MIDI
object and the second tempo marker were moved correspondingly so that the musical
positions (03:01:00) were maintained.

If you want to keep the time position of objects, select the "On all appointed tracks"
option

Additional options:
Each tempo and grid position marker can be ignored using the “Bypass” option. 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 these bar positions that originate from a previous tempo marker cannot be
met by tempo interpolation.

Ignore All Tempo Markers, use Project Tempo

With this option you can ignore any previously created tempo markers in your project, so
that only the project tempo observed.
310 TE MPO EDITING

Tempo and Time Signature Dialog

This dialog appears when you double click on a previously available tempo marker/curve
point or if a new tempo marker should be set using a menu command. You can enter the
desired tempo in BPM here (not for grid position markers) and, if needed insert a time
signature change. Also you can choose here whether the tempo should be interpolated to
the previous tempo marker (Ritardando or Accelerando).

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", and you can adapt this tempo by moving the mouse vertically while 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 create bar position markers with "Alt" + mouse click, and 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

 TE MPO EDITING 311

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 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 is 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.
312 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

Software-Instrumente/VST-Plug-Ins/ReWire
Samplitude provides the option to integrate software instruments according to VSTi
standards or via ReWire into a VIP, and these may be controlled via the internal MIDI
functions and editors.

Software instruments may be accessed as audio track inputs and as mixer channels. In
this way, the audio signals of a VST instrument may be edited further with all options
featured by the mixer, including EQ, effects, and routing.

VST instruments offer sample-precise timing of MIDI events. The maximum number of
plug-ins is only limited to processor performance. You can increase the number of applied
VSTs almost without limit by using the integrated freeze function

Installing VST plug-ins

Install VST plug-ins according to the manufacturer's instructions. VST instruments and VST
effects are not entered into the Windows registry, but must be saved in a certain directory.

Samplitude searches for installed VST instruments in the "VST plug-ins" program subfolder.
VST instruments may be installed either in this folder or another path may be specified. If a
VST plug-ins folder is already installed on the system, then please use the existing folder.
The existing path must be specified in the system settings (shortcut: "Y" key) via "Effects >
VST/DirectX/ReWire" (multiple paths may be specified). Simply enter one path after the
other; each path will be scanned. Samplitude will automatically find new plug-ins that have
been installed if they are present in the specified folders. If you add VST plug-in subfolders
into the main VST folder (e.g. "Equalizer", "Filters", "Modulation", etc.), then these will be
displayed as submenus when VST plug-ins are loaded.

The first time the program is launched, a search for existing instruments and plug-ins is
executed (when the track settings are opened). In this case, not only are all the plug-ins
imported, but they are also checked for their usability within the program. This search is
only required once; the next time it is opened, the track settings will be opened
immediately.

Tip: If you have problems with your current configuration, then you may reset all paths and
installed instruments or plug-ins. To do this, delete the "VSTPlug-Ins.ini" file in the
Samplitude folder. All paths will have to be newly entered. Plug-ins which were removed
from the program prior to this will still be shown again.
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 313

Load software instruments

You can also assign a software instrument to each track; the instrument is selected as a
MIDI playback device. Selected instruments or their individual outputs are shown directly in
the first VSTi plug-in/insert slot of the track header and track editor and can also be muted
(left click) and opened (right click) from there.

Load an instrument by selecting a "New instrument" in the project window as a track

output. This can happen at various positions:

 In the MIDI section of the track editor: "Out" slot -> new instrument
This is the standard method for loading and routing a software instrument.

 In the audio section of the track editor: "In" slot -> instrument outputs
 In the playback device context menu, (right click "Mute -> MIDI -> New instrument)
 Plug-ins slot -> VSTi in the track editor

Software instruments may also be created in the mixer:

 Insert effect slot of the mixer -> VSTi

This option is located in the top insert slot of the individual mixer channels.

Alternatively, you can also install and manage software instruments in the VSTi rack. To do
so, open the VSTi manager.

Note: You can load plug-ins In the master section of the mixer, just like in the mixer tracks.
Click on the arrow to the right beside one of the plug-in slots and select the desired plug-in
from the menu.
314 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

Apply plug-ins at wave level

The menu item "Effects -> Plug-ins" lets you calculate the plug-in effects directly into the
audio material. During virtual wave editing, the plug-ins will be loaded into the mixer's
master area.

Detailed information about destructive editing is available in the chapter "Working in the
project window -> Samplitude as a wave editor (view page 108)".

Load plug-ins at object level

Effects plug-ins may be applied at object level or via "Effects -> Plug-ins".

Effects menu: Note the check is not set for "Apply effects online". Select an audio object
in the arrangement by clicking it. Next, open the "Effects" menu and select the entry "Plug-
ins". In the dialog, you can load the desired plug-ins for the selected object one after the
other via the "Add plug-in" button. Right clicking on the loaded plug-in opens its interface.

Object editor: Double click an object and select the "Object effects" view in the object
editor. Under "Plug-ins", click the arrow to the right next to the plug-in slots. The plug-ins in
the menu are available.

Load plug-ins at track level

At track level, you can load plug-ins in the mixer as well as in the track editor.

Track editor

 Select the track where you wish to load the effect.

 Open up "Plug-ins" if it is not yet visible.
 Now click on the little arrow next to the plug-in slot.
 Select any plug-in from the menu.

Mixer

 Open the mixer by pressing "M" or via the mixer button.

 Click the small arrow next to the insert slot for the desired track.
 Now select a plug-in from the corresponding submenu.

Load plug-ins at master level

You can load plug-ins in the mixer's master section just like in the mixer tracks. Click the
arrow to the right beside one of the plug-in slots and select the desired plug-in from the
menu.

Loading routing settings with software instruments

An instrument may also be assigned to each track as a MIDI output device.
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 315

Audio output channels may also be routed from software instruments to any VIP track.
MIDI (send) and audio (return) signals from a software instrument may be present together
on one track (but this is not absolutely necessary). Samplitude is fully flexible in terms of
individual routing configurations.

When installing a software instrument, the "Routing for multi-channel instruments"

dialog opens. This is also available via the VSTi manager under "Routing settings".

Note: Press "Extended options" to specify that this dialog is always displayed when
inserting a new software instrument into a track or when adding a track for individual
output in the VSTi manager.

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. Select the "Simple: Audio and MIDI together on the same track"
configuration. Now all audio signals will be routed to the track that contains the instrument.
Multiple outputs will be mixed together before the mixer effects. You may specify that only
the first stereo output is routed to the current track via the advanced options. You may
specify that only the first stereo output is routed to the current track via the advanced
options.

Multi-timbral: Route the audio to a new track separated from the MIDI track

Several MIDI tracks are typically used for so-called "multi-timbral synthesizers", which may
play several sounds on different MIDI channels simultaneously, in which case each device
controls a specific sound program (part) on a specified MIDI channel. You can specify in
the extended options that only the first stereo output is routed to the current track.
The audio return track may also be hidden in the arranger. This setting is useful if
individual outputs of an instrument are controlled by a single MIDI file, which therefore do
not contain objects or information in the arranger window.

Multi-channel: Create new tracks for instrument outputs

316 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

Choose this option to automatically create new tracks for all VSTi audio outputs. The newly
created tracks are named accordingly. The mono/stereo configuration is assumed from
Samplitude (default).

Note: Individual outputs may also be routed to separate tracks. To display hidden tracks in
the arranger window again, use the track manager.

Advanced options:

Stereo/mono (standard): Information delivered from the plug-in is used for routing.

All as mono: This option forces individual outputs to be treated as mono outputs.

All as stereo: This option forces individual outputs to be treated as stereo outputs.

Audio/MIDI combined (tracks also send MIDI): Activate this check box to automatically
route the MIDI output for each individual track to this instrument.

Don't show the audio return tracks in the arranger: All newly created output tracks for
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.

Note: A virtual synthesizer's audio output may normally be created, edited, and mixed in
the same track as the MIDI data the instrument is receiving. In some cases, this results in
duplicate use of the volume fader which, on the one hand, controls velocity or MIDI volume
(CC7), and on the other, this controls the audio level. These are not identical parameters.
For instance, you may include a MIDI instrument played with high velocity quietly in the mix
and vice versa. Therefore, the volume fader may be assigned differently. To do this, right
click the track's volume fader.
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 317

VST MIDI out + Audio out recording

(for "Mixer FX monitoring/Hybrid Engine" only)

You may record VSTi audio outputs for VSTi return tracks by activating recording in these
tracks.

"MIDI out" may be activated for every track VST plug-in or VSTi in the plug-in panel menu.
This sends and records MIDI data from the VSTi in another track.

By activating the option "VST MIDI out recording" for a track (right click the record
button), you can record all received VSTi MIDI out data in the corresponding track. Select
the instrument output of the VSTi to be received.

If MIDI thru (view page 88) is activated, this signal may also be routed to another VSTi/VST-
FX or external MIDI device. By right clicking the "Moni." button in the transport control,
activate the "Automatic MIDI monitoring (thru) at recording start" function.

After recording, apply the track freeze function to visualize the waveform of the recorded
track. If you remove the check mark again in front of the VSTi output with a right click on
the record button in the track box, the routing connection to the sending VST instrument
will be removed.
318 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

Routing VST instruments using the VSTi manager

There are many flexible methods for signal routing of instruments.

As described in the previous paragraph, an instrument may be fed from several MIDI
tracks, and the outputs of an instrument may also be sent to several tracks.

Routing instrument outputs

Instrument outputs may be easily routed by using the VSTi manager. Simply open the VST
instrument to view the individual outputs, and then right click the "Output routing"
column.

Now search for the track to be fed the corresponding individual output. The assigned
output now appears in the target track's plug-in slot.

Alternatively, you may also route directly to the track box of the arranger:

To play the output of an already loaded (or instantiated) instrument on a specific track,
right click the record button for the track, go to "Instrument outputs", and select the
instrument output available in the project by placing a check mark. Several instrument
outputs may be used simultaneously in one track. The outputs of several different
instruments may even be combined into one track.

Deactivating the instrument outputs works the same way. Remove the instrument output
by removing the check in front of the corresponding output in the "Instrument outputs"
submenu.

Note that the routing options of the mix engine may also be used. A track containing the
audio return of any instrument may be routed to any bus, AUX bus, or master.

Routing MIDI instrument inputs

Nearly all software instruments require MIDI data to be audible. To route the MIDI input to a
specific track that contains the MIDI data, click the VSTi button in the track editor for the
corresponding track, and then select the instrument in the "Out" slot that you want to
activate. Previously loaded instruments are also featured 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. Multiple instances of the same VST plug-in are indicated by the number (index)
in front of the name of the software instrument.
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 319

Solo playback of VSTi instrument outputs

To preview solo instrument outputs, switch the track that is receiving the signal from the
instrument to solo. Even if the MIDI objects, which in effect are responsible for the sound,
are not present in the track, you will still hear the selected track solo. Samplitude
automatically recognizes the MIDI track that is sending the signal to the output and allows
the instrument continue to receive MIDI data from the assigned tracks.

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.

Here are two examples of typical handling of individual outputs:

Addressing an instrument on a MIDI channel and

distributing the sounds across several tracks
This approach is ideal for drum samplers to address an entire drum set and simultaneously
mix and edit the drum sounds individually.

Addressing an instrument on several MIDI channels

Several MIDI tracks are typically used for so-called "multi-timbral synthesizers", which may
play several sounds on different MIDI channels simultaneously, in which case each device
controls a specific sound program (part) on a specified MIDI channel. The advantage of this
is that these instruments only require one instance of the plug-in for several sounds. Multi-
timbral software instruments often have separate audio outputs. Don't forget to route the
individual parts to the desired outputs within the VST instrument (panel).

Plug-in panel - graphical interface

The plug-in dialog (panel), the graphic interface, opens when an instrument is loaded and
can be opened again later by right clicking on the plug-in slot which displays the
instrument's name. For instrument plug-ins, you can also open the panel via "Track ->
VST instrument editor".
320 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

The graphical interface opens by default. The ReWire client application will open when
ReWire instruments are selected.

"Programs" features the presets for the corresponding plug-in.

Besides "Programs", you will also find "Sidechain input (view page 324)" for those plug-ins
that feature the "Sidechain" function.

Plug-in parameter dialog

If the selected plug-in does not have its own interface, the parameter dialog will open. This
display mode is limited to just a few control elements and can only be opened via the menu
of the instrument window. In this dialog, eight freely selectable instrument parameters are
clearly and numerically displayed. Bar control elements may also be used to adjust the
parameter values.

Once the automation of the selected parameters is activated, the automation curve will be
displayed in the project track for editing. You can automate parameters during playback via
the corresponding bar faders.

The parameter selection is saved for each plug-in so that the next time you use the same
plug-in, the same parameters are used. This provides the advantage that every frequently
used parameter of the corresponding instrument is available immediately after it has been
opened.
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 321

Plug-in menu functions

Bypass: Deactivates the instrument and mutes it. Note that some instruments use up
processing power if "Bypass" is switched on. Remove the instrument if you no longer need
it.

Monitoring: This option must be switched on to be able to hear the instrument when it is
being played (live or recorded). If you want to have have monitoring active when the track's
REC button is on, select the "Tape monitoring" option in the "System/global audio" options
dialog.

MIDI out may be activated for every track VST plug-in or VSTi in the "MIDI out" plug-in
panel menu. This sends and records MIDI data from the VSTi in another track.

By activating the option "VST MIDI OUT recording" on a track (right click on the record
button), you can record all received VSTi MIDI OUT data in the corresponding track. If
"MIDI thru" is activated, this signal can also be routed to another VSTi/VST-FX or external
MIDI device.

Permanent options: These additional settings are valid for all instances of each plug-in.

Note: We recommend only changing the "Permanent options" in case of compatibility

problems. After making changes, reload the project.

Limit to only 1 CPU: All instances of VSTi will be calculated only on one CPU. This
enables you to avoid a multi-CPU conflict between various instances of the same plug-in.

If you activate this option for an effect plug-in, all track or object effects on tracks using this
plug-in will be calculated via a single CPU. As soon as you activate this option for an
effects plug-in, the entire track and all effects will be calculated via only a single CPU.

Note: When using UAD cards, this option is activated by default.

Force calculation by silence input: When processing single tracks as economy tracks via
the playback engine (view page 28), Samplitude normally doesn't process track signals if
an audio signal is not present. This reduces the CPU load.

This plug-in option ensures that the complete track where the plug-in is embedded is
calculated smoothly, even if there is no audio signal. This is especially useful for delay plug-
ins in economy tracks or when bouncing economy tracks. This option is also
recommended for all plug-ins that produce audio independently of their input.

Note: Continuous calculation takes place in the Hybrid Engine, even of empty or silent
tracks. This function may be deselected in the global performance options by checking the
option "Deactivation of empty or silent tracks for ASIO".
322 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

No automatic copying: This option prevents automatic copying of plug-ins when you split
or copy objects.

Load/Save patches/banks: Save an instrument's settings and sounds. The standard

formats for this are: *.fxp for patches or *.fxb for whole banks. Several instruments possess
their own patch/bank format. Settings are then loaded and saved directly via the
instrument's interface.

Set parameters randomly: Use this function to set all parameters of an instrument to a
random value. For synthesizers, this option can cause surprising results, and it provides
interesting results for sound design thanks to random generation of new sounds. Note,
however, that parameters may only be set when they are accessible via the interface. With
some very complex virtual synthesizers, e.g. modular systems, some parameters may not
be modifiable using this option. Note that due to the random placement of various
parameters, very extreme sounds may be generated. This may cause no sound to be
produced at all or extremely loud volumes and frequency ranges. For this reason, keep an
eye on the preview volume while experimenting with this function.

Automate next parameter: The next parameter which you change during playback will be
recorded via automation. You may also do this by holding "Ctrl + Alt" while clicking and
changing the parameters with the mouse.

Learn hardware controller: Activate this function to learn your hardware controller.

1. Grab and move the plug-in element that you want to learn
2. Move the element on the hardware controller you selected

Note:

The hardware controller element must have been learned in the hardware controller setup
beforehand and may not be empty.

Learned elements permanently modify the internal mode in the hardware controller setup.
Assignment is also available later for other projects.

Assignment may be cleared again via the "Restore modes" button beside the internal mode
in the hardware controller setup

Detailed information about adding hardware controllers is provided under "Hardware

controller -> Learn controller for plug-in/mixer elements (view page 372)"
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 323

Play and monitor instruments live

Monitoring
Use the following settings for live monitoring:

 ASIO driver ("File > Program Preferences > System/Audio > Audio system > Driver
system")
 Activate global record monitoring in the transport control ("Moni" button)
 Activate the track monitoring button (loudspeaker symbol)
 Software monitoring or Mixer monitoring ("Menu, File > Program preferences >
System/Audio > System options > Audio system > Monitoring Setup")

Tip: You can also select this monitoring mode by right clicking "Record monitoring" on the
transport control.

Latency: Please note that a system-dependent delay between pressing the key and
hearing the 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. To play in an
acceptable manner, we recommend a buffer size of max. 1024 samples. This corresponds
to 23ms at 44.1kHz. For many users, however, a latency of 3 ms, 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 via an virtual instrument is automatically compensated by Samplitude.

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 are
restrictions when recording VST instruments, according to the selected monitoring
settings.

Note: For monitoring effects during input, "Track FX monitoring" mode or "Mixer FX
monitoring/Hybrid Engine" must be activated.

Recording and playing back an instrument

An instrument is recorded in much 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 back already recorded MIDI tracks, track monitoring should be switched
off.

To be able to record MIDI data sent by a VST instrument in another track, activate the
"MIDI out" function in the plug-in panel menu for the respective track VST plug-in or VSTi.
This sends MIDI data from the VSTi.

By activating the option "VST MIDI out recording" for a track (right click the record
button), you can record all received VSTi MIDI out data in the corresponding track. Right
324 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

click on "REC" in the track editor and set a check next to the corresponding context menu
item.

You may record VSTi audio output for VSTi return tracks by activating recording in these
tracks.

If "MIDI thru" is activated, this signal can also be routed to another VSTi/VST-FX or external
MIDI device.

VST instrument preset selection

If an instrument has presets, these are displayed in the "Program slot" ("Prg") with their
internal name (if "MIDI" mode is activated).

This dropdown menu can be used to easily "step through" the presets of your instrument.
These presets may also be selected using the instrument window's "Program" menu.

If your MIDI input device can send "Program change" commands, you can also directly
select programs of this instrument. The program slot is automatically updated in the track
to provide an overview of the program at all times.

Sidechain Input
At the track and master level of a correspondingly equipped VST/MAGIX plug-in (e. g. am-
munition), as well as in advanced dynamics, you can activate the sidechain and specify one
or more of the previous tracks as the sidechain input(s). In the tracks or mixer channels
sought out as side chain signals the track name of the fed track appears in the AUX
section just above the send level.Internally, a side chain bus (AUX bus) is created.

Right clicking on the AUX send button selects this as "Side chain send".

The "Side Chain Solo" function bypasses the corresponding effect and only the input of
the side chain is played. When closing the plug-in dialog, the "Side chain solo" function is
reset.

The command "Sidechain filter" opens a parametric equalizer that may be used to edit
the sidechain signal.

Detailed information on the sidechain function can be found in "Effects -> Dynamics ->
Advanced dynamics -> Dynamic parameters (view page 611)".
 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE 325

Freezing VST instruments

To freeze an instrument, mark the instrument in the VSTi manager, and select the
"Freeze" option under "Functions". After a short processing time, all MIDI and audio
objects from the audio return track are replaced by a single 32-bit stereo audio object.

A frozen instrument will no longer be controlled by the track's MIDI files and can even be
deactivated, provided that it is not used by other MIDI tracks.

Select "Unfreeze" in the VSTi manager to change the original MIDI data at a later point. The
instrument returns to the state in which it was "frozen".

The "Freeze" function also works with single outputs. 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 played instead of the original instrument.

In order to avoid double playback of the data, manually deactivate the instrument's single
output in the frozen track.

Note: To edit freeze data, you cannot use the "Track freeze edit" function only, since there
is no MIDI data available on this track to be edited. Therefore, "unfreeze" the track and edit
the send track's MIDI data. You can then refreeze the track.

"Inactive" state for VST instruments and VST effects

Plug-ins may be completely deactivated to free memory space. When reactivating the
plug-ins the last state is restored in its entirety.

If you set VST plug-ins to "Inactive" by pressing "Shift + Alt + Click" in the plug-in slot of
the corresponding track, these plug-ins are completely removed from RAM. This way, no
more resources are used in conjunction with the hardware systems like "PowerCore" or
"UAD".

The instrument on this track will be deactivated and removed from the disk. The "frozen"
state of the instrument will be indicated using ** symbols on either side of its name.
326 SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE

ReWire Client Application

ReWire-compatible client applications (e.g. Propellerheads Reason) can be integrated into
Samplitude as synthesizers.

Activate ReWire functionality in the system options settings ("Y") under "Effects ->
VST/DirectX/ReWire". Afterwards, installed ReWire applications may be loaded as
instruments into a MIDI out slot in Samplitude. All ReWire client applications appear as
individual sections in the selection menu of the track's plug-in slot and are loaded as
software instruments (VSTi). The client application should always first be started after
launching Samplitude and closed again before Samplitude is ended. Some client
applications may be opened automatically by right clicking on their name in the MIDI out
slot.

The ReWire application may be controlled via MIDI, just like a software instrument. You
can set up the ReWire client's individual output signals according to the multi-channel
software instruments on multiple tracks. The client application runs, starts, and stops
synchronously to Samplitude's time position.

The "classic" MIDI channel for 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 of a MIDI object's events 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. However,
you may access the ReWire client across multiple tracks on various ReWire MIDI buses.

ReWire supports up to 4,096 MIDI buses. A ReWire client only registers the MIDI buses
that are actually available with the host (Samplitude). You can therefore select the bus
within the track in Samplitude's MIDI channel menu (e.g. the receiving instrument for
Reason).

Several ReWire clients may be opened directly via the host. If you start your client
application manually, this automatically detects the presence of a host application and
opens in a special client mode.

Detailed information is available in the section "Mixer -> Effects routing/Plug-ins dialog ->
VST/DirectX/ReWire setup plug-in buffer (view page 176)".
 AUTOMATION 327

Automation
Samplitude provides lots of comprehensive automation possibilities at master, track and
object level. You can enter automation movements on track and master level in realtime or
draw them manually in the automation track. The created automation data are visible as
controller movements in the channel or as a curve in the automation track. An unlimited
number of automation curves are available on each track. The volume automation curve is
set to +0 dB in the middle of the track. Upper track edge corresponds to +6 dB.

Select "Automation" from the menu or in the Track Editor by clicking on the appropriate
button, to determine whether track or object automation should be displayed.

Equally you can select an automation parameter, in the "Automation" menu, or by right
clicking on the Automation buttons in the Track Editor, which you can control with the
automation slider in the Track Editor.

Alternatively, you can draw in the curve of the selected parameter using the pen in
Automation Draw mode.

The following dynamics automation settings are available at track level: volume, panorama,
surround, AUX sends, EQs, and plug-in control elements and MIDI controllers.

At object level, you can automate the volume, AUX sends, and VST plug-ins.

At master level, you can automate the volume, EQs, VST plug-ins, and MIDI controllers.
328 AUTOMATION

Track automation - Basic procedures

Step 1: Select the track recording mode for creating automation curves for the individual
tracks/channels. You can select either "Touch", "Latch", "Overwrite", and "Trim" mode
for recording. "Overwrite" mode only applies to the last-activated automation curve, and
"Trim" mode is intended for volume automation.

2. 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 now displays an automation curve for this parameter.

You can also select the plug-in's parameter to be controlled by right clicking the
automation display in the Track Editor.
 AUTOMATION 329

3. To start recording automation, press "Play". Whatever changes you made to the
selected control element, will be recorded in real time during playback.

You can overwrite, edit and copy the automation data at any time. You can draw fine steps
in the curve if you hold down "Shift".

Note: If you want to move curve points which were already created and selected vertically
only, create a lock against horizontal movement by holding down "Shift". You can now
move the curve points vertically in 0.01 dB stages. You can deactivate the fine grid by
simultaneously holding down "Alt" in order to make rough changes.
330 AUTOMATION

Automation modes

The automation modes define how automation data should be saved or displayed. Set the
automation mode for each channel/track. By right clicking the automation button in the
mixer channel, different automation modes may be selected. Clicking this button toggles
between the last activated mode and "Read" mode.

Off mode
All automation functions are deactivated in "Off" mode, all previously written automation
sequences are ignored.

Read mode
All recorded automation parameters are played in "Read" mode. The automation button is
usually set to this state.

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. Automation
recording is stopped when you release the corresponding key. Once released, the control
element will move back to the previously recorded position. You can set the fader return
time in the "MIDI controller automation" dialog in "Settings -> Time constant for user
entry". The "MIDI controller automation" dialog can be accessed by right clicking the
automation button in the track editor.
 AUTOMATION 331

Latch mode
In "Latch" mode, automation files are written starting only from the first touch of the control
element or the external controller. As soon as the corresponding button is released, the
automation is written to the last value until playback ends or another mode is switched on.

Overwrite mode
In "Overwrite" mode, automation data is recorded right away, as soon as playback begins,
independent of whether the fader is moved or not. Automation is written until playback
ends or another mode is switched on. This way, you can quickly overwrite a previously
recorded automation curve.

This mode is available only for the currently active, selected curve.

Trim mode during playback

"Trim" mode produces a relative change of values during simultaneous playback for
existing volume automation.

Note: For other automation parameters, "Trim" mode during real-time drawing, just like
"Touch" mode (view page 330).

In Trim mode you can move pre-existing automation data. The channel's volume fader will
firstly be set -6dB, regardless of the value of the current automation data. The fader display
that shows the value relative to the changes (fader value box) will show the output value as
-0.0 dB.
332 AUTOMATION

When trimming a range, new automation points will be set at the range's edges. If you
move the fader for a relative volume adjustment during playback, the relative adjustments
will be displayed. You can see the current difference to the previously recorded value in the
fader value box as well as in the tool tip which appears.

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.

This mode is useful if you want to maintain the existing automation movements, or increase
or decrease the overall level.

In "Trim" 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 button, the automation recording stops. Once released, the control element will move
back to the previously recorded position.

You can set the fader return time in the "MIDI controller automation" dialog in "Settings -
> Time constant for user entry". The "MIDI controller automation" dialog can be
accessed by right clicking the automation button in the track editor.
 AUTOMATION 333

Trim mode with stopped playback

You can also make relative changes to all volume automation points within a certain area
when playback has been stopped.

Select a range for the respective volume events in the track and drag the channel fader in
"Trim" mode up or down. You can see the level adjustment difference value in the Tooltip
or Fader box.

Note: You can of course activate any number of automation points for all other Automation
curves (e. g. EQ, Panorama etc), by clicking whilst holding the Shift key, then change the
values of the selected Automation points, again by holding Shift.

Apply to all tracks

The option "Transfer to all tracks" applies the currently selected automation mode to all
tracks/channels.

Automate existing curves only

Select the option "Automate existing curves only" to apply the automation data to
existing automation curves only. This enables you to experiment with parameters that have
not been recorded yet, without having to write automation for these parameters directly.
This option should be removed once the new parameters are ready to be committed.
334 AUTOMATION

Object automation
At object level, you can automate the volume, AUX sends, and VST plug-in parameters.

To conduct the object-based automation, first select an object. Next, select "Show object
automation" from the automation context menu and select an automation parameter in
the lower section of the context menu. You can select object volume, object AUX sends, or
any VST plug-ins embedded in the object for automation.

Switch to automation draw mode

and draw the object-based parameter changes directly into the object with the pen tool.
 AUTOMATION 335

Master automation
Volume, EQs, VST plug-ins, and MIDI controllers may be automated on the master level.

The master section of the mixer also provides automation buttons for volume automation of
the stereo sum.

To make the master track visible in the arranger as well, right click the automation button in
the master channel. Select the option "Display master track in arranger". The arranger
will now feature a track outlined in blue and the name "Master". This track can also be
automated in the arranger.

The master track may also be made visible via the track manager in the arranger window:

Open the track manager via the "Manager" button, and place a check next to
"Arrangement" for the "Master" track name.

Automation – context menu

A number of options are available to open the automation context menu:

 Access the "Automation" menu item

 Right click the "Automation" button in the track editor
 Right click the automation controller in the track editor
 Right click the "Vol" button in the track box

The following functions are now available:

The first entry indicates which parameter has been automated, e.g. "Volume" or "Pan".
Checking the corresponding entry activates the corresponding automation curve. If an
element hasn't been automated, then "No effect (track)" appears.
336 AUTOMATION

Curve generator
The curve generator will create a volume curve for you that is beat based and pulses
according to eighth, quarter, half or full notes. You can enter a minimum and maximum
value or define delay values as an option for the beat-based envelope curve calculation.

The option "Create..." in the automation context menu opens a selection dialog to define
the shape of the automation curve more accurately.

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 saw-tooth
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 curve: 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.
 AUTOMATION 337

Create curve points in range only: If this option is selected, curve points will be
generated only in the area previously defined in the arranger.

Curve generator - options for envelope calculation (beat-based)

Limitation: Determine the minimum and maximum value of the envelope. Via Delay
Minimum/Maximum the basic forms can be altered further.

Shift moves the entire curve. This lets you create interesting off-beat effects.

Editing curves
Edit curve – Create
Opens the Curve generator (view page 335).

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.

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 – curve color

This command displays a color palette for you to specify the color of the active curve.

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.
338 AUTOMATION

Delete all curves

This command erases all automation curves on each track automation or each object
automation.

Track automation mode

Specify the track automation mode here. Detailed information about the automation modes
is available in the chapter "Automation -> Automation modes (view page 329)".

MIDI controllers
This launches the MIDI controller automation (view page 338) dialog.

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.

Display object automation

If you select this display option, only the object automation will be displayed for all tracks.

Display selected curves only

Views only the selected curves for the corresponding track. This helps keep an 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 unselected tracks (selectable)

The unselected curves are also shaded, but may now be activated with the mouse in
universal mode/curve editing mode/automations drawing mode.

The last section of the context menu lists the ranges that automation parameters are
available for when automating the corresponding track or the corresponding object.

Curve generator
This menu item opens the curve generator.
 AUTOMATION 339

MIDI controller automation

Automation/controller
For each track, you may also draw MIDI controller curves automatically and send them to a
VST plug-in or MIDI synthesizer over the track's MIDI output device. You can assign a MIDI
channel to each MIDI controller curve.

Open the MIDI controller dialog for the corresponding track by opening the context menu
(right click on the automation display in track editor), and then selecting the "MIDI controller
automation".

Shortcut: Ctrl + Alt + A

"MIDI controller name" or "Contr. no." selection menus for all available MIDI controllers for
the selected track. These MIDI controller slots may be set up individually for each track.

A MIDI controller may be assigned to a free slot in the name field according to the general
MIDI name specifications (e.g. volume, panorama, or LSB bank charge) or according to its
number (0-127) in the number list box.

If you select "MIDI controller (according to general MIDI nomenclature)", you will see the list
of controllers according to the GM standard in the "MIDI controller name" field selection
menu.

For the external C-console program, a pre-defined name list is also available for selection.

 MIDI controllers (sorted by numbers)

 MIDI controller (according to general MIDI designation)
 MIDI controllers for C-console
340 AUTOMATION

 Active: Switches the controller curve on/off

 Controller no.: MIDI controller selection
 Channel: MIDI channel to which the MIDI controller sends values
 Color: Color selection for each automation curve

By selecting the option "Record/update MIDI controller curves to this track during
playback", an automatic recording of selected MIDI controllers curves for this track takes
place.

To fill an already occupied automations slot, simply enter another controller name or
another controller number.

Delete an automations curve by selecting the topmost (empty) entry in the "MIDI controller
name" field.

Settings
Detailed information on automation curve settings and MIDI controller can be found under
"Automations/MIDI controller settings (view page 343)".
 AUTOMATION 341

VST plug-in/VST parameters dialog

All of the parameters that may be automated may also be selected and activated in the
VST plug-in's parameters dialog.

This allows automation to be recorded directly via the selected parameter controllers during
playback.

You can open the parameter dialog in the plug-in's menu via "Plug-in -> Parameter".

Detailed information about the VSTi parameter dialog is provided in the chapter
"Software/VST instruments -> Plug-in parameter dialog (view page 320)".

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.

"Draw" mode
Select "Draw automation curves" mode to draw automation curves for a parameter or a
MIDI controller.

Drawing track automation

First, select a control element in the track editor/mixer or VST plug-in using the key
combination "Ctrl + Alt".

Draw the automation curve for the selected parameters straight into the selected track
using the pencil tool.

To create an automation curve using the pencil tool, draw the corresponding automation
curve by dragging with the mouse cursor on any position within the track.
342 AUTOMATION

Drawing object automation

 Switch to "Object automation" mode in the track editor
 Right clicking the automation area in the track editor opens a context menu; the lower
section displays all available object automations. Select the desired automation
parameter (e.g. AUX Send 3). A dotted, inactive automation curve appears in the object
(hint: newly created, inactive "AUX send" curves are located on the lower edge of the
object).
 Next, draw the automation for the selected parameter in the selected object by holding
down the mouse button.

VST parameters are shown in % while drawing; volume and "AUX send" parameters are
displayed in dB.

More information about "Automation draw" mode is provided in "Screen elements ->
Toolbars -> Mouse mode bar -> Automation draw mode (view page 71)"

Edit automation curves

Besides the normal mouse (create or delete curve point), a special "Curve edit" mode or
"Object/curve" mode

or "Object/curve" mode

is provided.

In Curve edit mode, you may directly draw, move, and delete curves with a double click.
The mouse cursor switches between a hand or moving tool. If the mouse is not directly
above the curve, you may select an area of automation points using the calculation tool.

In Object/curve mode, you may also create new points on the curve, move, and delete
curves with a double click. If you move away from the curve using your mouse, you will
automatically switch to "Object" mode to move objects and edit the start & end position,
the fade-in & fade-out phases, and the object volume.

Detailed information about curve modes can be found in "Screen elements -> Toolbars ->
Mouse mode bar"
 AUTOMATION 343

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 want to move or copy curve points, follow the instructions above and
simply delete the objects once they have been 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/MIDI controller settings

In the "Automation curve" dialog ("Ctrl + Alt + A"), you will find an additional subdialog
"Settings" for configuring all automation settings. There is a range of "Global settings" that
affects all tracks equally.

MIDI resolution: Time constant (in milliseconds) for sending current controller data. When
starting playback, the controller data is transmitted after this time has elapsed if its value
changes (within the frame of 7 bit MIDI resolution). During playback, the MIDI controller
data is retrieved and sent to the respective MIDI device.

Time for entries by users: As soon as a controller curve is updated (i.e. new controller
data for this curve is received) previous data (of this curve) is no longer transmitted. If no
further data is transmitted, Samplitude transfers the original data after this time expires.

Note: This sets the fader return time for the write automation modes.

Visual refresh time: The frequency of redrawing can be adjusted using the "VIP refresh
time" input box.
344 AUTOMATION

VST automation resolution (samples): Time constant (in milliseconds) for sending current
controller values: when starting playback, the controller data is transferred after this time
has lapsed if its value changes (within the frame of 7 bit MIDI resolution). During playback,
the VST controller values are exported at this rate and sent to the corresponding VST plug-
in. During playback, the VST controller values are retrieved within this time gap and are
sent to the respective VST plug-in.

Send MIDI curve data: Activates or deactivates global transmission of MIDI controller
data.

Show received data automatically: The curves in the project window can be updated
automatically. The refresh rate can be adjusted via the "VIP refresh time" window.

Automatic track allocation of the new MIDI controller

Set to what extent new MIDI controllers should be automatically allocated to tracks here.

The following options are available:

 None
 Only tracks with "Recording/update MIDI controller" activated
 All tracks with the same input device
 Current track + MIDI channel (C-console mono tracks)
 Current track + MIDI channel (C-console stereo tracks)

Detailed information about the first tab of the dialog ("Automation/controller") is provided in
the section "MIDI controller automation (view page 338)" above.
 SYNCHRONIZATION 345

Synchronization
Synchronization is very important to an audio system, since it is necessary to align
playback and recording speeds of different system components. Synchronization enables
studio equipment such as tape machines, drum computers, video recorders, or
sequencers to be linked with different formats like MIDI clock, MIDI timecode, or SMPTE
timecode so that all of the devices run at precisely the same time.

Samplitude 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 receives the timecode 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 timecode. 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 timecode information (transport and progress) is
implemented correspondingly.

Synchronization formats
The synchronization format features slave device information about the start position, start
and stop signals and, in extended formats, the precise timing information, which are
continuously transmitted.

Samplitude understands and transmits the synchronization formats MIDI clock, MIDI
timecode (MTC), and SMPTE (Society of Motion Picture and Television Engineers).
346 SYNCHRONIZATION

MIDI Clock
The MIDI clock acts as a MIDI transmission clock consisting of system messages (F8H),
and its time reference is not based on hours, minutes, and seconds, but rather on "ticks".
One "tick" is the 24th part of a quarter note (24 ppqn [pulses per quarter note]) – MIDI
clock signals are therefore transmitted 24 times per quarter note. Since the MIDI clock is
based on the tempo as a reference, the number of ticks output depends on the tempo of
the generating device. The MIDI clock also does not transport any information concerning
where in the song the listener is located at any particular time.

Depending on the options the external MIDI devices provide for synchronization, start
(FAH), stop (FCH), and continue (FBH) signals are also transmitted. These parameters
ensure that the connected devices start via MIDI, stop at any point in the song, and that
they may be restarted at the stop position.

Depending on the device specification, the MIDI clock signal may also transmit the song
position pointer (SPP). This acts as a beat counter that provides the number of MIDI
beats that have been played back since the start. SPP is also sent all 6 ticks as system
exclusive data, which corresponds with a 1/16 note rhythm.

The song position pointer makes it possible to link the connected devices with a precision
of 1/16 notes at any position in the song.

Note: Look at the specifications of your external MIDI devices to learn which
synchronization parameters are supported. Samplitude is able to process MIDI clock
(F8H), start (FAH), stop (FCH), continue (FBH), and song position pointer (SPP).

MIDI clock synchronization is especially useful for synchronizing devices with ticks as a
time reference with Samplitude, e.g. external samplers or drum computer or if you want to
link LFOs or arpeggiators of multiple external synthesizers.

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.

MIDI Time Code (MTC)

MIDI Time Code (MTC) is an eight-digit format like SMPTE timecode that integrates an
absolute timecode (hours, minutes, seconds, and frames) as a synchronization reference.
MTC is transferred with other MIDI data via the MIDI interface and transmitted as system
messages or as universal system exclusive messages.

MIDI Time Code is especially useful for synchronization of multiple sequencers or DAWs.
 SYNCHRONIZATION 347

Note: To synchronize devices that output SMPTE Timecode with MTC, the SMPTE Code
is converted into MIDI Time Code first via an SMPTE to MTC Converter.

MIDI Machine Control (MMC)

This is a signal for controlling external controllers that support the MMC format. Samplitude
may also be remotely controlled via MMC commands from an external controller or mixer.

You can find out more about this is available under MIDI Machine Control (MMC) (view
page 351).

APP (ASIO Positioning Protocol)

The ASIO Positioning Protocol enables transmission of sample-exact time information from
a third device that is connected via a digital interface with the sound card. As a component
of the ASIO driver architecture, digital signal connections (SPDIF, ADAT) or special sound
card interfaces (LTC, Video Burst In) may also be used to transmit the ASIO Positioning
Protocol. This enables synchronization with SMPTE or MTC-equivalent timecode, without
requiring an additional MIDI connection. Samplitude is therefore able to follow the input
signal of an external source exactly.

Note: Inform yourself regarding about whether your audio device and the ASIO driver
support the APP protocol.
348 SYNCHRONIZATION

Synchronization setup dialog

The settings options for synchronization are available via the synchronization setup dialog.

Menu: File > Program preferences > Synchronization setup

Shortcut: Shift + G

This window is for customizing the synchronization according to your requirements. The
available formats are MIDI clock, MTC, APP, and SMPTE.

MIDI Clock
MIDI Clock Input
MC input active: Activate the input for the incoming MIDI clock signal by clicking this
check box.

Device: Select the device that should create the MIDI clock signal for synchronization.

BPM: Define the tempo that the MIDI clock should receive.

MIDI Clock Output

MC output active: This check box activates the output for the MIDI clock signal generated
by Samplitude.

Device: Select the device that should receive the MIDI clock signal for synchronization.

BPM: Define the tempo that the MIDI clock should receive.

VIP BPM: This check box defines the project speed set in Samplitude for the
synchronization project.
 SYNCHRONIZATION 349

MTC (MIDI Timecode)

MTC Input
MTC input active: This check box activates the input for the incoming MIDI Timecode
signal.

Device: Select the device that should create the MIDI timecode signal for synchronization.

MTC output
MTC output active: This check box activates the output for the MIDI timecode signal
generated by Samplitude.

Device: Select the device that the MIDI timecode signal should be sent to for
synchronization.

ASIO positioning protocol (APP) input

APP Input
APP input active: This check box activates the input for the incoming APP input signal.

Preroll time: In order to hinder problems during starting, you can set the preroll time at up
to 1500 milliseconds.

APP output
APP output active: This check box activates the output for the APP signal generated by
Samplitude. Please make sure that the APP output from the ASIO hardware is supported.

Information concerning the generation of SMPTE timecodes within Samplitude is presented

in the menu item "Effects -> SMPTE generator (view page 775)".

No automatic record stop in MTC input mode

If Samplitude is receiving MTC from an external device and the corresponding track is
ready to record, Samplitude will begin recording as soon as the external signal is recorded.
If sending of external synchronization signals stops, Samplitude will end recording and
enter into playback mode automatically. If timecode is received again, Samplitude will begin
playback. In any case, if you want Samplitude to record again when receiving MTC, then
activate this option.

MTC Output also in stop-status

If you select this option, Samplitude continuously sends the current time position as MTC –
even in case playback has stopped.
350 SYNCHRONIZATION

Chase lock sync - adapt speed by resampling

Samplitude supports real chase lock synchronization, i. e. audio playback can be
controlled by an incoming timecode signal. In this case not only the starting point of audio
playback is controlled externally, but sync also controls playback speed if "Chase Lock" is
activated. Samplitude is therefore capable of following analog tape devices or VCRs that
always feature some slip over longer periods.

If fluctuations in speed occur, Samplitude can make adjustments in slave mode that ensure
exact temporal synchronization. This function is called "chase lock". Use chase lock in
case a device involved in the synchronization cannot be clocked centrally via Blackburst,
Wordclock, or the digital input and Samplitude is the "slave". This is the case if the
timecode is located on a track featuring a multitrack machine.

Active: Activate chase lock synchronization by clicking this check box.

Sync Velocity: By entering the Sync Velocity you can influence the speed of the tempo
adjustment. The greater the sync velocity value, the faster Samplitude will follow master
device tempo changes; however, this also means that the pitch fluctuation in the audio
material is greater. The preset value for the sync velocity is 100; experiment with values
larger than 100 in case the synchronization does not run exactly.

Note: Please note that Samplitude will apply resampling to the recording in real time
according to the timecode fluctuations in case 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, then 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.

Use sample-accurate position: If this option is active, Samplitude uses the time position
of the sound card as the clock reference (timer) and not its own internal timer. This ensures
sample-exact synchronization between the recorded audio material and the sync signal.
 SYNCHRONIZATION 351

SMPTE settings
SMPTE-Offset: Specify an offset to be deducted from the incoming SMPTE time before
the time is used for synchronization. An offset of 01:00:00:00 (1 hour) therefore allows you
to synchronize a tape with an SMPTE code that starts at 1 hour. The SMPTE offset
behaves relative to the project start time (view page 33).

FX: This factor allows you to equalize possible irregularities with regard to positioning in
long samples. Perfect synchronization at the beginning of the sample is nevertheless a
prerequisite.

Preroll frames: Enter the number of frames that Samplitude 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 will now
synchronize at a valid time, since this startup time is able to be skipped according to the
set preroll frames.

Type: Select a suitable frame rate, e. g. 24 for video/movies, 25 for PAL video and audio
synchronization, 29.97 for NTSC video, and 30 for HDTV.

Synchronization - Samplitude as master

Samplitude supports MIDI Clock, MIDI Timecode, and APP Timecode output as a master.

Sync output is directly linked to audio playback so that no delays occur between
Samplitude and external devices, even with long tracks.

Note regarding linking Samplitude as the master:

 In this case, use a virtual MIDI router for linking the programs internally.
 Wherever possible, favor the MIDI Timecode synchronization with MIDI Clock, since this
does not need to include tempo changes.
 If Samplitude is running as the master, then set the FX factor to 1.0.
 For optimal synchronization stability, deactivate the virtual memory (if possible).
352 SYNCHRONIZATION

MIDI Machine Control (MMC)

MMC modes
In the project options, you will find a dialog for remote control via MIDI machine control.
Samplitude supports synchronization of external devices via MMC. The following modes
are available:

Receive MMC: If you have set up Samplitude to work as a slave, activate this option.
Samplitude follows JOG shuttle operations, cursor position, track mute, track solo, track
input monitoring, track record ready, play, stop, fast forward, rewind, and record
commands from external devices.

Send MMC: Samplitude operates as master. When you use commands like cursor
position, track mute, track solo, track input monitoring, track record ready, play, stop, fast
forward, rewind, and record, the external device follows. If you also activate the "Receive
MMC commands" option, Samplitude receives the current playback position of the device
and displays it as an additional blue cursor on the timeline.

While playing a range in Samplitude, the MMC device stops once the end of the range is
reached.

Transport window only controls external device

If you activate this option, the transport control no longer controls playback and record
directly within the program, but rather the external MMC device. Play, stop, fast forward,
fast rewind, and rewind no longer have a direct effect on playback in Samplitude. The
"Record" button starts recording in Samplitude in synchronization with the playback of the
MMC device.

Use spacebar to control external devices: If this option is activated, the MMC device's
start and stop commands are controlled with the spacebar.

More options
Input MIDI device: Set the MMC device which Samplitude receives.

Output MIDI device: Set the MMC device which Samplitude sends to.
 SYNCHRONIZATION 353

MMC input ID: Enter the Samplitude MMC input ID here.

MMC output ID: Enter the input ID of the MMC device to control remotely.

List of implemented MMC commands

Supported receive commands

Full frame
Locate 44
Play 02
Deferred play 03
Stop 01
Record pause 08
Pause 09
Record 06
Rewind 05
FFWD 04
Shuttle 47
VARIABLE PLAY 45
READ location 42 01
READ record status 42 4D
READ track record ready 42 4F
READ track record status 42 4E
WRITE track record ready 40 4F
READ motion control tally 42 48
READ track mute 42 62
READ track input monitoring 42 53
WRITE track mute 40 62
WRITE track input monitoring 40 53
354 SYNCHRONIZATION

MAGIX MMC extension

F0 7F <device_id> 06 6F <…> F7

Set marker 6F 01 New auto numbered marker

Navigate play cursor to 6F 02 n n = 00 to left marker
marker left/right n = 01 to right marker
Set all tracks RecRdy on/off 6F 03 n n = 00 off
n = 01 on
Set monitoring mode 6F 04 n n = 00 manual monitoring
n = 01 tape monitoring
Set input monitoring on/off 6F 05 n n = 00 off
n = 01 on
Set sync mode on/off 6F 06 n n = 00 off
n = 01 on
Set loop mode on/off 6F 07 n n = 00 off
n = 01 on
Set punch mode on/off 6F 08 n n = 00 off
n = 01 on

Send commands

Full frame
Locate 44
Stop 01 Transport control remote mode
Play 02 Transport control remote mode
Rewind 05 Transport control remote mode
VARIABLE PLAY 45 Transport control remote mode

Synchronization applications
Application 1. Synchronization using an external hardware sequencer. Samplitude is
the master.

To synchronize Samplitude with an external hardware sequencer (drum computer, groove

box, etc.), first select the type of synchronization. As these external devices usually use the
song's 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. The
same position of both synchronization units is thereby guaranteed.
 SYNCHRONIZATION 355

Important: The value of the MIDI song position pointer is limited to 1024 bars (4/4 beat).
After this, no further synchronization via MIDI clock is possible; connected slave devices
simply stop. In this case, connected slave devices remain still.

1. Make sure that your external hardware sequencer supports synchronization via MIDI
clock as slave.

2. Connect MIDI OUT of the master (MIDI OUT on the MIDI interface of the computer
running Samplitude) to the MIDI IN 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.

4. Open the synchronization window in Samplitude and activate the "MIDI clock output ->
MC output active" option.

5. Select the MIDI port that 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 VIP project (VIP BPM), but in
most cases it is sensible, since the bars in the Samplitude arranger window will correspond
with the bars of the hardware sequencer.

6. If you press play in Samplitude, the external device runs in sync with the tempo of your
VIP project.

Note: Please also observe that the "Transport window only controls external devices"
option must be deactivated if the device that is to be controlled cannot process MIDI
machine control data (MMC), since the transport keys neither control Samplitude nor the
external sequencer.

Application 2: MIDI Clock synchronization using an external device. Samplitude is

the slave.

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. Of course you can also set
Samplitude as slave, for example, if the main parts of a production are prepared using an
external hardware MIDI sequencer and Samplitude 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 can contain audio
files which might need adjusting. This is only possible with the "Chase lock sync (time
alignment by resampling) -> Active" function. If the timing of the master is inaccurate,
audible pitch fluctuations may occur.
356 SYNCHRONIZATION

Note: This function should only be used if a common word clock is not available If a
common word clock is available, synchronization variations will be created.

1. To synchronize via MIDI clock as slave, connect the MIDI OUT of the external
device to the MIDI IN of the MIDI port selected in the synchronization setup.

2. Now select "MC Input active" in "Synchronization/MIDI clock input" and enter the
tempo of the external sequencer.

Samplitude is now operating as a slave. Unlike many other hardware sequencers,

Samplitude 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 starts, too.

If "Chase lock sync" is active, the fluctuations Samplitude has to compensate are
displayed in the bottom right arranger window.

If your external sequencer is set to a different tempo than from Samplitude, 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 bars and results in clearly
audible pitch fluctuations. 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 is master .

Samplitude 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 BPM

entries. Rhythm and beat-dependent changes of tempo are therefore no longer a problem
within a project, since communication now takes place via time values. Division into hours
is possible according to the SMPTE code: 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 should be synchronized with audio data and not film, then the frame
rate can be set however you like. It's important that both of the systems to be
synchronized feature the same sample rate.

Preparing for synchronization:

The second software sequencer can be running on the same or on a different machine as
from Samplitude. If two sequencers are running parallel on one computer, make sure that
 SYNCHRONIZATION 357

the audio drivers being used permit simultaneous use of multiple sound card
outputs. Alternatively, you can also use two different audio interfaces.

During synchronization via the MIDI interface, note that a MIDI port that is opened by
the software cannot be used by other applications. To overcome this limitation, two MIDI
interfaces that have been connected may be used. It's more elegant to use a freeware
help program like "Hubis Loopback", "Marblesound Maple", or "MIDI Yoke". These
programs install virtual, open MIDI ports on a PC that may be "connected" freely with the
corresponding applications.

MIDI time code (MTC) synchronization using a second software sequencer.

Samplitude is master:

1. Start both programs first.

2. Now connect the MIDI output of the MIDI port used by Samplitude 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'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 independent of the second program being used. Now, activate the used
MIDI in-Port.

5. Ensure that the same frame rate is set for both systems.

6. Now start playback in Samplitude. The slave system will follow and be in sync with the
master.

Important: Always make sure that the sync start position of the slave system is identical
with the start position of Samplitude. If SMPTE sync start cannot be set for the other
sequencer, you can also enter the starting time of the other system in Samplitude in
"Synchronization -> SMPTE settings -> Offset".

Application 4: MIDI time code (MTC) synchronization using a second software

sequencer. Samplitude is slave.

This method is generally the same as in point 3. However, the master/slave setting has
to be reversed, i.e. MIDI OUT from the other sequencer to Samplitude's MIDI IN.
358 SYNCHRONIZATION

Media link/video setup

The integrated video engine allows video objects to be added to the first track. Various
video files like AVI, DV, MOV, MPEG, MXV may also be loaded. WMV or image files such
as BMP or JPEG may be loaded into the arranger window via drag & drop or via "File ->
Load/import -> Load video file".

Please ensure that the video files included in a project are identical in terms of dimension,
aspect ratio, and frame rate. If possible, use only videos that work only with keyframes and
without interframes (DiVX or MPEG are not very suitable).

The video soundtrack is loaded into the project, MPEG-2 sound is then converted into
WAV format.

Move or cut video objects just like all other objects, but no fades will be used. It is possible
to edit a video using source/destination cut commands.

When working with many single bitmap files, it is good to keep in mind that these will be
loaded completely into RAM and not successively read from the hard disk.

Right clicking the video object enables you to

 open the video setup dialog window

 show/hide the video window
 replace the video file
 move/shift the video object by entering values

Video options
Show video time stamp: This option opens the time stamp display in the video monitor.
You can choose for it to be displayed at the top, center, or at the bottom.

Video object drawing: The option "Show video thumbnails" displays thumbnails in the
video track in different resolutions. Improve system performance by deselecting the box to
shut off the video object display completely. The video file will continue to be played in the
 SYNCHRONIZATION 359

video monitor. VIP draw mode 2 ("Tab" key) may be used to display only the object start
and end frames.

Extract audio from video: This button extracts and converts audio files from an AVI file
into a wave file for insertion into the current project.

Replace audio in video: This option can be opened using the "Export video sound"
function to replace the existing audio track in an AVI video.

Playback offset: Set a positive or negative playback offset in this field.

Aspect ratio: Select an aspect ratio of either 4:3 or 16:9.

Large video cache: This option allows you to allocate more cache for the video clipboard.

Double frame rate for interlaced: This enables you to double the image repeat frequency
when interlacing so that videos can be viewed without any flickering.

Video overlay (hardware video output): "Video overlay" indicates that the graphics card
calculates the video display and the video picture is positioned on top of the actual
windows screen (overlay).
360 H ARDWARE CONTROLLER

Hardware Controller
Hardware controller - Introduction
Samplitude lets you easily control the software using external hardware controllers.
Templates (.cps files) for advanced controllers come supplied. The number of supported
devices is increased continually and they are adapted to the new devices that appear on
the market.

A MIDI interface is required to use a hardware controller. Please ensure that the program's
MIDI functions are not deactivated, (Menu, "File > Program Preferences > System options
> MIDI > Deactivate all MIDI functions") since they are necessary for addressing the MIDI
controllers.

The hardware controller setup contains four registers.

 Controller settings: Selects your controllers and assigns MIDI ports.

 Adjust controller: Learns or changes functions.
 Options: Carry out additional individual settings.
 Scale faders: Adjusts faders to the scales on the controller.

Hardware controller settings

Access the "Hardware Controller Setup" dialog by pressing "Y" on your keyboard. The
"System Options" dialog will open; click the "Hardware Controller" subcategory.

1. Click the "Add New" button in the controller settings. Select your controller or a
compatible device from the list. Pressing "Remove" or "Del" on your keyboard will
remove the selected controller. Save your individual configuration by clicking "Save
as".
2. Drag & drop to modify the order of controllers and their internal assignment. A
controller that appears beside another one corresponds to an expansion module.
Click the check box above the controller to activate/deactivate a controller
temporarily.
3. Select the MIDI In and MIDI Out ports that your controller is connected to on the
right.
4. Close the dialog. The controller is now operational.
 H ARDWARE CONTROLLER 361

Using multiple controllers, extenders, and multi-bank controllers

A maximum of four controllers may be positioned in the controller selection list. For
example, if you select a Mackie Control and want to add an extension to it, then just add a
Mackie control again. This will be added automatically directly below the first one. In this
case, the second controller is treated as the extension. Specify the correct MIDI ports for
this controller, too.

If the order of both devices is not correct, simply swap their positions via drag & drop or
change the MIDI ports.

If you wish to have both controllers working parallel and independently, drag them using
the mouse so that one is directly beneath the other in the list.

Activate EuCon: Activate this check box if you are working with a EuCon controller. The
connection may be updated at any time via the corresponding button.

Track count: 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, there are also controllers that have a native mode that is able
to learn several channels (64 max.). This value is 1 for single track controllers.

Output

Deactivate: If your controller does not have any motorized faders, you can use this option
to deactivate transmission of controller data.

Normal Send: Program data (e.g. mixer fader changes) are sent to the controller. MIDI
controller data is received and processed.

Send Echo: Program data (e.g. mixer fader changes) are sent to the controller. MIDI
controller data is received and processed and sent back to the controller. This is required
by the controller to update features such as LED displays and buttons. If your controller
has difficulties with this (e.g. Logic Control), activate "Normal Send".

Send Echo (without fader touch): Program data (e.g. mixer fader changes) are sent to
the controller. MIDI controller data is received and processed and sent back to the
controller. In this case however, the fader values are not returned when the faders are
moved (activated fader touch), but rather only the last value after the fader is released is
sent (in order to prevent increased data volumes). If your controller experiences difficulties
with this feature (e.g. Logic Control), then activate "Normal Send".
362 H ARDWARE CONTROLLER

Hardware controller – "Internal" mode

The internal modes are used to adapt to different hardware controllers which operate using
different concepts. Depending on the mode, the controller display is controlled differently
and Samplitude interprets the controller information differently. The effect is that a particular
physical control element controls different parameters in Samplitude, depending on the
internal operating mode.

The function "Learn hardware controller" in the mixer menu or in the menu for any
VST plug-ins (view page 372) enables these data structures to be manipulated. In this
case, the active operating mode may be changed so that it is able to function differently
than its preset. The changed data structures are saved accordingly and are immediately
available the next time the program is launched. This ensures that you are able to continue
working with the most recent settings.

To restore the original configuration, press the button "Restore modes".

Note: If you are using a hardware controller that is not listed in the hardware control setup,
then select one from the list that is most similar in concept and design.

Following internal modes (Mapping modes) are available:

Mackie Multitrack
Track

Press first time: Track mode

Press second time: Active control mode

 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

 H ARDWARE CONTROLLER 363

 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 AlphaTrack
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
364 H ARDWARE CONTROLLER

 Select track
 Select plug-in slot in the track with "Mixer track up/down" key

Now you can control 3 parameters of the corresponding plug-ins with the vpots. The
display page is toggled with the keys "Mixer track up/down".

Frontier Tranzport
Functions: For transport only

JLCooper (MCS)
Track

Press first time: Track mode

Press second time: Active control 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.

Presonus fader port

Active control

The currently active mixer element (recognizable by red highlighting) is controlled by the
first fader.

Mackie HUI
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)

 H ARDWARE CONTROLLER 365

Controls all AUX sends in the selected channel.

AUX [slots] (1 - 8) (Track AUX mode)

Controls AUX sends for the different tracks in the selected slot.

Customizing controllers
Most devices available on the market understand protocols such as Mackie Control or HUI.
If your device is not included in the list (view page 373), simply select the nearest
compatible device.

Note: Before adapting an existing template to your controller, save it under a new name via
"Save as..."

If you can't find your device in the list or want to change the default settings, you should
proceed as follows:

1. Open the "Customize controller" tab. The following dialog appears:

2. Use Mackie Control if the controller is able to emulate this mode. In this case, 7-bit
messages are transmitted. This is also visible in the MIDI input monitor. Pressing a button
displays a new line; another line is displayed upon release. HUI receives 14-bit messages,
i.e. two lines respectively.

3. In the mixer, which should be open at the same time, you can now select the element
you wish to program on your controller. The saved function is displayed in the section
"Program function", e. g. "Fader master" for the fader in the Samplitude mixer.
Alternatively, you may also open the context menu via "Program function". This contains a
list of all remotely controllable functions in Samplitude. The uppermost commands are
purely mixer functions and are suited solely for the controller connection. The lowermost
commands are illustrations of the complete Samplitude menu structure. You can use this
to assign each command from a menu to a controller key. Please note that when working
with menu commands, the key LEDs of the controllers remain inactive.
366 H ARDWARE CONTROLLER

Here are a few special learnable program functions:

 Mixer: Global track arming/mute/solo

 Mixer: Global FX mute button
 Mixer: Monitoring volume
 Mixer: Monitoring AFL/PFL button
 Mixer: Flip mode (exchange faders and vpots)
 Mixer -> Navigation: Learn AUX modes button for AUX1... AUXx
 Modifier: SHIFT lock (e. g. for JL-Cooper MCS-3800)

1. Select a program function via the context menu or by moving a mixer element.

2. Now move the fader or press the corresponding key on your controller. The MIDI data
for this element is displayed in the section "Latest MIDI data".

3. Press "Learn" and the new data will be assigned to the function in Samplitude.

Note: Hardware controllers with touch-sensitive faders send a message whenever they are
moved and released (FaderTouch). "Learning" must be activated before moving and
releasing a fader.

If you want to learn a key/fader for multiple tracks, e. g. mute, select the corresponding
function in "Program functions" (e. g. "Mixer -> Tracks -> Track mute"). Now activate
"Track -> Auto increase" and start programming the first track. After pressing "Learn",
the value of the track is automatically increased by "1". Simply move/activate the next
element on the controller and press "Learn" again.

Use the "Delete" button to remove assignment of a function.

If a controller moves in the wrong direction after programming it, repeat the programming
sequence and activate the "Invert vpots direction" option.

Last MIDI files: These fields display the last used MIDI files.

“Send MIDI message This function can be used to: send another MIDI message to the
controller for LED control.

MIDI messages that are sent by a hardware controller's control element are normally the
same messages used by the application to control the control element remotely. This may
be the position of a fader or a key's LED light, for example. There are also controllers that
expect different MIDI messages. These may be entered separately in the fields.

Control sends 14-bit message: Activate this button if the control element to be learned
sends two MIDI messages. HUI protocol does this, for example. There may be different
control elements on a single controller, in which case several send 7-bit messages while
others send 14-bit messages.

Endless: Activate this option if the control element to be learned sends relative movement
(e. g. dials to the right or left) - in contrast to absolute positions.
 H ARDWARE CONTROLLER 367

If a controller moves in the wrong direction after programming it, repeat the programming
sequence and activate the "Invert vpots direction" option.

Alternative controller dynamic: If a dial makes overly large 'jumps' when moved quickly
you can edit that here.

Don't send feedback: Regardless of the output mode, you can specify the controller
settings for each controller, e.g. if feedback should be prevented from returning to the
controller.

Status key: Controllers normally send a MIDI "IN" message when a key is pressed and
then a MIDI "OUT" message when the key is released. Some controllers send alternating
"IN" or "OUT" messages by pressing and releasing respectively. To be able to use keys in
this fashion, activate this message during MIDI learning.

MIDI monitor: The MIDI monitor can be opened using the button of the same name. It
displays all MIDI files, which are sent by the Hardware Controller Module to Samplitude. As
sources of sent MIDI files, Samplitude's MIDI Editor as well as activated plug-ins come into
consideration.

If you press the "Shift" key when clicking a button at the same time, the MIDI monitor will
remain open once you close the hardware controller settings.

If you click a button while holding down the "Ctrl" key, then you will be able to move the
MIDI monitor as an independent window freely on your monitor.

Of course, both modifiers ("Shift" + "Ctrl") may also be held down together to connect there
functions.

Modifier: Assigns modifier keys for the computer keys (Shift, Alt/Option, Ctrl/Control) to
execute special functions. Pressing the assigned modifiers will execute these special
functions.

The "Shift", "Option", and "Control" modifiers are available for hardware controllers. To be
able to use these modifiers, they will need to be learned first as program functions on the
hardware controller keys. To learn a function with modifiers to a key, you need to set the
368 H ARDWARE CONTROLLER

desired combination of modifiers in the modifier field. Of course, not all functions may be
used with modifiers.

Other learned functions: Learned functions are displayed clearly in a list. Click on an
entry in the display window and the setting will be transferred to the dialog element.
Individual changes may now be written over older entries by pressing "Learn".

Controller elements
The hardware controller elements featured in Samplitude provide additional options:

 Update locator at initialization

 Track monitoring is no longer coupled to record ready, but is rather individually learnable
 Optimize peak meter processing
 ActiveControl mode available for plug-in controls/VSTi
 On-the-fly mixer mapping also for buttons
 Hardware controller follows the mixer while scrolling in the mixer with "Ctrl" held down
 Controls and automation for plug-in parameters via vpots or faders
 Automation with endless controllers (with and without modifiers for Pan, AUX, and EQ)
 Automation button in "HUI" mode glow red when automation is being written or green
when automation is being read (controller-dependent)
 VPot controls with depressed "Shift" for gradual controller changes
 H ARDWARE CONTROLLER 369

Hardware controller options

Depending on the controller in question, received MIDI messages will be interpreted
differently. In the "Options" tab, adjust and individualize settings for different controllers and
operating methods.

Protocol: The protocol specifies a series of internal interpreting parameters. You may
select Mackie Control, HUI, JLCooper, and Tascam.

Display mode: Many controllers feature LCD displays which differ in size and number of
lines, and which also need to be controlled differently. For controllers without a display, you
can deactivate the display control. You may select Mackie Control, HUI, and JLCooper.

Locator mode: Several controllers possess a special display for the current time position
(locator). Locator mode may be set in the following display types: Off, Mackie Control, HUI,
and JLCooper.

Peak meter mode: Some controllers possess a special peak meter display. "Peak meter"
mode sets the way that the display is controlled. You may select Off, Mackie Control, HUI,
JLCooper, and Tascam.

Bank switch track number: A project in Samplitude can include more tracks than are
available to the controller. In this case, the controller only displays a section of the available
tracks. To change this section, change the channels or the bank. While switching channels
changes the section exactly to the track, a bank switch can jump several tracks.
Depending on the number of tracks on the controller and your preferred working style, you
may set different step intervals per bank.

MIDI ping to controller: Most controllers expect a periodic incoming MIDI message (ping)
to ensure that there is communication with the application. Different messages may also
change a controller's operating modes. Enter the message to be sent to the controller.

MIDI ping from controller: As a response to ping messages, controllers usually send a
ping message. So that no confusion results, you may enter these explicitly so that they may
be ignored by the application.
370 H ARDWARE CONTROLLER

Display interval (ms): Display control occurs in certain time intervals and not continuously.
This limits the amount of display information. A small interval accelerates the display on the
controller, but enlarges the amount of MIDI data that needs to be transferred.

Locator interval (ms): Locator display control also takes place in intervals. If the time
position within an interval changes, only the current value is sent to the controller after it
expires. Reduce this interval and the locator display will react more directly.

AnySolo LED: Some controllers possess an LED which indicates that at least one track in
the project has an active "solo" function. Since no button belongs to this LED and it is not
learnable, you may set the corresponding MIDI message here.

Manual hardware ID: To activate "Mackie Control" display mode, an additional parameter
is necessary: the hardware ID. This may be automatically queried with new firmware
versions or entered manually.

Query hardware ID: Activate or deactivate the automatic hardware ID query. Deactivate
this function if you aren't using the "Mackie Control" display mode. This helps to avoid
incorrect interpretation of the query message.

Ignore SysX input data: SysX data sent from the controller won't be processed by the
application.

Don't send SysEx: Samplitude sends different messages via SysEx. What is sent exactly
depends on the selected display mode, locator mode, etc. If problems occur with SysEx
messages while using a controller, then you can use this to stop sending these messages
to the hardware controller.

Fader touch activates track: This option activates the track that belongs to the fader
when a touch-sensitive fader is used.

No fader update after release for motorized faders: When you move touch-sensitive
faders, the fader messages to the controller are normally ignored by the controller.
However, after release, the controller requires a positioning message. If this isn't sent, the
fader will reset to its last position before being moved. Some controllers don't require this
new position message. They jump to the new position from the old message to the new
one first. To avoid this, deactivate sending of new positions.

The following options concern the synchronization between controller range, mixer
range, and the active track. The controller range describes the section of available tracks
in a project which can be controlled by the controller. The mixer range is the section of
available tracks in the project that can be controlled by Samplitude's mixer.

Controller range follows active track: If this option is active, then the controller range is
adjusted if the active track is changed so that the active track lies within the controller
range.

Controller area follows controller range: If this option is active, a track within the
controller range is activated when the controller range is changed. The track next to the
previously activated track is also activated.
 H ARDWARE CONTROLLER 371

Mixer range follows controller range: If this option is active, changes to the controller
range at the start of the mixer will be adjusted to the start of the controller range.

Mixer range follows controller range when active track is changed: This option is only
sensible when "Controller range follows active track" is active. If a track outside of the
controller range is active, then the controller range will be adjusted to it. These changes to
the controller range readjust the mixer range.

Note: If you scroll through the mixer and simultaneously hold "Shift", the beginning of the
controller range will be adjusted to the start of the mixer range.

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.

Control assignment display: Some controllers possess an additional display field for
showing the current operational mode (track, EQ, AUX, etc.). If a controller does not such a
display field, then deactivate control the display field so that control commands don't
incorrectly influence other controller elements. This option updates Samplitude's
automation modes optimally.

Control fader LEDs: Some controllers possess LED displays that are assigned to the
dials. These can be used for visual display of the current parameter controlled by the dial.
For controllers without LED displays, you can deactivate the display control.

Process messages with dialogs open: Normally, when hardware controller dialogs are
open, MIDI messages are no longer processed to avoid unwanted changes. In some
situations, adjusting or programming a controller requires that controller messages are able
to be responded to. In this case, you can activate incoming messages while dialogs are
open. It's a good idea to deactivate this option again once the controller is adjusted.

Hardware controller - fader scaling

Fader scaling offers you the option to adjust the position of the fader in the program to the
pressed scale of the controller. Of course, fader control also functions without this
adjustment. Control via a hardware controller can occur within a range of +6 dB to -100
dB. Normally, the fader position is right at the top for +6 dB and all the way down at -100
dB.

To set up new scaling, take the following steps:

372 H ARDWARE CONTROLLER

1. Delete all previous entries. Click on the entry in the list and then press "Delete scale
entry".

2. Enter the value "6" into the "Scale entries on controller" and move the fader all the way
up (to the scale value +6 dB). Next, click "Set scale entry" to set the new entry.

3. Move the fader all the way down and enter the value "-100" into the "Scale entries on
controller". Click "Set scale entry" again.

4. Insert additional scale positions (e.g. -10,-20, -40, etc.) in the same way.

To test if the scale matches, close the dialog with okay and compare the controller's fader
positions with fader positions in the program mixer. Additional scale values may also be
added later. To change a value, delete the previously learned value first.

Learn controller for plug-in/mixer elements

The respective active mode may be adjusted for individual settings. The mixer's system
menu features the entry "Learn hardware controller" for this. Right click the icon in the
title bar in the mixer to open this function.

Click the command "Learn hardware controller", activate a mixer element with the
mouse, and then move the desired control element on the controller. The control element
will now control the assigned mixer element. This assignment only changes the mode
active at this time. This makes is possible to use controller elements that have been learned
in the hardware controller dialog.
 H ARDWARE CONTROLLER 373

The plug-ins menus also include the entry "Learn hardware controller". The plug-in
parameters may also be learned for a controller in the same way.

The changes made remain available until either "Restore modes" is clicked in the
hardware controller dialog or until a change is made in the hardware controller dialog
settings.

Here are the instructions for learning a controller:

1. Click the desired plug-in/mixer element or move it

2. Move the selected element on the hardware controller

Pay attention to the following:

 The hardware controller element must have been learned in the hardware controller
setup beforehand and may not be empty.
 Learned elements permanently modify the internal mode. Assignment is also available
later for other projects.
 Assignment may be cleared again via the "Restore modes" button beside the internal
mode.
374 H ARDWARE CONTROLLER

Hardware controller presets

The following list features the most important presets for hardware controllers and
integrating/configuring devices.

Artist Mix

1. Close your controller (according to manufacturer's instructions) and install the required
driver software.

2. Go to system options/Hardware controller and select "activate EUCON".

3. Close the dialog. Your controller is now ready to use.

 H ARDWARE CONTROLLER 375

Controller configuration

Track area:

Control element Function Shift function

SEL 1 ~ 8
ON 1 ~ 8
DIAL 1~8 Panorama
SOLO 1 ~ 8 Track solo
ON 1 ~ 8 Track is on (inverted mute)
RTZ Cursor at project start
PREV Previous marker
NEXT Next marker
REW Fast rewind
FF Fast forward
Stop Stop
PLAY Playback
REC Recording
FADER 1 ~ 8 Track volume
AUTO Track record Track automation
REC N
ASSIGN Track selection Track arrange using
SEL Y EuControl
376 H ARDWARE CONTROLLER

Navigation:

Control element Function Shift function

TOP Return from a subpage Return to upper most
BACK page
< PAGE Parameter page to the left
e.g. in channel editing mode, AUX or
Inserts
PAGE > Parameter page to the right
e.g. in channel editing mode, AUX or
Inserts
FLIP Channel editing mode (Phat- Flip mode:
CHAN Channel) KNOBS and FADERS
swap functions
INPUT Plug-in mode
INSERTS
DYN EQ mode
EQ
GROUP AUX mode
AUX
MIX Pan mode
PAN
SHIFT Shift key

MIXER Controller track 1 to the left Mixer

< NUDGE
CLOSE Controller track 1 to the right Close application
NUDGE >
HOME Controller track 8 to the left View goes to track 1
< BANK
END Controller track 8 to the right View goes to last track
BANK >
WORKSTATION Switch the current Windows Workstation switch
APPLICATION application

Observations:

The modes INPUT, DYN, GROUP and MIX are not available in the software.
 H ARDWARE CONTROLLER 377

Artist Control

1. Close your controller (according to manufacturer's instructions) and install the required
driver software.

2. In case the files Sam.xml or Sequoia.xml don't exist in the driver software
programs\Euphonics\EuCon\SQRL copy and paste it here from the folder program
directory/Customize.

3. Go to system options/Hardware controller and select "activate EUCON".

4. Close the dialog. Your controller is now ready to use.

Controller configuration

Track area:

Control element Function Shift function

SOLO 1 ~ 4 Track solo
ON 1 ~ 4 Track is on (inverted mute)
FADER 1 ~ 4 Track volume
AUTO Track record Track automation
REC N
ASSIGN Track selection Track arrange using EuControl
SEL Y
HOME SOFT KEYS upwards SOFT KEYS to first page
SOFT KEYS

END SOFT KEYS downwards SOFT KEYS to last page

SOFT KEYS
378 H ARDWARE CONTROLLER

Display range:

Control element Function Shift function

DIAL 1~8 Function independent of view
SOFT KEYS 1 ~ 12 Function independent of view

Navigation:

Control element Function Shift function

MONITOR Monitor volume Solo-Bus volume
CONTROL ROOM
TOP Return from a subpage Return to upper most page
BACK
WORKSTATION Switch the current Windows Workstation switch
APPLICATION application
< PAGE Parameter page to the left
e.g. in channel editing mode, AUX or
Inserts
PAGE > Parameter page to the right
e.g. in channel editing mode, AUX or
Inserts
MIXER Controller track 1 to the left Mixer
< NUDGE
CLOSE Controller track 1 to the right Close application
NUDGE >
HOME Controller track 8 to the left View goes to track 1
< BANK
END Controller track 8 to the right View goes to last track
BANK >
REC Recording
PLAY Playback
Stop Stop
FF Fast forward
REW Fast rewind
SHUTTLE Positioning Scrubbing
JOG
VERTICAL ZOOM
HORIZONTAL ZOOM
SHIFT Shift key

Observations:

The modes INPUT, DYN, GROUP and MIX are not available in the software.
 H ARDWARE CONTROLLER 379

Artist Transport
1. Close your controller (according to manufacturer's instructions) and install the required
driver software.

2. In case the files Sam.xml or Sequoia.xml don't exist in the driver software
programs\Euphonics\EuCon\SQRL copy and paste it here from the folder program
directory/Customize.

3. Go to system options/Hardware controller and select "activate EUCON".

4. Close the dialog. Your controller is now ready to use.

Controller configuration

Copy Sam.xml or Sequoia.xml

Control element Function Shift function

SOFT KEY 1 Jog
SOFT KEY 2 Scrub
SOFT KEY 3 Loop mode
SOFT KEY 4 Metronome
SOFT KEY 5 Sync
SOFT KEY 6 Position input
Apply using ENTER
Abort using *
Numeric key (0 ~ 9) Number input
-
+
. Decimal place
* ESC/Cancel
Enter Enter
TRANSPORT KEY 1 Cursor at project start
TRANSPORT KEY 2 Fast rewind
TRANSPORT KEY 3 Fast forward
TRANSPORT KEY 4 Stop
TRANSPORT KEY 5 Playback
TRANSPORT KEY 6 Record
TRANSPORT KEY 7 Loop mode
WORKSTATION Switch the current Windows Workstation switch
APPLICATION application
SHIFT Shift key
380 H ARDWARE CONTROLLER

Frontier AlphaTrack
 H ARDWARE CONTROLLER 381

1. AlphaTrack is supported in "Native" mode. Right clicking the AlphaTrack symbol in the
toolbar switches the device to AlphaTrack Native.

2. Go to Samplitude/Sequoia's system settings/hardware controller and select

AlphaTrack using the New button.
3. Next, set the right side of the MIDI port to AlphaTrack.
4. Close the dialog. The controller is now operational.

Controller configuration

Control element Function SHIFT- SHIFT - Function

Label
FADER Track volume
ANY SOLO (LED) Indicates, that at least one
track in the arrangement is
switched to SOLO
AUTO WRITE
(LED)
AUTO READ
(LED)
REC Record track Monitor track
SOLO Solo track Global solo
MUTE Mute track Global mute

SHIFT Shift
PAN Press first time: Pan mode
Press second time: 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
< TRACK Previous track IN Punch start marker
> TRACK Next track OUT Punch end marker
382 H ARDWARE CONTROLLER

LOOP Loop mode PUNCH Punch marker mode

FLIP Mixer WINDOW Delete punch marker
<< Fast rewind RTZ Cursor at project start
>> Fast forward END Cursor at project end
STOP Stop Esc Cancel
PLAY Play Enter Enter
RECORD Record Mode
TOUCHPAD Positioning
Foot switch Record

Special modes

Mode Control element Rotate Press

Pan mode DIAL 1 Track selection

DIAL 2 To the marker Set marker

DIAL 3 PAN Reset pan

ACTIVE FADER
CONTROL (controls the active element in the
MODE mixer, track editor, or plug-in that
must be selected with the mouse
beforehand)
DIAL 1 PAN
DIAL 2 PAN
DIAL 3 PAN

AUX mode DIAL 1 Track selection

DIAL 2 AUX level
DIAL 3 AUX selection

EQ mode DIAL 1 Level

DIAL 2 Frequency
DIAL 3 quality
< TRACK Previous
EQ band
> TRACK Next
EQ band
Plug-in mode DIAL 1 Track selection
Plug-in slot
selection
DIAL 2
DIAL 3 Slot selection
< TRACK Select plug-in
 H ARDWARE CONTROLLER 383

> TRACK Select plug-in

Plug-in parameter DIAL 1 Change
parameters
DIAL 2 Change
parameters
DIAL 3 Change
parameters
< TRACK Previous
parameters
> TRACK Next parameters
Frontier TranzPort
384 H ARDWARE CONTROLLER

1. TranzPort is supported in "Native" mode. By right clicking the TranzPort symbol in the
toolbar, you will switch the device to TranzPort Native.

2. Go to Samplitude/Sequoia's system settings/hardware controller and select the

Frontier TranzPort (Native) entry from the list via the New button.
3. Next, set the right side of the MIDI port to TranzPort.
4. Close the dialog. The controller is now operational.

Controller configuration

Control element Function SHIFT - Function

< TRACK Previous track

> TRACK Next track
REC Record track Monitor track
MUTE Mute track Global mute
SOLO Solo track 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 Cursor at project start
>> Fast forward Cursor at project end
STOP Stop Cancel
PLAY Play Enter
RECORD Record
DATA WHEEL Positioning Track volume
DATA WHEEL + Selected range
STOP
Foot switch Record
 H ARDWARE CONTROLLER 385

JLCooper MCS-3800

1. Go to Samplitude/Sequoia's system settings/hardware controller and select the

"JLCooper MCS-3800 (Native)" entry from the list using the "New" button.

2. Now set up the MIDI ports with the corresponding in and outputs of your MIDI interface
on the right side.

3. Close the dialog. The controller is now operational.

Controller configuration

Track range
Control element Function Modifier Modifier function

SELECT 1~8 Select track

AUX 1~8 Record track SHIFT Track monitoring 1~8
(ASIO only)
SOLO 1~8 Solo track
MUTE 1~8 Mute track SHIFT Track automation
FADER 1~8 Track volume
(with fadertouch)
386 H ARDWARE CONTROLLER

Navigation
Control element Function

Cursor left Mixer track 1 to the left

Cursor right Mixer track 1 to the right
Cursor up Mixer track 8 to the right
Cursor down Mixer track 8 to the left

Area to view
Control element Function

PAGE 1 Track mode (see special modes)

PAGE 2 AUX mode (see special modes)
PAGE 3 EQ mode (see special modes)
PAGE 4 Active control mode (see special modes)
PAGE 5
PAGE 6
PAGE 7
PAGE 8
BANK 1 Mixer
BANK 2 Transport console
BANK 3 Time display
BANK 4 Video window
DIAL 1~5 Change parameters

Functions window
Control element Function
F1 Punch marker mode
F2 Loop
F3 Metronome
F4 Synchronization
F5
F6
F7
F8
SHIFT Shift
 H ARDWARE CONTROLLER 387

Mode range
Control element Function Modifier Modifier function

M1 Read automation Shift Automation off

M2 Touch automation
M3 Latch automation
M4 Overwrite automation
M5 Trim automation

Shuttle range
Control element Function Modifier Modifier function

Shuttle wheel Positioning W1 Scrubbing

Rotation ring
W1 Scrub mode
W2 Punch start marker
W3 Punch end marker
W4 Delete punch marker
W5
W6
W7

Locator range
Control element Function

LOCATOR Entry position:

numbers Apply using ENTER or PLAY
(0 ~ 9) Abort using STOP
Enter Apply position
CLEAR / CANCEL Erase single digits
+/-
LAST
SET LOCATE
MODE LOCATE

Transport range
Control element Function

REWIND Fast rewind

FAST FORWARD Fast forward
STOP Stop
PLAY Play
RECORD Record
388 H ARDWARE CONTROLLER

Special modes

Mode Control element Function

Track mode DIAL 1

DIAL 2
DIAL 3
DIAL 4 Track pan
DIAL 5 To the marker

AUX mode DIAL 1 AUX level

DIAL 2 AUX level
DIAL 3 AUX level
DIAL 4 AUX level
DIAL 5 Selection AUX range

EQ mode DIAL 1 Level EQ band 1

DIAL 2 Frequency EQ band
DIAL 3 Quality EQ band
DIAL 4
DIAL 5 Band selection

Active control FADER TRACK 1

mode (controls the active element in the mixer,
track editor, or plug-in that must be
selected with the mouse beforehand)

Notes

In "Shift" mode, the LED buttons will not refresh for the commands learned in "Shift" mode.

LEDs for Bank3 (time information) and Bank 4 (video window) are inactive.

Plug-in controls are inactive.

 H ARDWARE CONTROLLER 389

Logic Control
1. Go to Samplitude/Sequoia's system settings/hardware controller and select Logic
Control from the list via the New button.
2. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface
on the right side.
3. Close the dialog. The controller is now operational.

Controller configuration

TRACKS
Control element Function Modifier Modifier function

DIAL 1~8 Pan; Eq; Aux

(see special modes)
REC/RDY 1~8 Activate track SHIFT Monitor track
SOLO 1~8 Solo track
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
390 H ARDWARE CONTROLLER

FADER BANKS
Control element Function

< 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: Invert functions of dials and faders
GLOBAL VIEW Mixer

DISPLAY
Control element Function

NAME/VALUE
SMTP/BEATS Timecode switch
 H ARDWARE CONTROLLER 391

FUNCTION BUTTONS
Control element Function Modifier Modifier function

F1 Set / jump to SHIFT Move marker 1

marker 1 CNTRL Delete marker 1
F2 Set / jump to SHIFT Move marker 2
marker 2 CNTRL Delete marker 2
F3 Set / jump to SHIFT Move marker 3
marker 3 CNTRL Delete marker 3
F4 Set / jump to SHIFT Move marker 4
marker 4 CNTRL Delete marker 4
F5 Set / jump to SHIFT Move marker 5
marker 5 CNTRL Delete marker 5
F6 Set / jump to SHIFT Move marker 6
marker 6 CNTRL Delete marker 6
F7 Set / jump to SHIFT Move marker 7
marker 7 CNTRL Delete marker 7
F8 Set / jump to SHIFT Move marker 8
marker 8 CNTRL Delete marker 8

GLOBAL VIEW
Control element Function

MIDI TRACKS
INPUTS
AUDIO TRACKS
AUDIO
INSTRUMENT
AUX
BUSSES Select previous object
OUTPUTS Select next object
USER Crossfade Editor

MODIFIERS
Control element Function

SHIFT Control
OPTION Option
CONTROL
# / ALT Shift
392 H ARDWARE CONTROLLER

AUTOMATION
Control element Function Modifier Modifier function

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
Control element Function Modifier Modifier function

SAVE Save
UNDO Undo SHIFT Repeat
CANCEL Cancel
Enter Enter
 H ARDWARE CONTROLLER 393

TRANSPORT
Control element Function Modifier Modifier function

MARKER Marker mode

(see table 2)
NUDGE Object mode
(see table 2)
CYCLE Loop mode
DROP Punch marker mode
REPLACE Synchronization
CLICK Metronome
SOLO Activate LCD meter by
holding "F1", "F2", "F3", or
"F4"
REWIND Fast rewind SHIFT Cursor at project start
FAST FWD Fast forward SHIFT Cursor at project end
STOP Stop
PLAY Play
RECORD Record
Cursor left Range to left ZOOM Horizontal project zoom (-
)
Cursor right Clip to 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
SCRUB Scrub mode
Shuttle wheel Positioning SCRUB Scrubbing

Special modes

Mode Control element Rotate Press

Track mode DIAL 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 DIAL PAN Reset
EQ mode DIAL 1 Level EQ band 1
DIAL 2 Level EQ band 2
DIAL 3 Level EQ band 3
394 H ARDWARE CONTROLLER

DIAL 4 Level EQ band 4

DIAL 5 Frequency EQ band 1
DIAL 6 Frequency EQ band 2
DIAL 7 Frequency EQ band 3
DIAL 8 Frequency EQ band 4
AUX mode DIAL 1~8 AUX level
AUX 1~8
selectable using
BANK
AUX mode (phat
channel)
depending on
selected track DIAL 1 AUX 1 level
DIAL 2 AUX 2 level
DIAL 3 AUX 3 level
DIAL 4 AUX 4 level
DIAL 5 AUX 5 level
DIAL 6 AUX 6 level
DIAL 7
DIAL 8
Plug-in mode DIAL 1~8 Select plug-in
Plug-in parameter DIAL 1~8 Change parameters
< BANK Previous parameters
BANK > Next parameters
Marker mode REWIND Previous marker
FAST FWD Next marker
Object mode REWIND Previous object
FAST FWD Next object

Note:

Crossfade editor (only Sequoia): Controller operation is inactive.

Logic Control XT
1. Go to Samplitude/Sequoia's system settings/hardware controller and select Logic
Control XT from the list via the New button.
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 appear as follows
 H ARDWARE CONTROLLER 395

3. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface
on the right side.
4. Close the dialog. The controller is now operational.

The functions correspond with the Logic Control.

Note: The number of tracks to be jumped when a bank is switched may be altered via the
program's hardware controller setup options. These settings are available via Logic
Control.

Mackie Control
1. Go to Samplitude/Sequoia's system settings/hardware controller and select "Mackie
Control" from the list via the "New" button.
2. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface
on the right side.
3. Close the dialog. The controller is now operational.

Controller configuration

TRACKS
Control element Function Modifier Modifier function

DIAL 1~8 Pan; Eq; Aux

(see special modes)
REC/RDY 1~8 Activate track SHIFT Monitor track
SOLO 1~8 Solo track
MUTE 1~8 Mute track
SELECT 1~8 Select track
FADER 1~8 Track volume
(with fadertouch)
MASTER FADER Master volume
396 H ARDWARE CONTROLLER

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 Pan mode
(see special modes)
Plug-ins Plug-in mode
(see special modes)
EQ EQ mode
(see special modes)
DYN

FADER BANKS
Control element Function

< 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: Invert functions of dials and faders
EDIT Mixer

DISPLAY
Control element Function

NAME/VALUE
SMTP/BEATS Timecode switch
 H ARDWARE CONTROLLER 397

FUNCTION BUTTONS
Control element Function Modifier Modifier function

F1 Set / jump to marker 1 SHIFT Move marker 1

CNTRL Delete marker 1
F2 Set / jump to marker 2 SHIFT Move marker 2
CNTRL Delete marker 2
F3 Set / jump to marker 3 SHIFT Move marker 3
CNTRL Delete marker 3
F4 Set / jump to marker 4 SHIFT Move marker 4
CNTRL Delete marker 4
F5 Set / jump to marker 5 SHIFT Move marker 5
CNTRL Delete marker 5
F6 Set / jump to marker 6 SHIFT Move marker 6
CNTRL Delete marker 6
F7 Set / jump to marker 7 SHIFT Move marker 7
CNTRL Delete marker 7
F8 Set / jump to marker 8 SHIFT Move marker 8
CNTRL Delete marker 8
F9~F13
F14 Select previous object

F15 Select next object

F16 Crossfade Editor

MODIFIERS
Control element Function

CNTRL Control
OPT Option
SNAPSHOT
SHIFT Shift

AUTOMATION
Control element Function Modifier Modifier function

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
398 H ARDWARE CONTROLLER

FUNCTIONS
Control element Function

FDR GRP Cancel

CLR SOLO Enter
MRKR
MIXR Save

TRANSPORT
Control element Function Modifier Modifier function

< 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 Cursor at project start
FAST FWD Fast forward SHIFT Cursor at project end
STOP Stop
PLAY Play
RECORD Record
Cursor left Range to left ZOOM Horizontal project zoom
(-)
Cursor right Clip to 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
SCRUB Scrub mode
Shuttle wheel Positioning SCRUB Scrubbing
 H ARDWARE CONTROLLER 399

Special modes

Mode Control element Rotate Press

Track mode DIAL 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 DIAL PAN Reset
EQ mode DIAL 1 Level EQ band 1
DIAL 2 Level EQ band 2
DIAL 3 Level EQ band 3
DIAL 4 Level EQ band 4
DIAL 5 Frequency EQ band 1
DIAL 6 Frequency EQ band 2
DIAL 7 Frequency EQ band 3
DIAL 8 Frequency EQ band 4
AUX mode DIAL 1~8 AUX level
AUX 1~8
selectable using
BANK
AUX mode (phat
channel)
depending on
selected track DIAL 1 AUX 1 level
DIAL 2 AUX 2 level
DIAL 3 AUX 3 level
DIAL 4 AUX 4 level
DIAL 5 AUX 5 level
DIAL 6 AUX 6 level
DIAL 7
DIAL 8
Plug-in mode DIAL 1~8 Select plug-in
Plug-in parameter DIAL 1~8 Change parameters
< BANK Previous parameters
BANK > Next parameters
Marker mode REWIND Previous marker
FAST FWD Next marker
400 H ARDWARE CONTROLLER

Object mode REWIND Previous object

FAST FWD Next object

Note:

All statements refer to MCU firmware 2.1.2

Crossfade editor (only Sequoia): Controller operation is inactive.

Mackie Control XT
1. Go to Samplitude/Sequoia's system settings/hardware controller and select Mackie
Control XT from the list via the New button.
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 appear as follows

3. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface
on the right side.
4. Close the dialog. The controller is now operational.

Functional assignment can be referenced in the chapter "Mackie Control".

Note: The number of tracks to be jumped when a bank switch is pressed may be changed
in the program's hardware controller setup options. These settings are available in Mackie
Control.
 H ARDWARE CONTROLLER 401

PreSonus FaderPort

1. Go to Samplitude/Sequoia's system settings/hardware controller and select the

"PreSonus FaderPort (Native)" entry from the list using the "New" button.

2. Next, set the MIDI ports on the right side to USB audio device.

3. Close the dialog. Your controller is now ready to use.

402 H ARDWARE CONTROLLER

Controller configuration

Control Function SHIFT Value control SHIFT - Return

element labeling element Function value for
LED

FADER Track volume

PAN Track pan
MUTE Mute track Global mute A01200 A01501
SOLO Solo track Global solo A01100 A01601
REC Record track Monitor track A01000 A01701
(ASIO only)
< Previous track / A01300 A01401
Bank
BANK "<" and ">" switch A01400 A01301
bank
> Next track / Bank A01500 A01201
OUTPUT ACTIVE CONTROL A01600 A01101
mode
(see special
modes)
READ Read automation A00A00 A00D01
WRITE Overwrite Latch automation A00900 A00E01
automation
TOUCH Touch automation Trim automation A00800 A00F01
OFF Automation off Copy automation A01700 A01001
mode to all tracks
MIX Mixer A00B00 A00C01
PROJ A00C00 A00B01
TRNS Transport console A00D00 A00A01
UNDO Undo REDO Restore A00E00 A00901
SHIFT Shift A00200 A00501
PUNCH Punch marker PREV Previous marker A00100 A00601
mode
USER Metronome NEXT Next marker A00000 A00701
LOOP Loop mode MARK Insert marker A00f00 A00801
REWIND Fast rewind START Cursor at project A00300 A00401
start
FAST Fast forward END Cursor at project A00400 A00301
FORWAR end
D
STOP Stop A00500 A00201
PLAY Play A00600 A00101
 H ARDWARE CONTROLLER 403

RECORD Record A00700 A00001

FOOT Record
SWITCH

Special modes

Mode Control element

ACTIVE FADER (controls the active element in the mixer, track editor, or plug-in
CONTROL that needs to be selected with the mouse beforehand)
MODE

Notes:

The foot switch is available for controller firmware 1.2 and up.

To learn control elements for the FaderPort, enter the response values to the controller for
learning so that the button LEDs also function. Copy the value of the last column from table
1 of the corresponding control element into the "Send MIDI files" field. Here is an example
of the correct arrangement for the MUTE keys.
404 H ARDWARE CONTROLLER

Tascam US-2400

1. The Tascam US-2400 is supported in "Native" mode. Use the most current firmware.
Start the device via the power button and hold down SEL (above the master fader) and
CHAN. The device is now in "Native" mode.

2. Go to Samplitude/Sequoia's system settings/hardware controller and select the

"Tascam US-2400 (Native)" entry from the list using the "New" button.

3. Next, set the MIDI ports on the right side to USB audio device.

4. Close the dialog. The controller is now operational.

 H ARDWARE CONTROLLER 405

Controller configuration

Track range
Control element Function Shift function

DIAL 1~24 Pan, EQ, AUX

(see table 2)
SEL 1~24 Select track Track automation
SOLO 1~24 Solo track Record track
MUTE 1~24 Mute track Monitor track
(ASIO only)
FADER 1~24 Track volume
(with fadertouch)
SEL (master) Copy automation mode to all tracks
CLR SOLO Global solo Global record
FLIP Global mute Flip mode: Invert functions of dials and
faders

MASTER FADER Master volume

406 H ARDWARE CONTROLLER

Navigation
Control element Function Shift function

CHAN EQ mode
(see special modes)
PAN Pan mode
(see special modes)
AUX 1 DIAL 1~24 to AUX 1 Read automation
AUX 2 DIAL 1~24 to Touch automation
AUX 2
AUX 3 DIAL 1~24 to Latch automation
AUX 3
AUX 4 DIAL 1~24 to Overwrite automation
AUX 4
AUX 5 DIAL 1~24 to Trim automation
AUX 5
AUX 6 DIAL 1~24 to Automation off
AUX 6
METER Activate level meter in dial display
F-KEY Active control mode
(see special modes)
NULL
Shuttle wheel Positioning
Shuttle wheel + Select range
STOP
SCRUB Scrub mode
BANK Mixer track 24 to the left Mixer track 1 to the left
BANK+ Mixer track 24 to the right Mixer track 1 to the right
IN Loop mode
OUT Metronome
SHIFT Shift
REW Fast rewind Cursor at project start
FFW Fast forward Cursor at project end
STOP Stop Cancel
PLAY Play Enter
REC Record
Foot switch Record

Special modes

Mode Control element Function

Pan mode DIAL 1~24 Panorama

EQ mode DIAL 1 Level EQ band 1

(1 press)
DIAL 2 Frequency EQ band 1
 H ARDWARE CONTROLLER 407

DIAL 3 Quality EQ band 1

DIAL 4
DIAL 5 Level EQ band 2
DIAL 6 Frequency EQ band 2
DIAL 7 Quality EQ band 2
DIAL 8
DIAL 9 Level EQ band 3
DIAL 10 Frequency EQ band 3
DIAL 11 Quality EQ band 3
DIAL 12
DIAL 13 Level EQ band 4
DIAL 14 Frequency EQ band 4
DIAL 15 Quality EQ band 4
DIAL 16
EQ mode DIAL 1 Level EQ band 1
(2 press)
DIAL 2 Level EQ band 2
DIAL 3 Level EQ band 3
DIAL 4 Level EQ band 4
DIAL 5 Frequency EQ band 1
DIAL 6 Frequency EQ band 2
DIAL 7 Frequency EQ band 3
DIAL 8 Frequency EQ band 4
DIAL 9 Quality EQ band 1
DIAL 10 Quality EQ band 2
DIAL 11 Quality EQ band 3
DIAL 12 Quality EQ band 4
ACTIVE FADER TRACK 1
CONTROL mode (controls the active element in the mixer,
track editor, or plug-in that must be
selected with the mouse beforehand)

Note:

The number of tracks to be jumped when a bank switch is pressed may be changed via
the program's hardware controller setup options.

When using the TASCAM US-2400 as an exclusive recording panel, it's recommended that
you relearn the SEL buttons as RecordReady.
408 H ARDWARE CONTROLLER

Tascam FW-1884

1. Go to Samplitude/Sequoia's system settings/hardware controller and select the

"Tascam FW-1884 (Mackie)" entry from the list using the "New" button.

2. Next, set the MIDI ports on the right side to "FW 1884 Control".

3. Close the dialog. The controller is now operational.

Controller configuration:

Encoder

Control element Function Shift function

FLIP Flip mode: KNOBS and

FADERS swap functions
PAN Pan mode
AUX 1~6 AUX select Record track
AUX 7, 8

Shortcuts, control panel

Control element Function Modifier Modifier function

 H ARDWARE CONTROLLER 409

SAVE/F1 Lock project

REVERT/F2 Global mute SHIFT Global recording
ALLSAFE/F3
CLR SOLO/F4 Global solo
MARKER/F5 metronom
LOOP/F5 "Loop" mode
CUT Split object SHIFT Separate object with
alternative crossfade
DEL Delete CTRL Delete with time/ripple
COPY Copy CTRL Duplicating and moving
PASTE Insert
ALT/CMD
UNDO undo SHIFT Repeat
SHIFT Shift
CTRL Ctrl

Track range

Control element Function Modifier Modifier function

ENCODERS 1-8 Send pan/aux

SEL 1-8 Select track CTRL Monitor track
SOLO 1-8 track solo
MUTE 1-8 Mute track
FADER 1-8 Track volume
FADER MASTER Master volume SHIFT Trim automation
REC Arm track with SEL
1-8

Navigation

Control element Function Modifier Modifier function

410 H ARDWARE CONTROLLER

F7 Automation OFF
F8 Transfer
automation mode
to all tracks
F9 Trim automation
F10 Mixer
READ Read automation
WRIT Overwrite
automation
TCH Touch automation
LATCH Latch automation
SIITL Scrub mode SHIFT Zoom mode
WHEEL Jog/Scrub
CURSOR UP Previous track SHIFT Zoom project vert.(+)
CURSOR DOWN Next track SHIFT Zoom project vert.(-)
CURSOR LEFT Timeline SHIFT Zoom project horiz.(-)
positioning
CURSOR RIGHT Timeline SHIFT Zoom project horiz.(+)
positioning
BANK LEFT Previous bank SHIFT Mixer channel 1 left
BANK RIGHT Next bank SHIFT Mixer channel 1 right
NUDGE LEFT Move object left
NUDGE RIGHT Move object right
LOCATE LEFT Previous marker SHIFT Previous object
LOCATE RIGHT Next marker SHIFT Next object
SET Create marker SHIFT Delete marker
(auto #)
IN Set punch in SHIFT Delete punch marker
marker
OUT Set punch-out
marker
REW Fast rewind SHIFT Cursor to project start
(Return to Zero)
FFW Fast forward SHIFT Cursor to project end
(Go to End)
Stop Stop SHIFT Cancel
PLAY Playback (second SHIFT Enter
press: stop at
position)
REC Recording CTRL Punch mode on/off

Notes

The following elements do not send MIDI values and may not be learned:

 PFL, HIGH, HI-MID, LOW-MID, LOW, GAIN, FREQ, Q, COMPUTER, MIDI CTRL, MON,
CLOCK, ROUTE
 H ARDWARE CONTROLLER 411

 All elements with CTRL configuration may be learned in the control panel without
providing a modifier, sine the CTRL configuration already takes place in the controller
and sends separate IDs.
 All elements with a CTRL configuration may also be set up with SHIFT-CTRL. In the
control panel, set the modifier to "Shift" (since the CTRL configuration takes place in the
controller already), next press CTRL + the element and learn.
 AUX elements LED doesn't light up correctly
 FLIP LED doesn't light up correctly
 The SoftLCD application that was installed with the FW-1884 drivers may be used to
display track names and other Mackie Control-typical information
412 PRES ET KEYBOARD SHORTCUTS

Preset keyboard shortcuts

On the other hand, you may redefine this keyboard shortcut whenever you like via "Menu
File > Program preferences > Edit Keyboard Shortcuts and Menu (view page 488)".
Change, remove, create keyboard shortcuts. Clicking the "All" dialog opens an overview of
all of the shortcuts defined there. Shortcuts in brackets (<>) cannot be changed.

Note: Pressing the key combination "Alt + Shift" may cause Windows to switch keyboard
languages. In order to avoid this, the keyboard shortcut for switching the input scheme can
be deactivated. In the Windows control panel, open the "Country and language" options.
Navigate to the "Languages" tab and then to the "Details" button to access the settings for
the standard input scheme. Press "Keyboard" to access the advanced keyboard settings.
Open the dialog "Change keyboard combination" and place a check mark next to "Change
input scheme" and "Remove keyboard layout" to hinder the input scheme from changing in
the future.

File menu
New Virtual Project (VIP)... E

Open
Virtual project (*.vip)... O
Load MIDI (*.MID) file Shift + M
Open HD Wave Project (*.hdp) Shift + L
Load audio file W
Save project Ctrl + S
Save project as... Shift + S
Import audio… Ctrl + I
Export WAV Ctrl + E

Project Properties >

Mixer setup... Ctrl + Shift + M
Playback parameters P
Project status Shift + I
Track information... Alt + I
Synchronization active G
Synchronization setup... Shift + G
Draw setup Shift + Tab
System options Y
 PRESET KEYBOARD SHORTCUTS 413

Edit menu
Undo Ctrl + Z
Redo Ctrl + Y
Cut into clip Ctrl + Shift + X
Delete Del
Copy C / Ctrl + C / Ctrl + Insert
Insert clip V / Shift + Insert
Delete with time/ripple Ctrl + Del
Clear Alt + Del
Cut with time/ripple Ctrl + Alt + X
Copy + clear Ctrl + Alt + C
Copy as… Shift + C
Copy to clip store Ctrl + Shift + C
Overwrite with clip Ctrl + Shift + X
Paste from ClipStore Ctrl + Shift + V
Insert from clips with time/ripple Ctrl + Alt + V
Overwrite with clip Alt + V / Insert

Range
Range all A
414 PRES ET KEYBOARD SHORTCUTS

Manipulate range
Move range start to left Alt + Numeric Pad '/'
Move range start to right Alt + Numeric Pad '*'
Move range end to left Shift + Left arrow / Alt + Numeric Pad -
Move range end to right Shift + Right arrow / Alt + Numeric Pad
'+'
Fold range to left Ctrl + Shift + Left arrow
Flip Range right Ctrl + Shift + Right arrow
Beginning of Range -> 0 Ctrl + Page up
Beginning of Range <- 0 Shift + Page up
End of Range -> 0 Ctrl + Page down
End of Range <- 0 Shift + Page down
Range start to left marker Shift + F2
Range end to right marker Shift + F3
Split range B
Note range Alt + f2 - F10 (exception: Alt + F4 and F9)
Other areas... Alt + F11
Get range Ctrl + F2 - F10
Get range length Ctrl + Shift + F2 - F10
Saver marker Shift + 0-9
Marker with name... ?
Markers with auto number Shift+#
Place marker at recording position Alt + ?
Get markers 1 - 9, 0
Recall last range Shift + Back
Field 1 Alt + Numeric Pad 1
Field 2 Alt + Numeric pad 2
Field 3 Alt + Numeric pad 3
 PRESET KEYBOARD SHORTCUTS 415

Track menu
Track properties
Mute Alt + M
Mute / Inactive Ctrl + Alt + M
Solo Alt + S
Solo exclusive Shift + Alt + S
Record Ready Alt + R
Monitoring Ctrl + Alt + Shift + F
Lock Alt + L
Volume curve active Alt + K
Pan curve active Alt + P
Edit Volume Ctrl + Shift + K
Track EQ Ctrl + Shift + F
Track information... Alt + I
MIDI Controllers/VST Autom. Ctrl + Alt + A
Track Freeze Alt + Shift + F
Unfreeze Track Alt + Shift + U
Activate next track Alt + Arrow down
Activate previous track Alt + Up arrow
Edit Pan Ctrl + Shift + P

Object menu
Cutting objects
Duplicate and move Ctrl + D
Separate with alternative crossfade Shift + T
Splitting objects T
Trim objects Ctrl + T
Heal objects Ctrl + Alt + T
Gluing objects Ctrl + Alt + G
416 PRES ET KEYBOARD SHORTCUTS

Move/edit objects/crossfade
Object step size 1

(Left) object to left Ctrl + 1

Right object to left Alt + 1
(Left) object to right Ctrl + 2
Right object to right Alt + 2
Move object(s) left Ctrl + Alt + 1
Move object(s) right Ctrl + Alt + 2
Object start to left Ctrl + 3
Object start to right Ctrl + 4
Object end to left Alt + 3
Object end to right Alt + 4
Move crossfade left Ctrl + Alt + 3
Move crossfade right Ctrl + Alt + 4
Object start offset to left Ctrl + 5
Object start offset to right Ctrl + 6
Object end offset to left Alt + 5
Object end offset to right Alt + 6
Increase left volume Ctrl + 8
Reduce left volume Ctrl + 7
Increase right volume Alt + 8
Reduce right volume Alt + 7
Increase volume Ctrl + Alt + 8
Reduce volume Ctrl + Alt + 7
(Left) object content to left Ctrl + 9
(Left) object content to right Ctrl + 0
Right object content to left Alt + 9
Right object content to right Alt + 0
Object(s) content to the left Ctrl + Alt + 9
Move object(s) content right Ctrl + Alt + 0

Object step size 2

(Left) object to left Ctrl + Shift + 1

Right object to left Alt + Shift + 1
(Left) object to right Ctrl + Shift + 2
Right object to right Alt + Shift + 2
Move object(s) left Ctrl + Alt + Shift + 1
Move object(s) right Ctrl + Alt + Shift + 2
Object start to left Ctrl + Shift + 3
Object start to right Ctrl + Shift + 4
Object end to left Alt + Shift + 3
 PRESET KEYBOARD SHORTCUTS 417

Object end to right Alt + Shift + 4

Move crossfade left Ctrl + Alt + Shift + 3

Move crossfade right Ctrl + Alt + Shift + 4

Object start offset to left Ctrl + Shift + 5

Object start offset to right Ctrl + Shift + 6
Object end offset to left Alt + Shift + 5
Object end offset to right Alt + Shift + 6
Increase left volume Ctrl + Shift + 8
Reduce left volume Ctrl + Shift + 7
Increase right volume Alt + Shift + 8
Reduce right volume Alt + Shift + 7
Increase volume Ctrl + Alt + Shift + 8
Reduce volume Ctrl + Alt + Shift + 7
(Left) object content to left Ctrl + Shift + 9
(Left) object content to right Ctrl + Shift + 0
Right object content to left Alt + Shift + 9
Right object content to right Alt + Shift + 0
Object(s) content to the left Ctrl + Alt + Shift + 9
Move object(s) content right Ctrl + Alt + Shift + 0
Object to play cursor position Ctrl + Alt + P
Object to original time position Ctrl + Alt + O
Arranging objects Ctrl + Alt + Shift + A
Mute objects Ctrl + M
Creating looped objects Ctrl + L

Select objects
Selecting all objects Ctrl + A
Unselect all objects Ctrl + Shift + A
Select next object > / Ctrl + Alt +W
Select previous object < / Ctrl + Alt + Q
Object lasso Ctrl + Alt + L
Create group Ctrl + G
Ungroup Ctrl + U
Object name Ctrl + N
Object editor Ctrl + O
Object manager Ctrl + Shift + O
Take manager Ctrl + Alt + Shift + T
418 PRES ET KEYBOARD SHORTCUTS

Play
Play / Play loop Space
Play with preload Shift + Space bar
Play with Preload Shift + P
Only play selected objects Ctrl + Space

Play cut
Play to cut start F5
Play from cut start F6
Play to cut end F7
Play from cut end F8
Play over cut F4
Play upper audio material Alt + Shift + Space
Play lower audio material Ctrl + Alt + Spacebar
Stop and jump to current position Num ,
Playback parameters P

Playback mode
Auto scroll Scroll
Soft autoscroll Shift + Scroll
Scrubbing active Alt + Shift + Cursor down

Scrub left Alt + Shift + Cursor left

Scrub right Alt + Shift + Cursor right

Record R
Record options… Shift + R
Input monitoring Alt + Shift + M

Move play cursor

To beginning Home
To end End
Left move in page mode Cursor left
Left move in scroll mode Alt + Cursor left
Right move in page mode Cursor right
Right move in scroll mode Alt + Cursor right
Object border left Ctrl + Q
Object edge right Ctrl + W
Marker left F2/Alt + Q
Marker right F3/Alt + W
 PRESET KEYBOARD SHORTCUTS 419

Real time effects

Elastic Audio Ctrl + Shift + E
CD/DVD menu
Set track Ctrl + Alt + I
Remove all indices Ctrl + Alt + Shift + I
CD track options Ctrl + Alt + Shift + D

View menu
Managers
File Browser Ctrl + Shift + B
Object manager Ctrl + Shift + O
Track Manager Ctrl + Shift + S
Marker manager Ctrl + Alt + Shift + M
Range manager Ctrl + Alt + Shift + B
Source list manager Ctrl + Alt + Shift + S
Marker list input Ctrl + Shift + L
Take Manager Ctrl + Alt + Shift + T

Clips
A clip Shift + B
Three clips B
Activate next clip Page down
Activate previous clip Page up
Show grid ´
Snap active Ctrl + ´
Snap / Grid Setup... Ctrl + Shift + ´, I
Define VIP display... Shift + Tab
Toggle between mode 1 / 2 Tab

Save position and zoom level

1 Ctrl + NumPad 1
2 Ctrl + NumPad 2
3 Ctrl + NumPad 3

Save zoom level

1 Ctrl + NumPad 4
2 Ctrl + NumPad 5
3 Ctrl + NumPad 6
420 PRES ET KEYBOARD SHORTCUTS

Get position and zoom level

1 Number block "1"
2 Number block "2"
3 Number block "3"

Get zoom level

1 Number block "4"
2 Number block "5"
3 Number block "6"

Horizontal
Half section left Ctrl + Alt + Cursor left
Half section right Ctrl + Alt + Cursor right
Clip to play cursor/last stop position Ctrl + Alt + ,
Zoom in Cursor up, Ctrl+ Cursor right
Reduce range Cursor down, Ctrl+ Cursor left
Show all Ctrl + Alt + Cursor up
Zoom to range Ctrl + Alt + Cursor down

Vertical
Half section up Shift + Cursor up
Half section down Shift + Cursor down

Zoom into waveform Ctrl + Cursor up

Zoom out of waveform Ctrl + Cursor down

Window
Tile horizontal Return (Enter)
Restore Shift + Return
Mixer M
Time display Ctrl + Shift + Z
Visualization Ctrl + Alt + Shift + V
Transport console Ctrl + Shift + T
Close all windows Ctrl + H

Help menu
Help F1
Context help Shift + F1
 PRESET KEYBOARD SHORTCUTS 421

Mouse
Center click Start/stop play
Wheel Horizontal scrolling

Shift + wheel Fine tune active

buttons/faders/wave zooming
+ Ctrl Horizontal zooming

+ Alt Vertical zooming

+ Ctrl + Alt Horizontal and vertical zooming

+ Ctrl + Shift Vertical scrolling in VIP (tracks)

422 SIGNAL FLOW

Signal Flow
Record
During recording the record signal is routed through the ASIO buffer (ASIO only) and then
recorded on the hard drive. Recording in Samplitude is designed in such a manner that it is
actually not a real-time process. The input buffers coming from the sound card are
collected in the buffer and passed on to the file system as larger blocks to be saved on the
hard disk. Latencies are not important and the procedure is quite safe.

Playback
During playback, all files are read from the hard drive, and they pass through the track
speed buffer and finally the effect sections. This not only ensures the allocation of effects,
but also setting of the volume and panorama as well as buses and outputs. The signals are
processed in packages at the size of the VIP buffer and are finally reproduced by the sound
card via the ASIO buffer (ASIO only).
 SIGNAL FLOW 423

Signal flow with monitoring

For all other models, three signal flows occur simultaneously: playback of the recorded
tracks, recording of tracks to be recorded, and monitoring of the signals of the input.

Samplitude is designed to function like the sync head of an analog tape machine. Temporal
offset of the individual signal currents is compensated automatically; the playback of the
signal is drawn out by the latency of the effects and the buffer. This guarantees that the
playback signal is not delayed vis-a-vis the recording and input signals.
424 SIGNAL FLOW

Hardware monitoring
Audio monitoring via the sound card in use or via external mixing hardware. With MME
drivers, this is the only monitoring type possible.
 SIGNAL FLOW 425

Software monitoring
Audio monitoring that includes the set recording track levels does not support effects. This
monitoring option is only available when using ASIO drivers.

Whether track effects in the recording track are audible or not during software monitoring
depends on whether the "Hybrid Engine" is activated/deactivated.

For more information about the Hybrid Engine, please also read the section "System
options -> Monitoring settings (view page 27)".

ASIO software monitoring is essential when working with VST instruments. We recommend
activating the "Hybrid Engine" for the lowest possible delay times.
426 GLOSSARY

Glossary
A
Active section
If you wish to use zoom commands with the position buttons or the menu commands
(position bar) on a section, it's necessary to specify the section beforehand for which the
corresponding positioning is required. This happens by clicking on the right or lower scroll
bars of the section.

Detailed information about this is available under:

"View -> Sections (view page 811)"
Edit menu "Range" > Split Range (view page 522)"

Audio markers
Markers in wave projects are saved in the audio file (*.wav) as audio markers and are
available in this form in other applications as well. Audio markers are coupled directly with
the audio material and visible along the upper edge of an audio object. The purpose of
audio markers is to mark positions within the audio material so that the selections remain
independent of their placement within the virtual project.

Audio markers may also be made visible in the display options ("Shift + Tab") in the
"Objects" area by marking "Audio markers" with a check.

The markers displayed in a virtual project's object are identical to the markers in the
associated wave project. If you set new project markers in a wave project (this happens
automatically while recording a take), then all audio markers in all associated objects of the
virtual project will be visible at the same position in the audio material.

Note: All time information for the audio marker relates to time positions in the audio
material, and not to positions in the virtual project.

Automation
Automation can be used to change the envelope of certain parameters in Samplitude such
as panorama, volume, surround and AUX parameters, MIDI controllers, and VST
parameters. Changes can be displayed with the help of an automation curve.

There is a separate mouse mode available for editing automation curves.

AUX bus
An AUX bus is a track featuring all the abilities of a normal track, i.e. it can include track
effects, and panorama and level can be automated. It has one input and one output. The
most important difference is that the audio signal is diverted to the bus of any track with a
lower track number than the AUX bus. This is done via the AUX send faders in the mixer.

AUX buses are typically used for effects like reverb or echo, which may be equally required
for various tracks, but in different amounts. Objects may also be routed to AUX buses.
 GLOSSARY 427

C
Clip
Clip for audio files (Wave projects)
The clip is a buffer where samples from wave projects can be copied into or from which
you can paste samples into wave projects. The content of the clip can also be mixed with
the data of a wave project. The clip always assumes the properties of the project where the
data originated (bitmap resolution, sample rate, and mono, LR or stereo mode). The clip is
presented on the screen by a window with Clip in the title.

The clip window is normally hidden; however, you can make it visible with the command
"View > > Window > Iconize all Wave projects". Otherwise, the clip is a project like any
other, i. e. you can play it, edit it, and save it with another name.

VirtClip for virtual projects

While the clip is responsible for wave projects, the data from virtual projects (i.e. objects in
the virtual project) is buffered in the VirtClip (virtual clip). The clip window is normally hidden;
however, you can make it visible with the command "View > > Window > Iconize all Wave
projects".

VirtClips are used as a location to store objects that were cut or copied out of a VIP
window. Technically speaking the VirtClip is a special VIP window. It can therefore be
edited like a virtual project. The content of the VirtClip can also be dragged onto any VIP
window.

The size and track numbers of the VirtClip correspond with the range copied or cut from
the original VIP window. If this is only a single object, the VirtClip will only consist of one
track with a single object. However, if a range spanning over five tracks is cut out or
copied, the VirtClip also contains five tracks with several objects.

You can easily exchange audio material between two windows with the help of the VirtClip.

Context menu
Nearly all parts of a VIP and the mixer include a context menu that is opened via the right
mouse button. It is called a context menu because different menus appear that are always
adapted to the current context, i.e. depending on the VIP or mixer area that is clicked.

Crossfade
Crossfading two objects on one track within the Virtual Project (VIP). A standard crossfade
can be created automatically when cutting to avoid clicking ("Auto crossfade" mode).
Crossfades can also be edited in Samplitude in detail with the crossfade editor.

D
Destructive editing
In this mode, wave projects are edited directly on the hard drive. This means that changes
to the audio material which occur acoustically and visually in the project window are also
included in the audio file. The file does not have to be saved after editing, since editing of
the audio data can be performed directly on the hard drive. Of course, undo steps are also
available, but these are only available for as long as the file is open. After that the changes
are permanent!
428 GLOSSARY

Note: Destructive editing can be used in virtual projects if offline effects are applied to
selected objects or when working with wave editing in "Destructive" mode.

F
Fade
An audio transition. These may be fade-ins (volume increase) or fade-outs (volume
decrease). You can also fade between objects in the VIP (crossfade).

G
Grid/marker bar
The grid/marker bar is located above the first visible track. This is divided into two halves.

Marker bar/upper half: Markers may be placed in this section.

Left mouse click: Sets the play cursor.

Right mouse click: Accesses the context menu with entries for setting/getting the marker,
etc.

Grid bar/lower half: The grid bar displays the project time in relation to the selected
measurement unit. You can also select ranges if this option is not directly available in the
tracks via the selected mouse mode (e.g. "Object/curve" mode).

Left mouse click: Sets the play cursor.

Left mouse click and drag: Opens a new range.

Right mouse click: Context menu including grid and raster entries.

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

The length handles are on the bottom left and right corners of the object. These may be
used to adjust the length of the object.

Fade handles: Located on the top right and top left. These can be used to softly fade an
object in or out.

Volume handles: These are located in the center. Use these handles to adjust the track
volume.

Hybrid Engine and economy tracks

Very small audio buffers ("Low latency" mode) increase the CPU strain of the playback
engine. For optimal use of the PC resources, we recommend using the mixer tracks in
"Low latency" mode only. This includes:

 Monitor tracks
 Tracks with VSTis
 GLOSSARY 429

Tracks that play hard disk content (MIDI or audio files) may be taken out of "Low latency"
mode in the Hybrid Engine by assigning the "Economy" property to them. These tracks will
then use the play engine's buffer (VIP buffer size).

L
Latency
Audio latency and response latency are important when working with audio applications.

Audio latency is the delay of audio data when being processed through an audio function
unit (effect plug-ins, DAW audio engines, digital mixers, hardware effect devices, DA/DA
converters, etc.). The entire audio latency is made up of the sum of the latency of the
sound card (ASIO latency) and the latency of the effects used in monitoring tracks and the
master. When monitoring, this latency is disruptive even at 5 ms.

Response latency is the delay between activation of a sound producing or sound modifying
control element and the audible change or generation of the sound. The response latency
is made up of the sum or the output latency of the sound card, the latency of used effects,
the latency of the play engine, and possibly the latency of the MIDI input/graphical user
interface latency of the PC operating system.

When using MIDI-controlled synthesizers (VSTi's), the response latency is similarly critical,
much like audio latency, in monitoring (disruptive after 5 ms).

When playing files with the play engine, response latencies created by effects and the play
engine itself are much less problematic (disruptive after approx. 250 ms).

The internal effects show the latency caused by the effect in the lower control element bar.
The latency of the sound card in conjunction with the driver being used is displayed in
"System/audio options ("Y"). The overall latency of all effects is shown in the status bar
once playback begins.

Latency comparison
When using effects which cause latency, you must make sure that there is no time delay
with parallel tracks, objects, or AUX channels. Depending on the location where effects
which cause latency are integrated, various latency comparison methods may be applied.
When using latency-causing effects in live input tracks (monitoring), all other tracks must be
compensated.

When using effects which cause latency in tracks that are playing content on the hard disk,
latency may be balanced using a read offset. The other tracks do not have to be delayed in
this case.

When using internal effects in the object and in the master under MME, a real-time latency
balance method (intelligent audio stream preview management) is applied.

The advantages of this process:

 When linking the latency-filled effects or increasing latencies by modifying the latency-
relevant parameters, passages containing silence will not be created.
430 GLOSSARY

 When unlinking the latency-filled effects or the reduction of latencies by modifying the
latency-relevant parameters, errors/skipping will not occur.
 Synchronization always remains the same (real-time latency balance – playback not
necessary)
 Time changing parameters (timestretching or resampling) may also be used without
causing any synchronization problems.

A delay of other audio streams is not necessary.

Level fader
Volume control

Lock
This button sets a lock on individual objects or all objects of a track.

If the lock button is active, then individual objects or all objects on a track may be locked in
the track header.

Other parameters of locked objects depend on the "Lock definitions" option in the "Object"
menu.

M
Markers
Markers act as reminders for position points. They are visible as named orange bars along
a special line at the top edge of a project. Markers may be placed during playback as well
as during recording.

Menu
Menus are located in the Samplitude main window, directly below the title bar. Each of
these menu entries may be assigned a keyboard shortcut.

They may also appear in other program parts or dialogs.

MIDI object
MIDI objects in Samplitude are edited like wave objects.

Object-oriented editing for audio allows a VIP object to be used for playback instructions of
audio files. MIDI objects are structured according to this concept: they refer to a recorded
or imported MIDI file and may be copied, split, and trimmed. They have fade handles as
well as a middle volume handle.

MIDI objects may also be edited with real-time effects in the object editor. Samplitude
displays a different type of object editor specially adapted to MIDI objects for this purpose.

Monitoring
The signal being recorded is played back simultaneously via the output devices. Different
modes are available depending on the driver model used and the monitoring mode.
Monitoring has nothing to do with playback of the recorded signal. Only the signal at the
input is involved.
 GLOSSARY 431

Mouse mode
Mouse modes add specially adapted functions to the mouse.

O
Object editor
The object editor enables you to edit the properties of any audio object exactly. For
example, the length of the object may be entered numerically or the fade characteristics
may be determined here.

Real-time effects, EQ, and dynamics editing may be applied to the object without having to
access track effects in the mixer. The selected processing does not depend on any
following changes to the object position.

Object-oriented
Object-oriented work describes a method that makes it possible to apply various changes
to the audio material connected with the object virtually, i.e. without affecting the actual
audio material (data on the hard drive). Samplitude features an independent audio engine
behind every object, which enables virtual editing of all DSP functions on the object level.

Objects
In virtual projects, the audio data is represented by rectangles (referred to as "objects") on
multiple tracks. An object is a representation of the sample or a segment marked within the
sample.

In addition, each object has certain attributes which may be modified using Samplitude's
object editor. The rectangle features several handles which may be used to modify the
object's start time, length, and volume attributes.

Objects that overlap in one VIP track may be faded into one another. For exact crossfade
settings, try the crossfade editor.

The lock symbol positioned on the lower edge of each object may be used to protect a
single object against accidental modification. The attributes to be protected can be
selected in "Lock definitions".

P
Play cursor
The play cursor or the position line is the vertical line that moves during playback to display
the current position in the audio material.

The starting position of the play cursor is moved by clicking in the project. The mouse must
be in "Universal" or "Range" mode. If a range is opened, it will be cleared by this action.

R
Range
A range can be stretched or selected in projects using the mouse. As soon as a range is
selected, pressing the spacebar will play it back. A range is defined by its start and end
(horizontal) as well as by its upper and lower edges (vertical).
432 GLOSSARY

The range specifies sections where certain operations are executed (e.g. cutting, inserting,
normalizing, fade in/out, move up, calculate effects, and delete).

The range is also used to define loops that are included during project playback.

Routing
Re-route or allocate internally

S
Scroll bars
The scroll bars are displayed on the lower and right edges of the arranger window. These
bars may be used to navigate the project or to enlarge or reduce the window section.

Scrub
Scrubbing refers to "searching" through the audio material at different speeds to locate a
certain position "acoustically".

In this case, Samplitude behaves like the editing function of a tape player. The motor is
switched off, but the tape remains at the sound head. Turning the tape reels by hand can
slowly move the tape past the sound head to make it easier to find specific positions on the
tape.

By varying the playback speed, it's possible to quickly approach a position, but also to
arrive at the exact position at a reduced speed.

Section
"Section" refers to the visible part of a project in the project window. Which section of the
project this is depends on the position of the section and the zoom.

There are many commands for moving (scrolling) the visible clip and adjusting its size
(zooming). These commands may be opened via the "View" menu, via the position bar, and
via the shortcut keys.
 GLOSSARY 433

Up to three different sections can be displayed in a project at any one time. This way, the
entire project can be displayed in one section, while a smaller part where you are working
is shown in a different section.

Setup button in the VIP

The 8 buttons at the lower left edge of a virtual project may store 4 setups (S1....S4, incl.
zoom level, display position, and display mode) and 4 zoom levels (Z1...Z4).

To save, click the button while holding the "Shift" key. This allows you to quickly jump
between certain positions and zoom levels without manually zooming in and out.

Right clicking a button opens a context menu containing options for loading.

Status display
The status bar is located at the bottom part of the Samplitude window. For longer actions
or calculations a bar is displayed whose width shows the current state of operation.

Action instructions and explanations also appear.

The status bar can also be hidden via the "View > Toolbars > Status bar" menu item.

Submix bus
A submix bus is a track featuring all the abilities of a normal track, i.e. it can include track
effects, and panorama and level can be automated. It has one input and one output. The
important difference is that you can route the output signal of every track with a lower track
number than the submix bus to this bus (instead of routing to the master or an output
device).

AUX buses are typically used for effects such as reverb or echo, which may be equally
required for various tracks, but in different amounts. In Samplitude, objects may be routed
to AUX buses as well.

Surround AUX bus

AUX buses are usually used to apply send effects. A Surround AUX bus has the same
function, but with the option to integrate Surround effects. It may be sent from a normal
track (see stereo and mono signal processing in Surround projects) or from a Surround
bus. The AUX bus itself may also feed a Surround bus (if the track number is higher).

Surround sound in Samplitude

Surround master
From a technical viewpoint, the Surround master is a Surround bus of a Surround project
that has the additional property of assigning the audio devices, but cannot feed a Surround
bus itself.
434 GLOSSARY

Surround bus
A Surround bus is required if Surround effects are to be applied. Tracks that include
Surround effects therefore have to be routed to a Surround bus where the appropriate
parameters may be set.

All tracks routed to a Surround bus have the Surround panorama module instead of the
normal panorama fader for setting the output level of the track. As soon as a Surround bus
is available, the output signal of each individual object may also be routed to this bus and
positioned in the Surround panorama independent of the track panorama settings.

From a technical viewpoint, the Surround master is also a Surround bus in a Surround
project, since Surround channels may also be assigned to the audio devices and it cannot
be routed further to a Surround bus.

System settings
Settings that are not project-specific are described as system settings. These include
settings that apply to the entire project.

T
Tempo markers
A tempo marker indicates a tempo change at a certain project position.

Time input field

All fields that represent a time position can act as an input field by double clicking with the
mouse. The time units may be changed by clicking on the right section of the field.

Title bar
The title bar is located at the top of the window. It contains the name of the application and
the project.

To reposition the window, simply click the title bar and move it as desired. You can also
move around dialog boxes by moving the title bar.

Toolbar
Toolbars contain the tools that apply certain commands by clicking. These are located
above and below the project window.

Tooltips
Tooltips provide additional information about the function of a certain control element. Hold
the mouse pointer over an element for a few seconds, and more information will be
displayed. Text featuring the name or a short description of the element will appear.
Keyboard shortcuts and operating instructions are often also included.

Track
The audio track. Tracks can contain audio and MIDI objects. Automation curves are also
represented in the track.
 GLOSSARY 435

Track header
The track header is the front section of a VIP track. This contains various functions
including mixer elements, buttons for loading plug-ins, and other track parameters.

Track header with activated mute

V
VIP - virtual projects
Virtual projects (VIP) are the top level of audio editing in Samplitude. In virtual projects,
objects may arranged to create complex arrangements. All editing steps carried out in the
arranger window are applied non-destructively. This allows you to select the proper cut
position, cut length, volume level, effect setting, etc. without losing the original audio
material or altering it.

The actual audio data is represented by objects on the various tracks. An object is a
representation of the sample or a segment marked within the range. In other words, the
object refers to the audio data.

A virtual project has two display modes. Use the "Tab" key to toggle between the two
modes. The shortcut "Shift + Tab" may be used to open the editor for defining display
properties.
436 GLOSSARY

VirtClip
see "Clip (view page 426)"

Visualization
The visualization feature displays the audio material visually in different ways.

W
Wave editing
Non-destructive wave editing lets you take advantage of combining direct and virtual
editing of audio material (wave projects), just like with VIP projects.

Wave projects

A wave project contains audio data. Objects in the VIP refer to this audio data.

If you use Samplitude as recording/mastering DAW you usually don't have to edit wave
projects as all editing options can be performed quicker and safer in the virtual project. For
using Samplitude as a wave editor, refer to "Working in the project window -> Samplitude
as a wave editor (view page 108)".

The windows of the wave projects used by VIP objects are usually hidden. These may be
accessed via "Edit wave projects" in the "Object" menu or by pressing "Shift" and double
clicking an object used by wave project.

All loaded wave projects may be made visible as icons via the command "View > Window
> Iconise All Wave Projects". To hide them again, go to "View > Window > Hide All Wave
Projects".

The name of the wave project, sample length, and the resulting memory requirement may
be entered in the title bar of the wave window. To activate a wave project you have to click
into the corresponding window. Samplitude can manage an infinite number of wave
projects on the screen.

Work area
Work areas are for adapting the program to certain work styles, i.e. they may be changed,
renamed, and created. The work area is opened via the "Workspace bar". Work areas are
available as wave editing or virtual projects.
 GLOSSARY 437

Z
Zoom
Use the zoom functions to display a larger or smaller part of the virtual project in the
window. At higher zoom levels, the display is more detailed. Automation curves can be
edited more easily when a higher zoom level is selected.

To view larger projects at their full length, you have to zoom out of the VIP window, making
the display less detailed, but displaying more content.

Features a series of functions for working with various zoom levels Samplitude.
438 MENU REFERENCE

Menu reference
Extensive information on the individual menu points of Samplitude can be found in the
following sections.

The menus in Samplitude may also be individually customized, i. e. menu items may be
hidden or shown. If menu items are described in the following sections that are not
present in your menus, then they are probably only hidden. To display them again, activate
them in the menu settings via "File -> Program settings > Edit keyboard shortcuts and
menus (view page 488)".
 FILE MENU 439

File Menu
This allows you to apply comprehensive settings for creating, managing, loading, and
saving projects.

New Virtual Project (VIP)

Shortcut: E

A new Virtual Project is created in the arranger with the specified number of tracks:

Name: Enter the name for the new project.

File path: Select the folder for saving the project.

Create new project subdirectory: A subdirectory featuring the name of the project is
automatically created in the directory selected in "File path".

Project template: Choose between previously selected project templates in this list field.
These presets contain project settings such as track number, device assignments, etc.
Create project templates with "File -> Save project as template (view page 449)"

Mixer setup: Select a preset mixer setup here. Mixer setups define the number and kind of
tracks/buses as well as the routing of inputs/outputs and effects.

To create a Surround project, define the Surround setup first. The list field located below,
i.e. "Surround setup", is activated for selecting a number of Surround formats.

Project options: All settings adjustments made here are valid for every newly-created
virtual project. They will be saved in a separate VIP(Templates\Template.VIP). The
Template. VIP file may also be edited directly to define additional settings for all projects:
440 FILE MENU

 Record arming setting of the first track

 Some mixer setup settings
 Playback mode
 Effect sequence on the tracks and mixer
 Grid offsets

Please also read "System settings -> Project options -> General (view page 33)" for more
details about project options.

Track number: The start track count of the virtual project is defined here. Use "Track ->
Insert new tracks... (view page 531)" to add tracks at any time.

Sample rate: Defines the sample rate of the virtual project.

Preset project length: The initial project length may be set as a preset here. This setting
will be automatically adjusted during loading or recording and changes during zoom
operations.

Note: VIP projects may only be up to 168 hours in length.

There are no more length restrictions on WAV files with NTSF. Recordings are written to a
large RIFF64 file. If under 2 GB, it will be compatible with normal wave files. FAT 32
continues to split these into W01, W02, etc..

Open Project
You may open various file types here and load them into Samplitude. To load audio files,
use the command "Load/import -> Load audio file".

Virtual Project (*.VIP)

Use this menu command to load a multi-track project as an arrangement.

Shortcut: O

RAM Wave (*.RAP)

RAM Wave Projects contain audio data in an audio format unique to Samplitude 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
 FILE MENU 441

Note: If a VIP is active, the loaded wave projects are loaded immediately into the VIP as
objects. The range of the active track displays the position. "CD arrangement" mode is the
exception. In this case, the objects are displayed below one another independent of the
range. The distance between the objects corresponds to the pause time (CD/DVD menu ->
Set start pause time (view page 792)).

Import AAF/OMF

TheAAF import transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Object pan
 Object volume automation
 Object pan automation
 Track names
 Track Volume
 Track Pan
 Track Volume Automation
 Track Pan Automation
 VIP markers
 Timecode offset
 Timecode format (24, 25, 30 fps)
 Processing timestamps in audio files
442 FILE MENU

TheOMF import transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Track names

Note: When importing AAF/OMF files video files will also be imported. These can only be
played when the program 'understands' the format and when the corresponding codecs
are available on the system.

Find the AAF/OMF file you want to import using the import dialog. In a further dialog you
can choose the track panorama when importing, so that the uneven track numbers in the
panorama are placed on the left and the even on the right.

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.

Edit List (*.EDL)

The EDL helps exchange projects with other sequencer programs. A virtual project that
resembles the EDL is created. The list is a text file that contains information about the wave
files used, video files, object borders, object volumes, markers, and volume & panorama
automation.
 FILE MENU 443

Edit list (*.aaf, *.omf) – optional

TheAAF import transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Object pan
 Object volume automation
 Object pan automation
 Track names
 Track Volume
 Track Pan
 Track Volume Automation
 Track Pan Automation
 VIP markers
 Timecode offset
 Timecode format (24, 25, 30 fps)
 Processing timestamps in audio files

TheOMF import transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Track names
444 FILE MENU

Note: When importing AAF/OMF files video files will also be imported. These can only be
played when the program 'understands' the format and when the corresponding codecs
are available on the system.

Find the AAF/OMF file you want to import using the import dialog. In a further dialog you
can choose the track panorama when importing, so that the uneven track numbers in the
panorama are placed on the left and the even on the right.

Table of Content (*.TOC)

With the table of contents (toc) of an audio CD the information about the contents of a CD
is saved.

Session (*.SAM)
This command loads a Samplitude session. This opens all projects and arranges the
windows as they were distributed on the screen when the session was saved.

Load/Import
Load Audio File
This opens a dialog for loading audio files.

The following formats are supported and read directly by Samplitude:

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.

Several files may also be loaded 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 that refer to loaded audio files are created
simultaneously. 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 sec. after the last object. The length
of the pause may be adjusted in the "CD/DVD" menu via "Set pause index".

Each audio file may be previewed before it is loaded.

 FILE MENU 445

Attention: The monitoring function uses the Windows Multimedia MME standard output
device. Many audio cards shut down the Windows MME system when ASIO drivers are
used, which means problems may occur during monitoring. For this reason, the preview
function is deactivated by default when ASIO drivers are used.

The "Load audio file" option activates the preview function again at any time.

The button at the bottom right of the dialog opens the options for loading audio files (view
page 445).

Options for loading audio files

Use selection order of file dialog: If this option is activated, Samplitude remembers the
sequence in which the files were selected and then sorts them accordingly.

Load files in alphabetical order: With this option activated, Samplitude sorts the selected
files alphabetically in the VIP.

Use sync positions: Broadcast wave files containing timestamps are positioned precisely
at this position in the VIP.

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.

Group loaded objects: All loaded files are grouped. They can be ungrouped anytime.

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 folder: Files are copied into the corresponding project folder
automatically.
446 FILE MENU

Convert compressed files to wave format: Compressed audio formats such as MP3
may also be loaded and played directly by Samplitude. This requires increased CPU
calculation. Activate this option to convert files like this into an uncompressed wave format.

Import Audio
This menu item is hidden by default. To display it again, activate it in the menu settings via
"File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

This lets you import all supported file formats explicitly as Wave Projects.

This is only necessary for importing file formats which can't be loaded by Samplitude using
"Load audio file".

In contrast to the "Load audio file" function, when importing audio files wave formats are
converted and copied to the hard drive. You can also use the command if you want to
work in a copy of the file within the project.

Shortcut: Ctrl + I

Hint: You can increase the performance of your computer if you import compressed
formats such as MP3 or WMA instead of loading them. It helps to avoid real time
decompression

Use the "Import raw data (dump)" to try importing damaged files that sound like white
noise on playback. The header is usually damaged or missing. In this case you can enter "0
bytes" as the header length in the following dialog.

Import as Dump
Imports a wave or MP3 project as raw audio data (PCM) in RAW format (Little Endian for
PC, Big Endian for Amiga, Mac, Atari).
 FILE MENU 447

Load MIDI File

This function loads a MIDI file. Detailed information about this topic is provided in "MIDI in
Samplitude -> MIDI - record, import, edit -> Importing MIDI files (view page 242)".

Keyboard shortcut: Shift + M

Load Video File

This dialog helps load a video into the current project. After selecting a video, preview it or
inspect its properties. If a check is placed next to "auto play", the selected video file will
play automatically in the preview window.

Before loading the video, you will be asked if you want to load the video's audio track into
the project. This is positioned in the track underneath the video track. If the sample rate of
the audio file deviates from the VIP's sample rate, then the sample rate may be adjusted.
The following options are available for adjusting the sample rate:

 Convert file: Samplitude creates a converted audio file in the VIP's sample rate. The file
name will now also indicate the new sample rate.
 Object resampling: If this option is active, Samplitude will resample the object. The
quality of object resampling may be set under "System option -> Effects ->
Resampling/bouncing (view page 483)".
 Adjust VIP sample rate (existing objects are played back at incorrect speed)
448 FILE MENU

 No change (file plays back at incorrect speed)

Detailed information about displaying video objects is available in "Video setup (view page
358)".

Import Audio CD Track(s)

This command imports the audio contents from a DVD into Samplitude (view page 777).

Import Audio DVD

This command imports the audio contents of a DVD into Samplitude (view page 780).

Note: Importing the audio track(s) from a video DVD is not possible!

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 will ask you to do so.

Shortcut: Ctrl + S

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
 FILE MENU 449

Save Project Copy...

A dialog open to create a copy of the project, which may be saved under a different name.
In this case, the date and time are added automatically to the project name. Of course, you
can name the copy any way you like. Once saved you will be able to continue working on
your original project.

Save Project as Template...

This option saves the current project as a project template. The template will save all
project-based settings like grid form, track number, etc., but not the used objects or wave
files. Templates may be loaded when creating new multi-track projects ("File -> New Virtual
Project).

Save project as EDL...

The active virtual project will be saved as a list in the EDL text format. This edit list is a text
file containing information about used wave files, video files, object borders, object
volumes, markers, volumes & panorama curves.

This option effectively lets you save Samplitude projects into an exchange format that
allows a project to be incorporated into a different sequencer or video editing program.
EDLs may be converted together with the audio files into other formats using a conversion
program like EDL ConvertPro.

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 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 will load that session automatically the next time you start the
program.

Export Audio
This menu point allows you to export projects in various formats.

The export dialogs for each format are almost identical.

1. Selection of path and file name.

2. Format settings: This dialog features selection and settings options for the
corresponding export format.
450 FILE MENU

3. Export settings: Specify which area of the project should be exported here. Multiple
files may be exported, provided their starting points have been specified with the
placement of track markers or other markers. This way, an almost automatic export
of individual files from within an arrangement is possible.
Note: The audio data from HD wave projects may be further processed or imported
directly as wave files from HD wave projects. 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 (view page 498)".

MP3...
Exports the project as MPEG Layer 3 with the included encoder. By clicking on the format
settings, a new window opens where encoder options can be defined. Set output format,
encoder quality, padding mode, stereo coding, content options, VBR (variable bit rate)
options, and MP3 ID editor labeling.

MP3 with external encoder

This menu item is hidden by default. To display it again, activate it in the menu settings via
"File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

Here you can choose an external Encoder, which your project will export as MPEG Layer
3. Here, the format parameters, the audio stream as well as the new file name for the
exported MP3 are transferred.

MPEG...
Exports the project as an MPEG file. These formats may also be set in the advanced
settings dialog, which is opened via the button "Format settings". The options "stereo",
"joint stereo", and "mono" are featured.

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.
 FILE MENU 451

Real Audio...
Exports the project in Real Audio format (.RA).

Real Audio is an audio format designed especially for Internet applications. This is
especially useful for streaming audio. In format the settings, specify the bit rate of the
transmission speed (modem, ISDN, etc.). Similarly, details on the content and copyright
information may also be added.

Content settings: Select presets for the type of audio or video material (only
voice/background music, music, stereo music) here.

Clip information: Enter author, video name, etc., which appear in the Real Player during
playback here.

Multi-rate file (Real Server): Streaming audio requires a server application that must be
installed on the server and from which the audio for playback ("streamed") in real time. If
you don't have this application, it will have to be downloaded. "Real Server" is a server
application that enables streaming audio in Real Audio format.

If the "Multi-rate file" option is activated, a multi-rate file can be created that includes
several files in various bandwidths. Multi-rate files allow the selection of multiple target
groups.

AAC...
Exports the project to an AAC file. You can also set the encoder settings in the advanced
dialog, which is opened via the "Format settings" button. You can also set the quality and
transport format (MPEG 4 or ADTS) here. AAC export uses the file extension *.m4a.

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.
452 FILE MENU

AIFF File with QuickTime...

Exports the project in AIFF format. In this case, QuickTime is used as the encoder. This
format also enables streaming playback of audio and video files over the Internet.

Like with Real Media exports, the corresponding video size, frame rate, and codec settings
may be adjusted for "AIFF with QuickTime" export as well. This function requires the
installation of QuickTime on your computer.

The following export options are available: Format (linear PCM, A-Law 2:1, IMA 4:1, MACE
3:1, MACE 6:1, QDesign Music 2, Quallcomm PureVoice™, µ-Law 2:1), channels (mono,
stereo, quadrophonic, 5.0, 5.1 ), sample rate, sampling rate conversion quality as well as
linear PCM settings in 8, 16, 24, 32 and 64-bit file format.

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.

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.
 FILE MENU 453

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 (view page 498) 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.

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 the 32 Bit Float Format

If you convert fixed comma wave projects into the floating comma format, the signal will
remain a 16 or 24-bit signal and the quality will not be improved. This will only yield a result
if you are applying destructive changes to the audio material as precise calculation is
practically impossible after editing.

You use overmodulation resistance and level-independent dynamics. The quantization hiss
will not increase, even if you set very low levels.

The downside is that twice the amount of hard disk space is required and only half the
tracks are now playable simultaneously (depending on the CPU).
454 FILE MENU

If you convert from 32-bit float to 16 or 24 bits, dithering occurs to reduce subjective
quality loss.

Working with 8 Bit Wave Projects

A smaller word width may be useful when editing audio for multimedia applications, since
these applications may use a resolution of 8 bits to save storage space.

The downside of such a low bit resolution is that as the quality of the so-called SNR (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.

Export as Dump
This menu item is hidden by default. To display it again, activate it in the menu settings via
"File> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

Export a Wave or MP3 Project as raw audio data (PCM) in RAW format (Little Endian for
PC, Big Endian for Amiga, Mac, Atari).

32-bit float as 16-bit / 20-bit / 24-bit

This menu item is hidden by default. To display it again, activate it in the menu settings via
"File> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

Exports the (32-bit float) project as a wave file with 16 / 20 / 24-bit. This takes into account
the Dithering options (view page 498).
 FILE MENU 455

Export to "MAGIX Video Pro X"...

The following trackbouncing dialog opens for exporting to the external MAGIX program
"Video Pro X".

Select whether only the video objects should be transferred, whether an Audio downmix
(stereo/Surround bounce) should be made, or if the Audio objects should be
transferred individually. If the "Continue" button is pressed, a save dialog will appear.

Export Video Sound...

After successfully editing the video sound in Samplitude, you can write the sound back into
the video file. You may replace the original sound of the video or create a new video file.

Set the source file under "Video source".

Replace audio in the original AVI file: This option carries out trackbouncing on the
current VIP. This creates a temporary wave file which can then be integrated into the
selected AVI file. It's necessary that the AVI contains an audio track of the same format
(sample rate and bit resolution).

Save a new AVI file to: This option applies trackbouncing to the current VIP. This creates
a temporary wave file which may be copied with the selected AVI file into a new AVI file.
This process contains the original AVI file.

Note: If the lengths of the audio and video files differ from one another, a warning dialog
opens. After the export, the longer component is cut off; an attempt to automatically
synchronize the data is not carried out. If you receive this warning, try to resample the
soundtrack to the correct length.
456 FILE MENU

Export MIDI File...

The particular file format may also be specified when exporting a MIDI file. One track
corresponds to format 0, multiple tracks to format 1. In addition, the tempo map may
also be exported, in which case the support point count per beat for tempo runs can be
selected freely.

The standard MIDI file (SMF) export always takes place in the current VIP-PPQ resolution.
The markers are also exported.

List Export
A current marker list, object list, or track list for your project may be written into text file
and stored in the project folder.

Trackbouncing
This command can be applied to compile a project, a sought range or selected objects,
and tracks of a virtual multi-track project (VIP) into one audio file and save them under one
name. Here, all realtime editing (cuts, crossfades, all mixer settings including mixer effects
and DirectX plug-ins, volume and panorama curves, realtime effects in the Object Editor,
etc.) can be integrated into the new project.
 FILE MENU 457

If you bounce into the 32-bit float format, overmodulation cannot occur.

Normalize your project before bouncing using the master normalization function in the
Mixer ("N" key) in order to get an precisely modulated file. You can always save the
affected settings as presets.

Trackbouncing settings: Source

Routing:

In this field you determine the outputs to be written to the file.

Master: The mixer's master output is written as a file. This is the standard for all exporting
processes.

All outputs (Ignore device routing): All tracks that have not been muted are calculated
together, independent of the routing involved. Suitable for bouncing at object level.

Surround master (view page 240): This bounces the surround mix.

Surround + Stereo Master: The surround mix is bounced together with the stereo mix.

All outputs (Use device routing): All tracks that have not been muted are calculated
together to the individual outputs according to their routing.

Horizontal:

Selected range only: In this case, trackbouncing is only applied to the length of the
selected range in the arranger. This function does not work track-selectively, i.e. all tracks
of the selected range, except for muted tracks, are used in bouncing.
458 FILE MENU

From the project start to the last object: In this case, the bounce process includes all
objects from the project start to the end of the last object, plus the time it takes for the
sound to dissipate.

Complete project: If this option is selected, the entire virtual project is bounced.

Vertical/Special:

All audible tracks: All tracks that have not been muted are calculated into a new file.

Selected tracks only: All of the selected tracks are bounced together.

All audible tracks individually (Multi-track bounce): All tracks that have not been muted
are individually calculated into a new file.

Bounce all selected objects individually: All selected objects are bounced individually. In
this case, all object effects are used. This enables a large number of single objects to be
exported quickly to separate files (e.g. for creating sample archives).

Glue selected objects together: All selected objects on a track are processed and written
into a new file including object effects.

Note: The two previously mentioned options correspond to the "Object freeze" function /
the "Glue objects" function in the "Object" menu. The difference that the file names may be
specified individually and that an "Unfreeze" function is not available.

Samples before object start and after object end: This function allows additional
samples to be included in the file to be calculated.

Note: If the selected track is a submix bus, all tracks that are routed to this bus are also
bounced. This also works recursively, i.e. if these tracks are busses. This permits fast
mixing of individual groups.

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.
 FILE MENU 459

Create new VIP: A new virtual project (VIP) will open. The bounced audio material is
inserted into the first track of the created project.

Trackbouncing settings: Format

The target format may be set flexibly. Wave and AIFF files in 8/16/24/32-bit mono/stereo
at variable sample rates and four different quality levels are supported, as are MP3, Ogg
Vorbis, and FLAC files at variable sample and bit rates. The desired codec may also be
selected by clicking "Format settings..."

The following diagram displays the signal flow for the target format's setting.

 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.
 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.

If you set Surround Bouncing (view page 240) in "Source -> Routing", then the formats
"Mono", "Stereo", and "Interleaved file (RIFF 64)" will be available for selection.

Note: All files created as a result of trackbouncing are opened in Samplitude.

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 449) command instead of the
trackbouncing dialog.
460 FILE MENU

All formats that cannot be directly opened by Samplitude cannot be created in the
trackbouncing window. For bouncing into Real or WMA formats, use the "File -> Export
(view page 449)" command.

Trackbouncing criteria: Options

Exclude master effects from bouncing: Master effects are not included during bouncing.

Exclude track effects of the target track: Track effects of the target track are not
included if they are not identical with a source track.

These options are important in combination with the "Create" functions "New separate
object in current VIP" and "Replace objects in current VIP". Note: these are set
automatically so that the track effects are not applied twice.

Calculate 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.

Dithering: Every trackbouncing process may feature its own dithering process,
independent of the global settings. This enables dithering to be bypassed or to apply the
standard dithering (dithering featuring triangular noise).

Use this dialog to apply dithering according to the system options or to access the
dithering options in the system settings. The button value in brackets (e. g. Triang. or
POW-r 1) indicates the currently set dithering algorithm.

Detailed information on this can be found in the menu reference under "File" -> "Program
Preferences" -> "Dithering Options (view page 498)".

Range Bouncing (Internal Mixdown)

Use this function to convert the objects within a selected range to a new wave file. The
objects are then replaced in the arranger. This is useful if you want to combine multiple
objects into a single object for easy editing later.

To create performance room you can render real-time object effects using the range
trackbouncing feature.

If the rate of your objects is higher than 16-bits, a dialog box will ask you whether the new
file will be created as a 32-bit float or 16-bit file:
 FILE MENU 461

32-bit (float): The resulting file features a 32-bit (float) rate. This setting is practical if 24-bit
objects or float objects are used in the bouncing and their high rates should be retained.

16-bit (integer): The resulting file is 16-bit rate. This setting is practical when the recording
needs to be burned to CD and when there are no 24-bit objects in use. If 24-bit objects are
being used during bouncing, these may be reduced to 16-bit using dithering options.

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)
(view page 563)" function, which replaces the MIDI objects with audio objects in the
software instrument's audio return signal.
462 FILE MENU

Export project as AAF/OMF

TheAAF Export transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Object pan
 Object volume automation
 Object pan automation
 Track names
 Track Volume
 Track Pan
 Track Volume Automation
 Track Pan Automation
 VIP markers
 Timecode offset
 Timecode format (24, 25, 30 fps)
 Processing timestamps in audio files

OMF Export transfers the following content:

 Object position/wave offset - sample exact

 Object fade in/out - linear only
 Object crossfade - linear only
 Object volume
 Track names

Note: During AAF/OMF export, media files will always be converted to WAV files. You can't
export video files. Corresponding objects will not be transferred; the video track therefore
remains empty.
 FILE MENU 463

Destination path

Enter here where you would like to export the AAF/OMF file.

Media files

 Embed in AAF/OMF file: If you select this option when exporting then the whole project
will be saved as a single file, which contains both media content and metadata.
 Copy into target folder: If you select this option, media files will be placed next to the
AAF/OMF into the target folder.
 Don't copy. AAF/OMF refers to original paths: If you select this option, no media files
will be exported – the AAF/OMF file will only refer to the original media file paths.

Note: Select the "Embed in AAF/OMF file" or "Copy to destination folder" if you want to
have the entire project together with the corresponding Audio/Video files as AAF/OMF files
in another studio.

Format

Select whether you want to export the file in AAF format or in OMF format.

Compatibility

Without automation curves (Pro Tools-compatible): If you select this option, AAF/OMF
export will take place in a Pro Tools-compatible fashion. Track volume and panorama as
well as automation curves will not be transferred.

Convert stereo objects into left/right tracks automatically - Pro Tools compatible:
Stereo objects are not supported by Pro Tools. Convert the corresponding objects into Pro
Tools-compatible objects prior to AAF/OMF export as required.

Note: Timestamps saved with ProTools in Frames for improved compatibility.

Rename Project...
The current project may be renamed using this dialog. For HD wave projects, all the files
involved will be correspondingly renamed.
464 FILE MENU

Clean up
Collect project files
This dialog displays all files located outside of your project folder. All files marked in the
"Edit" column can be compiled in the project folder. You can ether copy or move the files
outside of the project folder into it or create a new subfolder. Samplitude displays the
amount of space required and how much is currently available.

After processing, it's a good idea to save the project!

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.

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.
 FILE MENU 465

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'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.

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.
466 FILE MENU

If multiple virtual projects refer to the same wave files, all of these projects should be open
as well. This is the only way to monitor and prevent data loss.

Using the "Remove unused samples" function saves storage space, but corrections to the
objects' lengths are limited, since all audio data outside the object borders are removed.
For this reason, specify backup reserves with "Save additional samples for each object".
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 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.
 FILE MENU 467

Project Properties
Snap and Grid Setup
In the general project options dialog you can choose the kind of grid and its activation.

Shortcut: I

Virtual projects have an object grid, area grid, beat grid, and frame grid. In the object grid,
the objects may only be moved to the start, end or the hotspot (view page 562) ("Object ->
Set hotspot/delete hotspot (view page 562)"). The reference point is normally the front
edge of the object that is to be moved. 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.

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.
468 FILE MENU

Use snap offset also for grid: The snap offset is used as a reference size for the grid.

Mixer setup
This item enables project and mixer settings to be configured, saved, and loaded.

Shortcut: Ctrl + Shift + M

Project and Mixer Configuration

Set the number of tracks, AUX buses, and submix buses. You can also define effects and
signal routing for the tracks and the master section.

The window of the first track is always open for effects routing of individual tracks/buses.
To adjust the settings for all tracks, click "All tracks" in the effects routing dialog.

Besides the routing button, two additional options are available:

 Use adv. dynamics in master for dyn./limiter: In the master section of the mixer, the
resource-saving "normal" dynamics may be used as a dyn./limiter or for high-quality
advanced dynamics.
 Automatic latency compensation: Activate this option for automatic latency
compensation of DirectX and VST plug-ins. This is active by default.

Master Routing
 Keep current setting: The current setup in the project will not change.
 Stereo master: Normal mixing occurs via Samplitude's stereo master. If the sound card
provides several devices, select one in the mixer (in the "out" bar below the volume
faders) or in the play parameters (shortcut: "P").
 Surround master: If this setting is active, master channels are provided for 5.1 Surround
mastering.

Detailed information about the Surround setup is available in "Surround sound -> Surround
project setup (view page 225)".
 FILE MENU 469

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 Setup (Track Assignment, Routing)

Select the in and output device assignment for several tracks simultaneously in this area.

I/O Devices: Define the routing for playback, recording, or both.

Track number (0 for all): Start with track 0 as active track: This option permits a change
to I/O routing for a certain number of tracks. If you set the track number 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 "Do not
change the setup currently used in the project" 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.

Route 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 all tracks to different mono/stereo devices: All tracks are assigned to the
different output devices. In the system options window (shortcut: "Y") you can define which
devices are available in Samplitude and which are not. When routing to mono devices, the
tracks are also placed right/left in panorama alternatively.

Initialize tracks on Surround channels: The corresponding tracks are created here after
the Surround setup has been selected .

Use saved setup in preset: The settings saved in the preset are used.

External effects
Detailed information on this topic can be found in "Effects -> Breakdown and functionality -
> External hardware effect integration".
470 FILE MENU

Media link
The media link in "Options -> Project properties" allows you to link video and MIDI files with
your Samplitude project to play them simultaneously.

More detailed information about the media link is available in "Synchronization -> Media link
(view page 358)".

Playback Options
More information is available in "Playback -> Playback parameters (view page 578)".

Shortcut: P

Project Auto Save…

The Autosave dialog is available via the project options.

This dialog provides options for creating backups of projects. The button View backup
project opens the selected backup in the arranger.

The button Restore backup status restores the project to the status of the backup. If the
current project was changed previously and not saved, then the last status may be saved
with the extension _OLD.vip.
 FILE MENU 471

Autosave Mode
Autosave mode may be activated with the corresponding check box. Select from the
following options:

Save to original: Overwrites the original file in specific intervals with the current status. If
the option Save in subfolder is selected, the previous status, i.e. the pre-previous status
will also be updated in the Backup subfolder.

Add backup file (*bak.VIP): Adds a backup file and updates this at specific intervals. If the
option "Save in subfolder is selected, the backup file will be updated in the Backup
subfolder each time it is saved.

Max. 10 backup files (*bak0.VIP until *bak9.VIP): Specify save intervals for up to 10
backup files and number them. If the option "Save in subfolder is selected", the backup
files will be updated in the Backup subfolder each time they are saved. After 10 backup
processes, the final backup file will receive the extension *bak9.VIP, the oldest backup file
will be deleted, and the others will move downwards in the sequence.

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.

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.

Broadcast Wave Manager…

The broadcast wave manager extension makes it possible to store information about the
audio file, i.e. metadata, in a chunk of the BWF file. This metadata may be proprietary,
however we recommend observing the guidelines set out by EBU and SMPTE.
472 FILE MENU

Wave Project
This displays a list of the data included in the project. Select the respective file using the
mouse to display the individual information. The corresponding BWF information will be
displayed in the right half of the window.

The main application of the BW manager, however, is defining the meta data included in
the broadcast wave extension of the recorded audio material.

This metadata is then available to all users of the audio file in the future. Some applications
can read or extract this meta data for further purposes, such as the administration of the
audio data in the databases.

Broadcast Wave Manager - List of Individual Fields

All values that refer to the project are saved and applied to new audio data.

File Description: This is a freely usable text field. Enter a maximum of 256 ASCII
characters.

Originator: This field contains details on the origin of the file, e.g. the description of the
producer. Maximum of 32 characters.

Originator Reference: This field is specified by the originator. This can be an internal
reference number, for example. In the EBU range, a recommendation according to EBU
R99-1999 specifies how this field should be constructed. To assign the entry of this
property, activate the "USID" option. Next, format the entry according to EBU guidelines.
Maximum of 32 characters.

Date: The date of the file's creation is displayed; this may be edited if audio material was
saved for the first time as a file, even though the recording is somewhat older and the date
needs to be valid as a reference. If the entry is edited in the BW manager, then a value
independent of the file properties results.

Time: The time at which the file was created initially is shown here. Like the date, this is
automatically created from the file properties, but may also be edited in the same way as
mentioned above.
 FILE MENU 473

Timestamp: The timestamp saved in the BW (broadcast wave) extension is displayed here.
This is the timecode for recording the file, which is identical with the timecode of the first
recording if the recording was synchronous. For other applications, this timestamp
provides information about the time on the day of recording. The timestamp may be edited
or applied from the object position. You can assign the timestamp from the object
positions to all wave files.

Unique material Identifier (UMID): Handling of the UMID is regulated by SMPTE. An

corresponding document is available from SMPTE. The code number is SMPTE 300M-
2000. We recommend these reading the guidelines and agreements regarding the use of
the UMID before using this feature, which may be applied accorind to your needs. Use of
UMID is not absolutely necessary for a valid BWF.

Coding History: Besides information about the file format (A: encoding, e.g. PCM, F:
sample rate, W: bit width, these values are only used with non-transparently encoded
material like MPEG or MP3, M: number of channels), each entry of this field contains a T
value. This is a comma-free text string for entering serial numbers of recording tape
machines, codecs, dither types, AD converters, or special signal editing applied to the file
(like denoising).

An entry is made when a file is recorded in Samplitude. If this file is processed again (e.g.
the bit width has been reduced or via MPEG encoding), then an additional entry is added.

Use of this coding history is regulated by EBU recommendation R98-1999.

Broadcast Wave Manager - Advanced Options

Save BWF graphic data in wave files: If this option is activated, Samplitude creates a so-
called "peak chunk" that saves graphic information as a meta data in the file. Samplitude
usually saves graphic data in separate files (.ho files).

Read BWF graphic data and use data in Samplitude: If this option is activated, the peak
chunk included in a BW file is used instead of a .ho file.

CD Arrange Mode
If this is activated, Samplitude 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 792)".

Destructive Wave Edit Mode

This menu item activates or deactivates the destructive editing mode in the wave project
window. If this point is deactivated, then Samplitude is put in "Virtual wave editing" mode.

Detailed information about destructive editing is available in the chapter "Working in the
project window -> Samplitude as a wave editor (view page 108)".
474 FILE MENU

Program Preferences
System options
Specify all of the important settings for Samplitude in this dialog.

These include:

 System options: Audio setup, audio devices, MIDI, hardware controllers, metronome,
record, play, performance, advanced buffer settings
 Program preferences (program): General, undo, object locking
 Keyboard, menu & mouse: Keyboard/menu, MIDI editor, special keys, mouse, mouse
wheel.
 Design: Skins, display options, colors
 Effects: Dithering, resampling/bouncing, VST/DirectX/ReWire, destructive effect
calculation
 Option administration: Reset program settings to default values
 Project options: Switches the tree structure of the project options

Explanations and references regarding system settings are located directly in the "System
options" dialog.

Audio Setup
Driver System
Please also read "System settings -> Audio setup (view page 25)" for more information.

Buffer Settings
Please also read "System settings -> Audio setup (view page 25)" for more information.

Device Address/Driver Communication

Please also read "System settings -> Audio setup (view page 25)" for more information.

Monitoring Settings
There are different ways of monitoring. These settings are used as presets for new
projects.

For more information about monitoring, please see "System settings -> Monitoring settings
(view page 27)" for more details.

Audio Device
More information about this is available in "System options -> Audio devices (view page
31)".
 FILE MENU 475

MIDI
For more details about MIDI settings, see "System settings -> MIDI settings (view page
31)".

Hardware Controller
Detailed information about this is available in "Hardware controller".

Metronome options
Detailed information about this is available in "File -> Program Preferences -> Metronome
Options (view page 84)".

Record
This dialog enables the selection of various dialog configurations and cursor behavior when
recording.

Format: Choose from 16 bit, 24 bit or 32 bit (float).

Enter the Recording offset in samples to ensure consistent movement of your audio
recordings with regard to the existing audio material in the arrangement.

The following options are then available:

 Pre-activate all tracks for track punch recording

If this option is activated, all set record devices will open when the playlist is opened, so
that you can start a recording on all tracks using the track record button.

 Save each take in a new file

This option saves each take of a recording as a new file. Loop recordings, however, are
collected as a take and then saved into the same file.
476 FILE MENU

 Read CD/DAT marker

DAT devices and several professional CD players output digital marker information via an
SPDIF output e.g. CD track markers or DAT markers). This recording option reads this
marker information from the SPDIF input of the sound card and applies it to the VIP,
provided that the selected audio device supports this.

Pre-recording (ASIO only): If recording is activated from the stop state or during
playback, this function inserts audio material that you have added at the beginning of the
recording to the beginning of the current recording. Prerecording lengths of 2, 5, 10, 30,
60, and 120 seconds may be set.

If a recorded object is dragged to the left, then the audio material recorded before actual
recording start is visible according to the set pre-recording time.

Post recording: Post-recording may also be activated in the recording options in order to
record up to 2 seconds of audio material in the background after the actual recording is
ended. If the end of the object to the right after recording is dragged out, the portion of
extra material recorded will be displayed. The preset for post-recording equals 0.5
seconds.

Advanced options

Show small record window during direct recording: Displays a small non-modal
recording window with the most important recording controls while recording.

Show small record window during recording/punch in recording: Displays a small non-
modal recording window with the most important recording controls during punch
recording.

Show confirmation window after recording: If this option is checked, a dialog will appear
after the recording process to choose whether to keep or discard the recording.

Note: Select the option "Display confirmation window after pressing the record button..." ,
and the recording will always be saved directly after it has completed. On the one hand,
this offers the best protection against data loss as a result of inadvertent deletion is
guaranteed, and on the other hand, obviously unnecessary takes are saved to the hard
drive and take up space until they are manually deleted.

Update object during recording: This option increases the recorded object constantly
along with continuous recording.

Autoscroll recording position: If this option is activated, the window will scroll along with
the recording cursor.

Set cursor to record end - start next recording at this position: If this option is active,
the play cursor is moved on recording; playback/recording then starts from this position.
 FILE MENU 477

Recording button in recording options can stop recording: Specify that the "Record"
button in the Recording options (shortcut: Shift + R) is able to start or stop the recording
process.

Record button ends playback after standard recording: If this option is activated, then
the running recording and playback may be ended by pressing the "Record" button in the
transport console.

Playback
More information about playback settings is available in "Playback -> Playback parameters
(view page 578)".

Performance

The options featured under "Performance" are provided to set up your system's
performance optimally. Among other things, "ASIO silence economy" is available for
switching off empty or silent tracks with ASIO.

Multi-CPU support: Samplitude supports use of multi-CPU/multi-core/HT workstations

that distribute the load of various tasks across several processors. If you select the driver
system "MME" or "WDM", the audio thread editing will run mainly on the first CPU. Disk I/O
operations, graphics, and video integration are processed by additional CPUs.

"ASIO" activates this driver system and dual CPU support; the mixer tracks and their
effects are distributed between the initial CPUs. Objects (including their effects), integrated
video material, and the graphics engine are distributed between additional available CPUs.
The program is currently optimized for work with up to eight cores; working with 3 cores is
preset.
478 FILE MENU

If you own a system with multiple CPUs, you will be able to get higher performance from
your system for processing audio, provided that you activate this option. However, using
multi-CPU support can lead to incompatibilities with plug-ins that are specified for a set
track processing series.

ASIO priority boost: Among all threads of the application, special priority is granted to the
ASIO thread. This option is a preset and does not need to be modified. This increases the
reliability of your audio recordings as well as that of the playback.

Note: We recommend deactivating this option for LYNX and TASCAM devices.

Deactivate muted tracks for ASIO: Use this option to reduce the CPU strain on your
system. When muted, however, there may be some delays.

Deactivate FX on empty or silent tracks for ASIO: Use this option to reduce the CPU
strain on your system even more. This function can, however, cause fluctuating CPU
efficiency.

Switch off Hybrid Engine for bouncing/export: This option calculates all effects during
the bouncing/exporting process using the faster "Economy Engine". This may cause
irregularities when some plug-ins attempt to compensate for latency.

Note: If every option is activated, maximum system performance will be achieved. If each
option is deactivated, maximum compatibility will be achieved.

Advanced buffer settings

Detailed information about this is available in "File -> Program Preferences -> Advanced
Buffer Settings (view page 500)".
 FILE MENU 479

Program
General

Open VIP and record window on program start: If this option is active, Samplitude will
automatically open an empty virtual project (VIP) and the "Recording parameters" dialog
when the program is started.

Open wave projects in destructive editing mode: If this option is active, wave projects
will be opened in destructive editing mode.

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.

Play cursor independent of range: This option allows the play cursor 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. If the display shows values of 100% or more, then the processor is overloaded. In
that case, take the following steps:

 Reduce the number of real-time effects in the mixer or in the object editor.
 Reduce the number of tracks by muting tracks that are not needed.
480 FILE MENU

 Increase the VIP buffer size (keyboard shortcut: Y) up to 16,000 or 32,000 samples.

Note the message displayed in the status bar in case overload occurs during real-time
previewing of complex effects like the Denoiser or FFT analyze filter.

Hide wave projects loaded into virtual projects: Hides windows in wave projects that
are loaded directly into the VIP.

Show project tool tips: If this option is active, additional information is displayed when the
mouse pointer hovers over an interactive element.

Show extended project tool tips: If this option is activated, the extended tool tips are
displayed if the mouse pointer is held over an inactive element.

Keep FX dialogs on top: This option keeps all effects dialog windows "always 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 all "Don't show this message again" boxes: Press this button to reactivate all tips
dialogs that have been deactivated.

Path Settings
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 that cannot
be allocated to a specific project are saved under the specified path.

FTP download: All files downloaded via the integrated FTP client will be saved under the
specified path.

Temporary files: This preset path is directed to the standard temporary files folder. Make
sure that this folder is on a hard drive or partition with sufficient free storage space.

Undo
Detailed information about this is available in "File > Program Preferences > Undo
Definitions (view page 497)".

Locking objects
Detailed information about this is available in "File -> Program preferences -> Lock
Definitions".
 FILE MENU 481

Keyboard, Menu & Mouse

Detailed information can be found via "Menu File -> Program Preferences -> Edit Keyboard
Shortcuts and Menu (view page 488)".

Designs
Skins
In this dialog, select different skins for the project, the mixer, and the transport console.
Use the various skins to adjust the color and graphical display of the Samplitude interface.

There are specific skins adapted for working with certain methods like the "Multi-track
mixer", "Dual Row Recorder" or "Recording Mixer" which can help keep the overview in
certain working situations.

Various skins may be selected by clicking on the icon to the top left in the title bar of the
Mixer (view page 158) or in the Menu bar of the Arranger (view page 47).

System options > Design > View options

Detailed information on display options can be found via "File > Program Preferences >
Definition... (view page 491)".
482 FILE MENU

Colors
All colors used in the program can be set here. You can also load and save these colors as
presets.

Use automatic sample colors for record: A separate random color is chosen for each
recorded object per track.

Redo
Restore last state: The last status of the color settings prior to opening the dialog was
opened is restored.

Reset...: Reset the color settings to those of the previous or original color state.

Previous state: The previous color settings will be restored.

Original state: Resets all colors to their default setting.

Reset object colors: This option resets all object colors. This may also be necessary when
importing a project from a different PC with different color settings, or if the objects have
colors that deviate from the standard object colors as a result of automatic assignment
during recording.

Reset track colors: Resets the track colors.

 FILE MENU 483

Reset object colors to track colors: Sets the object foreground colors of the waveforms
to the track colors.

Object background to track colors: Sets the object background colors to the track
colors.

Semi transparency view: Some effect dialogs and editors feature transparent displays.
These may be deactivated here to increase performance.

Effects
Dithering
You can find out more about this by reading "Dithering options..." (view page 498).

Resampling/Bouncing
Specify the settings for record resampling (normal, high, very high), playback resampling
(normal, high), and object resampling for new objects (normal, high) as well as the
resampling quality during bouncing (high, very high, ultra high 1, ultra high 2).

You can also select the following freeze options here:

 Keep mono, if possible

 Use additional samples for object freeze
 Object freeze without object volume

16-bit, 24-bit, 32-bit formats are available

VST/DirectX/ReWire
Detailed information is available in the section "Mixer -> Effects routing/plug-ins dialog ->
VST/DirectX/ReWire setup plug-in buffer (view page 176)".

Destructive Effect Calculation…

Choose in the advanced destructive effects calculation options (view page 601) if you want
to add the effect to the original file when editing destructively, write it into the effect file, or
create a new effect file for each calculation.

Options administration
The Samplitude folder includes so-called "Ini" files and preset files, which contain program
settings.
484 FILE MENU

The following dialog enables the listed settings to be saved and loaded conveniently. This
makes it possible to save the complete program settings onto a mobile storage device for
use on other Samplitude workstations.

The program settings are saved as "Settings Container Files (*.INZ)".

Save: Press the "Save" button to save the current project and program settings in a
"Settings Container". All of the program settings will be saved, including those that are not
checked. The state of the individual check marks during saving only represents a pre-
selection for loading. The saved file will now appear as a preset at the top of the list.

Samplitude settings are provided for the following dialogs:

 General settings (view page 479)

 Settings displays and window positions (view page 491)
 Audio/MIDI Options
 Toolbars
 User administration (affects all users and user settings) (Sequoia only)
 Standard project settings (view page 33)
 Standard Crossfade-templates (Sequoia only)
 Project templates (view page 449)
 FILE MENU 485

Load: Select a program setting for Samplitude from the list above or import the settings via
the folder button.

Specify via the tree structure which "Ini" files or "Preset Files" for the selected container file
should be used. Now press "Load and restart" to activate the settings. Samplitude will
restart and a backup of the last settings will be created.

The program subfolder "Customize" also features a series of "INI patches" that do not
contain complete files, but rather only activate or deactivate individual settings. These may
also be loaded just like a "Settings Container" via the folder button. After selection is
confirmed, a separate dialog window featuring explanations about the respective "INI
patch" will appear.
486 FILE MENU

Project options
General:
Please also read "System settings -> Project Options -> General (view page 33)" for more
information.
Auto save:
Detailed information about this is provided in "File -> Project Properties -> Project Auto
Save (view page 470)...".
Mixer setup:
Detailed information is provided in "File -> Project Properties -> Mixer Setup (view page
468)...".
External effects:
Detailed information on this topic can be found in "Effects -> Breakdown and functionality -
> External hardware effect integration".
Video setup:
Detailed information is provided in "File -> Project Properties -> Media Link...".
Synchronization:
Detailed information is provided in "Synchronization (view page 345)"
MIDI Machine Control (MMC):
Detailed information is provided in "Synchronization (view page 345)"
Project information:
Detailed information is provided in "File -> Project Properties -> Project Information (view
page 471)...".
Project status:
Further information is provided in "File -> Project Properties -> Project Status (view page
471)...".
Broadcast wave:
Detailed information is provided in "File -> Project Properties -> Broadcast Wave Manager
(view page 471)...".

Varispeed and Scrub Settings

This dialog enables tempo changes for virtual project playback to be made. Right click the
scrub control button in the transport controls.

Sample rate: The preset project sample rate is displayed here. To change this value, a
request window will appear to adapt all audio objects to the new sample rate as needed.
This adjustment may also be made by moving or resampling the audio material. MIDI
objects may also be adapted to the new sample rate. These may also be moved, but the
musical position will remain the same.

Autoscroll/scrubbing: See "Playback parameters (view page 578)".

Stop at position: This stops the play cursor at the current position when the "Stop" button
is pressed and doesn't jump back to the original position.

Device: Specifies the driver of the sound card for playback.

Active: Checking this box activates Varipitch/Varispeed.

 FILE MENU 487

Varipitch/Varispeed mode
Vertical slider: This controller defines the playback from -200% to +200%, in which case
negative values cause the project to play in reverse.

Pitch: Double clicking this field enables the speed factor to be input directly, e.g. 0.5 for
half speed, 2.0 for double speed.

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: This specifies the sample rate for Varispeed calculation. At a sample rate of
44,100 kHz, a value of 22,050 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 calculates the varispeed pitch factor
from the quotient from the target to the original tempo.

MIDI Options...
More details about MIDI settings are provided in "System settings -> MIDI settings (view
page 31)".

Synchronization Active
This command activates synchronization.

Shortcut: G

Synchronization Setup...
Shortcut: Shift + G

Read "Synchronization (view page 345)" for more information about synchronization
settings.

MMC Setup...
Read "Synchronization (view page 345)" for more information about synchronization
settings.
488 FILE MENU

Shortcuts and Menu Settings

This dialog allows you to specify keyboard shortcuts for every menu function in Samplitude.
It's possible to set the commands you use most often to a special key combination in order
to open them quickly.

You can also hide menus that you don't really use.

When you close Samplitude, the shortcut settings are saved in the Windows folder file
"Sam_d.ini" so that they are available automatically the next time the program is opened.

The display of the entire menu tree of Samplitude is the key function of the dialog.

Here, you can select which menu point you want to create a new shortcut or if the menu
point should appear in the main menu of Samplitude.

Displaying and searching for menu items

The menu is displayed in tree form, and submenus may be opened by clicking on the "+"
symbol. You can also search for a specific menu point by entering any desired search term
into the upper input field and then clicking on the magnifier next to it.

Show/hide menu item: Select a menu item which you would like to hide. "Hide menu
point" removes the menu item from the menu. It will be shown in grey in the dialog's tree
diagram. Please note that the menu point will no longer be selectable via previously defined
keyboard commands. "Show menu item" activates the hidden menu item again. "Reset"
returns everything to the original condition with all commands visible again.

Load/save/reset: These buttons load, save, and reset the menu definitions, respectively.

Create keyboard shortcuts: Click on the desired menu point and then on the entry field
underneath the "Shortcut..." bar. Then, press the desired buttons for the keyboard
combination. Drücken Sie nun die gewünschten Tasten für das Tastaturkürzel.
 FILE MENU 489

Combinations of any key with "Shift", "Alt", or "Ctrl" may also be used. You can now assign
the new shortcut with the button at the far right. Please do not use the space bar, "ESC",
or "Ins" key (0 in the number block), since these keys are permanently assigned in
Samplitude and cannot be changed.

Assign: This button activates the entered key combination as a new keyboard shortcut.

Find keyboard shortcuts: Click the input box underneath the "Shortcut..." bar. Next,
press the keyboard combination buttons for the search. Click on telescope symbol on the
side to view the menu command assigned to the keyboard shortcut.

Delete: Deletes the selected shortcut.

Export lists: With this button you can call up and print a complete list of current shortcuts
as a text file, excel lists or shortcut dialogs.

MIDI editor/Special buttons/Mouse wheel/Mouse

"MIDI editor" finds or assigns new keyboard shortcuts for editing MIDI events.

"Shortcuts" redefines the keys for temporarily changing mouse and object modes. Use
these functions to quickly switch from "Universal" mouse mode to a different mouse mode
and to temporarily activate "Link objects" mode or to temporarily switch to "Write
automation" mode, for example.

 Temporary switch for "Link one track (view page 78)": Activates the function "Link one
track" as long as the assigned keyboard shortcut/key combination is held down.
 Temporary switch for "Link all tracks (view page 78)": Activates the function "Link all
tracks" as long as the assigned keyboard shortcut/key combination is held down.
 Temporary switch for object contents: Enables object contents to be moved (view page
137) with the mouse as long as the assigned shortcut combination/key combination is
held down.
 Temporary switch for Snap mode (view page 66): Activates the "Snap" mode as long as
the assigned keyboard shortcut/key combination is held down.
 Temporary switch for Object (view page 69) mode: Activates "Object" mode from
"Range" mode as long as the assigned key is held down.
 Temporary switch for Curve (view page 70) mode: Activates "Draw automation" mode
from Universal/range mode as long as the assigned keyboard shortcut/key combination
is held down.
 Temporary switch 1 for "Scrub (view page 579)" mode: Activates "Preview" mode as
long as the assigned keyboard shortcut/key combination is held down.
 Temporary switch 2 for "Scrub (view page 579)" mode: Activates "Preview" mode as
long as the assigned keyboard shortcut/key combination is held down.
490 FILE MENU

 Temporary switch for "Zoom mode (view page 101): Activates zoom mode as long as
the assigned keyboard shortcut/key combination is held down.
 Switch for "Scrub mode (view page 107): Switches to "Scrub" mode indefinitely until the
next time play stops.
 Temporary switch for "Cut mode (view page 70): Activates cut mode as long as the
assigned keyboard shortcut/key combination is held down.
 Multi-tap sequence key: Pressing this key multiple times provides special functions.
 Temporary switch for "Automation write" mode: Activates "Automation write" mode as
long as the assigned keyboard shortcut/key combination is held down.

More information about the different mouse and object modes is available in "Screen
elements -> Program interface - overview".

"Mouse" defines some special options for the keyboard and the mouse to achieve
compatibility with older versions. These are:

 Disable range zoom for double mouse clicks

 Zoom lasso allows vertical zoom without "Shift"
 Disable mouse zoom on grid
 Old shift click behavior in mixer: This allows you to change the keyboard shortcut for
"Switch to exclusive" for solo, mute, and record. Click "Solo/Mute/Record" and the
selected shortcut "Shift + Alt" or "Shift" switches 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 object: This option requires a second click to moving
objects. The first click selects objects and prevents unintentional moving.
 Move thresh: When an object is selected by clicking it, it could be moved
unintentionally. If "Move threshold" is activated, Samplitude will wait a set time until
performing the operation.

"Mouse wheel" allows definition of the mouse wheel for zooming and scrolling in the virtual
project. Define which modifier ("Alt", "Ctrl", "Shift") triggers which action in combination with
the mouse wheel.

Note: Pressing the key combination "Alt + Shift" may cause Windows to switch keyboard
languages. In order to avoid this, the keyboard shortcut for switching the input scheme can
be deactivated. In the Windows control panel, open the "Country and language" option.
Navigate to the "Languages" tab and then to the "Details" button to access the settings for
the standard input scheme. Press "Keyboard" to access the advanced keyboard settings.
Open the dialog "Change keyboard combination" and place a check mark next to "Change
input scheme" and "Remove keyboard layout" to hinder the input scheme from changing in
the future.

Edit Toolbars
Samplitude lets you customize toolbars however you like. The corresponding editing dialog
may be opened by double clicking any toolbar.
 FILE MENU 491

 Select an available button and press "Insert" to add the selected button to the toolbar.
 Select an available button and press "Del" to remove the selected button from the
current toolbar.

Reset Toolbars
Resets the toolbars to default settings. Select whether individual toolbars should be reset
or if all of them should be reset via "Reset all toolbars". If the file "Samplitude_TB.ini" is
deleted from the Samplitude folder, then the default settings will be reset.

Font Selection…
Select a font for text display in Samplitude.

Font for Time Display…

Select a font for the time display here. The time display is opened via the "Window" menu.

Font for Manager…

Choose a font for the managers.

Metronome Options…
Detailed information about metronome settings is provided in the chapter "Samplitude
quick start -> Workshop: recording -> Metronome settings (view page 84)".

Draw Setup
Definition...
This dialog can be used to change between the two viewing options "Drawing mode 1"
and "Drawing mode 2". Wave form display, object, VIP, and wave form color categories
can be edited.

Shortcut: Shift + TAB

Mode 1/Mode 2/Switch Modes

Select a view mode here, or switchback and forth between the two viewing modes.

Shortcut: Tab

Waveform Display
Draw wave form: Turn the wave form display on and off here. When deactivated, you can
see volume and panorama curves more clearly.

Note: In "Drawing mode 2", the standard default setting for the wave form display is
switched off. This may be changed at any time.

Scale with fades/curves: In this default display mode, the wave form overview is scaled
according to the settings for the fade in/out or volume curves. This makes the decay of the
492 FILE MENU

sound during a fade out or for volume curve changes more visible. This mode also offers
good visibility when crossfading audio material.

Halved waveform: Switches the graphical representation of the samples to half the
waveform display size.

Separate stereo: If this option is active, stereo tracks are displayed separately one above
the other.

Draw envelope: If this option is active, an outline is drawn around the envelope of the
waveform.
 FILE MENU 493

Gray out muted objects/tracks: Muted objects and tracks will be shown gray.

The second column is especially useful for a more clear crossfade display.

Standard: The waveform of the second object is drawn over the waveform of the first
object:

Envelope only: When this radio button is selected, only the waveform outline (envelope) is
drawn. Both objects are well visible in crossfades:

Transparent: If this button is selected, the colors of both crossfade waveforms are
overlapped. The waveforms appear against a dark background. We recommend
combining this and the "Waveform colors -> Red/blue alternation" to optimize the display
of crossfade areas:

Interleaved: When this option is selected, a sample of the left object and a sample of the
right object will be drawn. You may then visually assess the fade area, a task made
especially easy if the adjacent objects have different colors:
494 FILE MENU

VIP
Various VIP components (buttons/sliders, peak meters, show border, arrangement text,
compressed waveform, and CPU peak meter) can be activated/deactivated here.

Buttons/slider displays the track header with all mixer controls, i.e. the channel faders,
solo buttons, etc. If you always have the track editor open, then you won't have to use
these functionally identical control elements at this location. However, if the track header is
left open, then only the track header's peak meter will be able to be hidden.

If you hide the borders, the edge of the selected track will disappear.

Arrangement text identifies the tracks for the two editing ranges in "Universal" mouse
mode. If you place a check mark here, you will see "Play cursor and range manipulation
area" in the top half of the track and "Object manipulation area" appears beneath this.

Compressed wave display: This display option causes the waveform to be distorted
according to the zoom level. The transition from silence (less than –90 dB) to signals with
lower levels (e.g. noise) is also shown more clearly.

CPU peak meter: If this option is activated, the peak meter in the track header displays
the CPU load per track. The upper peak meter displays the load on the Economy Engine
for the left channel, while the peak meter below this displays the load on the Low Latency
Engine for the right channel. In this case, a display value of 0dB equals a load of 100%.

Note: The dB displayed by the track header peak meter depends on the skin (view page
481) selected for Samplitude.

Objects

Draw background: This activates the background color view of the selected objects.
Every object may be assigned its own color (see "Object .> Object color/name (view page
563)" or in the object editor under "Color").
 FILE MENU 495

Use track color: The track color will be applied used as the background color.

Large Object Handle: The object handles are displayed larger.

Object properties: This option enables object settings like EQ, dynamics, panorama,
effects or plug-ins to be displayed with abbreviations in the object.

Object block symbol: If a checkmark is set, a key will appear on the bottom of an object,
which can be used to lock and unlock objects (view page 549).

Highlight crossfades: With this setting, the crossfades between the objects are displayed
in contrasting colors.

Draw while moving: The user interface is updated while moving the mouse. This option
can be deactivated for computers with low processing capabilities.

Handle for fade overlap: Use this handle to set the offset ratio for crossfades without
having to open the Crossfade Editor or Object Editor.

Additional information about object representation:

Object Name: Shows the object name.

File name: The file names will be displayed.

Group number: Objects can be grouped in VIPs. The groups are numbered. When
displaying these group numbers a quick overview appears showing which objects belong
to which groups.

Original position: This shows the original recording position at the beginning of the object
in the set time code format. This way, a comparison of values in the object with the
position on the timeline or on the time code of the picture helps clear up possible
deviations in the synchronization.

Audio Markers: Use this option to display markers in objects that are present in the wave
projects that are based on them.

Transients AQ: Use this option to display the transients in objects that were created
beforehand with audio quantization.
496 FILE MENU

Waveform color

Default color setup: The waveform contains the default color set in the color setup.

Details about the color setup can be found in the menu reference under "File >
System/Audio -> Design -> Colors (view page 482)".

Red/blue alternation: This display mode colors the objects beside the waveform
alternately red and blue so that crossfades in the "Transparent" and "Interlaced" draw
modes are optimally visible. This way, crossfades may be optimally viewed in the
"Transparent" and "Stacked" drawing modes.

Comparisonics colors: This display mode uses a patented algorithm from

Comparisonics™ for coloring the display of the sound material. Depending on the pitch
and other parameters, a special color tone for each segment of audio material can be
calculated and displayed. Deep sounds get blue color tones; high sounds get
green/yellow/red colors. Tonal material appears clear, noisy material features gray tones.
This makes it easy to recognize different pitches optically, for example a saxophone solo
versus unwanted noise.

The segment size for color calculation can be entered in "Comparisonics audio segment
size". Sizes 50 ms or longer are recommended so that there is enough material for color
determination available within the segment.

On the basis of the Comparisonics colors, a completely new audio search function is
available via "Range -> Comparisonics audio search (view page 571)"; with these help
ranges, identical or similar audio material in the project may be found quickly and easily.
More information on Comparisonics algorithms can be found at www.comparisonics.com.

Group colors: Object groups receive a randomly created individual group color when
being made. This way, various groups can be displayed and differentiated very clearly from
one another.

Track colors: The tracks will appear in colors selected under track options. The track
options can be opened by right-clicking on a track name.
 FILE MENU 497

Spectral display: Here you can select various spectral colors palettes. The graphical data
that has been created will be saved in an extra *.hs file.

The graphical interpretation of the music is displayed in the Spectral display using a
spectrogram. This displays the frequency proportions in a time curve. The volume of
frequencies is visualized via a color code or via its brightness.

Color Settings
Details about the color setup can be found in the menu reference under "File > Program
Preferences > System/Audio > Definition > Color Setup... (view page 482)".

Undo Definitions...
Use this editor to switch the undo function on and off for virtual projects, wave projects,
and plug-in settings. The amount of undo steps may also be entered. A value of 20 means
that the last 20 changes to a project may be undone.

If you check the corresponding box, temporary undo files be created as HD wave projects
for RAM wave projects.
498 FILE MENU

Dithering Options...
How does dithering work?
An audio signal is quantized at a higher or lower resolution with every A/D conversion.
During quantization, the signal receives an echelon form via limiting of the possible
amplitude values. An 8-bit signal, for example, possesses only 256 amplitude values. This
echelon formation causes distortion and thereby deforms the signal, especially impairing
the sound of the lower levels.

Dithering can be understood as "mixing in" of low-level noise which seriously reduces the
human ear's detection of sound defects.

When to dither?
Samplitude always dithers a signal in integer format when it is saved or exported.

This is the case for the following situations:

 During 16-bit playback. All device addressing takes place in fixed comma resolution.
 When burning audio CDs in real time using an internal precision setting of 32-bit float.
 When using track-bouncing for virtual projects into 16-bit wave files, provided the
internal precision is set to 32-bit float.
 When converting any 32/24-bit wave project into a 16-bit wave project.

Note: Samplitude does not execute dithering during recording.

The individual settings for dithering can be set during each trackbouncing process. Detailed
information is provided in "Tools -> Trackbouncing (internal mixdown) -> Trackbouncing
settings: options".
 FILE MENU 499

Dithering Options

No dithering, math. rounding of sample value: This mode converts the signals of 32-bit
float via precise mathematical rounding without dithering. The rounding involved makes
sure that surplus commas are not simply removed, and it also prevents signal distortions.

Dithering with linear spread noise: This converts audio data at 32-bit float via dithering
with noise featuring amplitude values that occur at regular intervals. The noise level may be
set via the "Dithering depth in bits" option.

Dithering with triangular spread noise (standard dithering): In this mode, audio data at
32-bit float is converted via dithering with noise featuring amplitude values split into
triangular intervals. This means that values are more regular in the medium range and less
often at the maximum or minimum values. This type of dithering usually creates better
results than linear dithering. The noise is not modulated through the signal, resulting in a
fading signal being enveloped by one constant noise signal.

Dithering depth in bits: This sets the level of the noise used in dithering. Input is in bits.
Use this option to specify how many bits of the resulting 16-bits should be affected by
dithering. In most cases, values between 0.5 and 2 will produce good results. Increase the
value until distortion effects are no longer audible. Provided you cannot perceive any
distortion effects, values below 0.5 are usually sufficient. If you would like to add more
severe noise to your signal, try entering values between 8 and 12.

POW-r dithering/Smart Dithering

POW-r #1 (dithering): This function uses a special dithering curve to minimize quantization
noise.
500 FILE MENU

POW-r #2 (noise shaping): This function uses additional noise shaping across a wide
frequency range to extend the dynamic range by 5-10 dB.

POW-r #3 (noise shaping): This function uses additional, optimized noise shaping to
extend the dynamic range by up to 20 dB between 2 kHz and 4 kHz. The human ear is
most sensitive to this frequency range.

Noise shaping minimizes side effects caused by bit reduction by spectrally displacing the
quantization noise above 10 kHz, which is the range the human ear is least sensitive to.

Which dithering mode sounds the best depends mainly on the audio signal.

Use POW-r dithering only for master outputs when playing back, use standard
dithering for other outputs: If this option is selected, then only the master outputs will be
dithered with the POW-r dithering algorithm. The individual outputs will use standard
dithering, i.e. dithering with triangular spread noise.

Smart dithering for export/CD burning (switch off dithering dependent on audio
material)

For wave files: This option is set as the default. Dithering will only occur on 16-bit exports
and when burning CDs if the bit-depth is 16-bit. If the original material is 16-bit, dithering
only occurs when there are modifications to the bit depth. Dithering is not calculated during
silence.

For virtual projects: This option is switched off by default. In this case, dithering only
occurs if the bit depth does not equal 16-bit.

Threshold for switching off dithering (autoblack): Specify a threshold value below which
any dithering noise that is created should be muted. The range of values in this case is
between -100 dB and -210 dB.

Advanced Buffer Settings…

In this dialog you can optimize buffer settings for your virtual project, for hard disk caching
and for plug-in manipulation. If no drop-outs or scratches are heard during playback, you
don't have to make any changes.

Program buffer/ hard disk performance

 FILE MENU 501

For special cases, you can set and save your own buffer settings. In addition, special
presets are available, e.g. for scrubbing and ASIO applications.

Program Buffer (in stereo samples)

VIP Object Buffer: Since error-free playback is usually more important than fast reaction
times, this value should be increased when playing multiple tracks. This is the only setting
relevant for playback and editing in virtual projects.

HD/Scrub Buffer: This buffer is put useful during direct playback of HD wave projects. You
can try out smaller values here to achieve faster reaction times.

Test Buffer: This buffer is only used for previewing the effects from the effects menu in real
time.

Buffer Number: Specify how many of the buffers described above should be used here.
More buffers increase reliability, but also increase the memory requirements. Reaction
times become longer. You can check the current buffer usage levels in the status bar to
the bottom right. We recommend using between 4 and 6 buffers.

Hard Disk Performance/TrackSpeed

With the help of the TrackSpeed technology, you can increase the number of hard disk
drives simultaneously playable in Samplitude. TrackSpeed uses your PC's RAM to
intelligently and effectively preload the necessary audio data.

By using TrackSpeed, the internal audio engine of Samplitude can even work using
multiple tracks with small audio buffers (e.g. 8000 samples or less), without reducing
performance. This makes short reaction times between user activities possible, for example
with the mixer and various object handles.

There are several settings, and TrackSpeed can be customized to your individual needs.
502 FILE MENU

Activate TrackSpeed: Set a check mark here to activate TrackSpeed.

Load File Cache in Stopped State

If this option is activated, the file cache will be preloaded each time the play cursor is
repositioned. You can recognize this by the "preloaded cache" notification that appears in
the bottom right status bar. The next play start happens automatically because the
necessary audio files are already present in RAM.

Read Ahead: Enter how many seconds of the VIP can be preloaded in this field.

Preload at Play Start: This value determines how much of the cache will be loaded at play
start (in percent). Large values delay start, but increase play stability when track count is
high.

The dialog also displays the following project information:

 Tracks used
 Total memory requirement
 Data transfer rate
 Reading block size

Resampling Quality Options…

Use these options to set the following resampling/freeze calculations.

Resampling options

 Record resampling (chase lock sync, conversion to 44.1 kHz during recording)
 Playback resampling (scrubbing, chase lock sync, playback at altered sampling rate)
 Object resampling for new objects (load objects with sample rate different from project)
 Resampling during bouncing (prior to burning CD)

Freeze options

 Keep mono, if possible

 Use additional samples for object freeze
 Object freeze without object volume
 Format (16-bit, 24-bit, 32-bit)
 FILE MENU 503

Locking options

Select which functions should be disabled by locking objects or tracks here. You can
select the following options:

Locking objects
Disable moving: Prevents objects from being moved horizontally. This avoids unintentional
offsets between individual tracks for multi-track recordings.

Disable vertical movement: Prevents objects from being moved vertically.

Disable volume changes: This deactivates the object's volume handles.

Disable fade-in/out: Deactivates the fade handles of the objects.

Disable length changes: Deactivates the length handles of the objects.

Disable deleting: This option prevents the deletion of locked objects.

Disable ripple for locked objects: Locked objects are not affected by functions like "Edit
-> More -> Delete with time/ripple" or "Edit -> More -> Cut with time/ripple".

Locking objects/tracks
Note: Tracks are locked in the track box by activating the lock symbol.

Disable crossfade editing: This deactivates the crossfade function for set tracks. The
crossfade can no longer be changed.

Set Preroll Time…

This option sets the pre-roll time for the cut simulation functions. The cut simulation
function is started via the corresponding buttons in the punch/playback bar. The pre-roll
time specifies how long is played until the selected range is reached.
504 FILE MENU

Destructive Effect Calculation…

Choose in the advanced destructive effects calculation options (view page 601) if you want
to add the effect to the original file when editing destructively, write it into the effect file, or
create a new effect file for each calculation.

More
Disconnect Internet
This menu item allows you to terminate an existing Internet connection directly from within
Samplitude.

Append Project
With this function, a project can be appended to another one. The objects or wave files of
a selected project will be immediately copied to the end of an existing object.

To execute this command, first click the project you would like to attach the material to.
Next, select the "Append project" command, followed by a mouse click the project to add
to. Finally, confirm via the appearing dialog by clicking on the "Add" button.

Add a VIP to a VIP

Virtual projects may be inserted into other virtual projects and added to the end of already
existing virtual projects.

All objects of the appended VIP remain separated and are inserted at the end of the
existing project from the first track downwards.

Note: The mixer settings for the inserted project will not be applied with this command.

Add Wave Project to a Wave Project

"Append Project" allows you to copy a wave project to the end of an already existing wave
project.

Exit
The program Samplitude is being shut down. All projects changes will be lost if "Save" is
not selected.

Recent File
In the last section of this menu the 10 projects opened last will be displayed.
 EDIT MENU 505

Edit Menu
This menu features functions that are applicable only to wave projects ("Edit -> More ->
Copy to"), and others are only for virtual projects ("Cut silence").

Edit functions like "Extract" require range to be selected; other functions like "Copy" are
available only for active objects. The start and end points of the selected range determine
the start and end points of a cut, and the vertical position indicates the tracks that are
affected by the edit.

Activate the auto crossfade function and all the newly created fade edges will automatically
be made soft or disappear.

Mouse mode
The following options allow you to select from a variety of mouse modes like in the Mouse
mode bar (view page 69).

In addition to the various mouse modes, numerical values in the dialog windows can be
changed by clicking on the input field or by moving up and down while holding down the
left mouse button. This turns the play cursor into a vertical double-ended arrow.

"Universal" mode
This is the preset mouse mode for Samplitude. All necessary functions can be reached
with the left mouse button. Right-clicking always opens a context menu.

Detailed information about "Universal" mode is available in "Screen elements -> Mouse
mode bar -> Universal mode (view page 69)".

Left mouse button:

Upper half of track

Drag: Open and move ranges.

Click: Place start position of play cursor.

Lower half of track

506 EDIT MENU

Click: Selects objects.

Click + Shift: Selects multiple objects (including all objects between two clicked objects).
Click + Ctrl: Select multiple objects.
Drag + Shift: Moves an object (or a group of objects) onto a different track; the horizontal
position remains the same.
Drag + Ctrl: Duplicate one or more objects.
Drag + Shift + Ctrl: Duplicates one or more objects on a track; the position is maintained.
Double click on object: Double click opens the object editor
Lasso function: Clicking next to an object while dragging to the right activates the object
lasso to select multiple objects.
Clicking next to an object, while left-dragging activates the object lasso for selecting
multiple volume or panorama events.

Object handles

Middle handle (top): Changes the object volume. The exact value in dB can be seen in
the tooltips.
Side handles (top): Set a fade-in or fade-out for the object. The fade curves can be edited
in the object editor.
Lower handle: Sets the start and end position of the object.

Volume and panorama curves:

Double-clicking on a curve: Creates a new curve event, while double-clicking again

deletes an existing event.

Click on a point: Selects a point.

Click on an event + Ctrl: Allows selection of multiple events.

Click on an event + Shift: Multiple selection of start and end events, including all curve
events in between.

Drag a selected point: Moves the selected point.

Drag an event + Ctrl: Moves multiple selected points.

To delete multiple events, select them and choose "Edit -> Delete curve handle" or simply
press the "Del" key on your keyboard.

Right mouse button: Context menu

 EDIT MENU 507

Range mode
In this mode, only ranges and the play cursor can be manipulated.

Detailed information about "Range" mode is available in "Screen elements -> Mouse mode
bar -> Range mode (view page 69)".

Left mouse button:

Drag: Stretches and moves ranges with the "Shift" key.

Clicking beside range: Sets the start position of the play cursor.
Held down "." period key: Switches temporarily to "Object" mode to move objects.

Held "-" dash key: Switches temporarily to "Curve" mode to move and edit volume and
panorama curves.

Right mouse button: Context menu

Curve mode
This mode allows Panorama and volume Curves to be drawn, edited and deleted with the
left mouse button.

Read more on this in the "Screen elements -> Symbol bars > Mouse mode bars (view
page 70)" section of the manual.

Left mouse button:

Drag to left or right: Dragging the lasso selects multiple volume or panorama automation
curve events.
Click once on a curve event: Creates a new event; a double click deletes it again.
Click on a point: Selects a point.
Click on an event + Ctrl: Allows selection of multiple events.
Click on an event + Shift: Multiple selection of start and end events, including all curve
events in between.
Drag a selected point: Moves the point.
Drag a selected point + Ctrl: Moves multiple selected points.
To delete multiple events, select them and choose "Automation -> Delete curve points", or
simply press "Del" on your keyboard.

Right mouse button: Context menu

508 EDIT MENU

Object mode
In this mode, objects may be moved and curves may be edited with the left mouse button.

Detailed information about curve modes is provided in "Screen elements -> Mouse mode
bar -> Object mode (view page 70)"

Left mouse button:

Click:Selects objects.
Click + Shift: Selects two objects, including all objects in between the two objects.
Click + Ctrl: Select multiple objects.
Drag objects: Moves objects in the set grid steps.
Drag + Shift: Moves an object (or a group of objects) onto a different track; the horizontal
position remains the same.
Drag + Ctrl: Duplicate one or more objects.
Drag + Shift + Ctrl: Duplicates one or more objects on a track; the position is maintained.
Double click on object: Double click opens the object editor
Lasso function: Clicking next to an object while dragging to the right or left across multiple
objects activates the lasso.

Object handles

Middle handle (top): Changes the object volume. The exact value in dB can be seen in
the tooltips.
Side handles (top): Set fade-in or fade-outs for the object here. The fade curves can be
edited in the object editor.
Lower handle: Sets the start and end position of the object.

Right mouse button: Context menu

 EDIT MENU 509

"Object and curve" mode

In this mode, you can move objects and edit curves using the left mouse button.

Left mouse button:

Click:Selects objects.
Click + Shift: Selects two objects, including all objects in between the two objects.
Click + Ctrl: Select multiple objects.
Drag objects: Moves objects in the set grid steps.
Drag + Shift: Moves an object (or a group of objects) onto a different track; the horizontal
position remains the same.
Drag + Ctrl: Duplicate one or more objects.
Drag + Shift + Ctrl: Duplicates one or more objects on a track; the position is maintained.
Double click on an object: Opens the object editor.
Lasso function: Clicking next to an object while dragging the lasso to the right across
multiple objects selects the objects within the loop. Clicking next to an object while
dragging the lasso to the left selects multiple volume or panorama curve events.

Object handles

Middle handle (top object edge): Changes the object volume. The exact value in dB can
be seen in the tooltips.
Side handles (top object edge): Set a fade-in or fade-out for the object here. The fade
curves can be edited in the object editor.
Lower handle: Sets the start and end position of the object.

Click on a curve: Creates a curve event; a double click deletes it again.

Click on a point: Selects a point.
Click on an event + Ctrl: Allows selection of multiple events.
Drag a selected point: Moves the selected point.
Drag an event + Ctrl: Moves multiple selected points.

To delete multiple events, select them and choose "Automation -> Delete curve points" or
simply press the "Del" key on your keyboard.

Right mouse button: Context menu

510 EDIT MENU

Left / Right mode

Use this function to switch to the Left / Right mode. The right mouse button then controls
object functions, the left one controls manipulations of the range.

Left mouse button:

Double click on volume and panorama automation curves: Creates a new curve event;
another double click on the same curve event deletes the event.

Right mouse button:

Click: Selects objects.

Click + Shift: Select multiple objects.
Drag objects: Moves objects
Drag + Shift: Moves objects onto a different track; the horizontal position remains the
same.
Drag + Ctrl: Duplicate one or more selected objects.
Drag + Shift + Ctrl: Duplicates one or more selected objects on a track; the horizontal
position is maintained.
Click on a point: Selects a point.

Click on an point + Shift: Allows selection of multiple points.

Drag selected points: Moves several events.

Wave (HDP/RAP) Mouse Mode

Range
Use the left mouse button to set the play cursor and select ranges.

Draw Wave
Draw the sample material at a high zoom level, which can be helpful if you want to remove
clicks and clipping.

Volume Draw Mode

In this mode, you can directly manipulate the volume using the mouse.

Scrub Mode
This mouse mode enables you to preview and control the playback speed. The project is
played forwards or backwards, depending on the scrub direction.

Zoom Mode
Click with the left mouse button to zoom into the wave display; zoom out with the right
mouse button.

Cut mode
Left click: Click on an object to separate it at the corresponding position.
 EDIT MENU 511

Right mouse button: Context menu

Pitchshift/Timestretch mode
The object handles below and in the centre can be used for directly setting the playback
speed and pitch.

The timestretch Mouse Mode simplifies working with tempo markers.

Create BPM markers (Tempo changes) and by directly clicking the desired playback
position and holding down Shift. You can adapt the tempo by moving the mouse
vertically while holding down "Shift".

You can create Grid position markers in "Timestretch" mouse mode by clicking the
desired playback position and holding down "Alt". Also you can shift the snap by moving
the mouse horizontally.

You can create Grid position markers with "Alt" + horizontal mouse movement without
adjusting time positions, e. g. to manipulate the bar grid and to adjust it to available
audio or MIDI objects.

Left mouse button:

This mode is only different from "Universal" mode because of the handle function (the five
boxes on the selected objects):
Middle handles: Object pitch may be changed within a range of +/- 6 semitones. The
process used may be selected in the object editor.
Side handles: Set a fade-in or fade-out for the object. The fade curves can be edited in
the object editor.
Lower right handle: This handle controls the length changes made to an object via
timestretching. The same time section (starting length of an object in the wave project) may
be extended or shortened via timestretching. Select the stretching mode used in the object
editor.

Right mouse button: Context menu

Volume draw mode

This mode allows Volume Curves to be drawn with the left mouse button. You must first
activate the volume curve on the corresponding track with the "Vol" button to the left in the
track header. Then, click on the curve to create curve points. These can then be dragged
to the desired position.

Left mouse button: Freehand drawing function for volume curve.

Right mouse button: Context menu

Automation draw mode

This mode allows automation curves to be drawn by using the left mouse button. Activate
the automated parameters of the embedded plug-in beforehand with the shortcut "Ctrl +
Alt + move the corresponding plug-in's handling element". Next, click with the right
512 EDIT MENU

mouse button on the "Track automation" field in the track editor, and place a check mark
for the desired parameters. Now in the track you can draw in the curve of the selected
parameter using the pen in Automation Draw mode.

The selected parameter's curve can be seen in the track in the foreground; all other curves
are optionally displayed as thin lines via the context menu.

Tip: You can also move any plug-in parameter at any time via the small horizontal faders in
the track editor's automation box while using "Automation drawing" mode (e.g. touch,
latch, overwrite, or trim). Latch, Overwrite oder Trim) aktiviert haben.

Left mouse button: Freehand draw function for automation curves.

Right mouse button: Context menu

Spectral mode
With the "Spectral mode (view page 72)" you can remove noise from a track object,
without the wanted signal being audibly influenced. Editing can be done directly in the
Arranger window.

After calling up "Spectral mode" highlight the unwanted noise by drawing a rectangle
around it using the mouse. With help from the handle you can adjust the selected area.
After making the correction, you can see the results in the Wave/Spectral display in the
Arranger window.

Left mouse button: Marks the selection box

Right mouse button: Context menu

Scrub mode
This mouse mode enables you to preview and control the playback speed. The project is
played forwards or backwards, depending on the scrub direction.

Left mouse button: Clicking the project activates monitoring with control of the
playback speed.

Right mouse button: Context menu

Zoom mode
Left mouse button: zoom in

Right mouse button: zoom out

Color mode
Left mouse button: Changes the background color of the object
 EDIT MENU 513

Right mouse button: Changes the object's wave form color

Object Mode
Detailed information about object modes is available in "Screen elements -> Toolbars -
overview -> Object modes (view page 77)".

Undo
Samplitude offers a secure way of tracking your changes in Virtual and Wave Projects,
which makes it easier to undo work steps. Up to 100 changes can be kept in the memory
using the undo function in "Menu > File > Program Preferences > Undo Definitions (view
page 497)".

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

Undo History
A list featuring the most recent executed commands appears.

In this dialog, you can return to an earlier work stage. This list can be removed in the "Edit -
> Delete undo levels (view page 513)".

Delete Undo History

Deletes the undo levels of a project.

Copy
Copy
The current range is copied into the clipboard. Please note that any previous clipboard
content will be deleted.

Shortcut: C, Ctrl + C or Ctrl + Ins

514 EDIT MENU

Copy as… (Wave-Project)

This function copies the selected range from a wave project into a new file.

Shortcut: Shift + C

Copy + Clear
Copies the current range to the clipboard (clip), removes it from the project, and replaces it
with silence.

Shortcut: Ctrl + Alt + C

Cut
Cut
Virtual projects (VIP)
In the case of virtual projects, the selected area will be copied into the virtual clip (VirtClip)
and removed from the active project. The VirtClip (view page 427), like the virtual projects,
does not contain the actual audio files, just the links to them. The VirtClip contains the
same count of tracks as the selected area.

Shortcut: X

Wave projects
The data of the selected range is copied into the clip (view page 437) 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 play cursor 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".

Cut with Time/Ripple

This command deletes the marked range and copies it into a clip. The material behind the
removed range will be moved forward by the length of the range (ripple, shuffle).

Shortcut: Ctrl + Alt + X

Split
Split Objects
Use this option to split all selected objects at the cursor position and separate them into
individual objects.
 EDIT MENU 515

If the range is selected, the cut will be made at each border. Ensure that the object that is
to be edited is contained within the active range. If necessary, all objects may be activated
by double clicking on the range selected in the range bar. In this case, it is not necessary to
select the objects beforehand.

Shortcut: T

Split objects at Marker Positions

The object is split into pieces at the marker positions that lie within the object borders. The
newly created objects will be named after the previous markers.

Split Objects at Track Marker Positions

The object is split into pieces at the marker positions that lie within the object borders. The
newly created objects will be named after the previous track markers.

Split Objects at Audio Marker Positions

The object is split into pieces at the audio marker positions that lie within the object
borders. The newly created objects will be named after the previous audio markers.

Heal/Unsplit Objects
This command recombines two objects that have been split without any audio calculation.
To do this, the objects in the VIP must be positioned exactly beside each another, and the
audio material must be connected. The objects must therefore be different but sequential
pieces of audio material from the same wave project. If this not the case, the command will
not function properly.

Before executing the command, select both of the objects that were split previously. All of
the second object's properties, like fades and effects, will be discarded. The resulting
combined object will feature the properties of the first object.

Insert
Paste/Insert Clip
The data contained in the clip (view page 426) or VirtClip is inserted at the current position
of the play cursor (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

516 EDIT MENU

Paste with Time/Ripple

This menu option inserts the clip at the position of the cursor or at the start of the range.
The audio material after the cursor position will be moved down by the length of the range
(ripple, shuffle).

Shortcut: Ctrl + Alt + V

Overwrite with Clip

The current range will be overwritten with the contents of the clip. The length of the clip will
not be reduced. The data previously located at this position will be overwritten.

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 play cursor
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
Virtual projects (VIP)
With this command you can delete selected objects from the virtual project. For selected
ranges, objects as well as track automation curve points above them will be deleted.

In connection to the button "Link objects on 1 track" in the button bar, the objects lying
behind the deleted area of the corresponding track are pulled up, shortening the total
length of the track. In other object modes, the range is replaced by silence.

Use "Object -> Cut objects -> Delete objects (view page 546)" to remove the objects from
the range.

You can delete any individual automation curve handle by selecting it in the project window
using the mouse and going to "Edit -> Delete curve points".

Shortcut: Del
 EDIT MENU 517

Wave projects
The files of the selected area will be deleted and the segment of the wave project located
after the area will be pulled into its place.

Caution: If you are using offline Audio edit mode and have deactivated the "Undo" function
("Options -> Program preferences -> Undo Definitions (view page 497)"), the files cannot
be restored.

Delete with Time/Ripple

This command deletes the marked range. Material later than the end of the range will be
prolonged by the length of the range.

Shortcut: Ctrl + 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.

Individual objects can be cropped using "Object -> Trim Objects (view page 548)".

Wave Projects
In "Wave editing" mode, only those wave project segments below the selected area
remain. The files before and behind the range are 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.

Strip Silence
This command cuts the objects apart at the position of the silence. Before applying the
command, add a threshold value in the dialog for the silence and used signal. The cut
objects are marked to make it easier to delete them using the "Del" button.

Threshold for silence detection (dB): If the signal falls below this value, the object will be
cut at the corresponding position.
518 EDIT MENU

Threshold value for used signal (dB): If the signal rises above this value, the object will be
cut at the corresponding position.

The "Minimum length of silence" parameter sets the length which silent passages should
be applied so that they can be selected and deleted. This enables you to remove very short
passages of silences from the cut.

With the "Crossfades" option, you can create automatic crossfades between at the cut
positions of the objects.

Clear
The data of the selected area will be deleted. The files found after the selected area will not
be moved, leaving silence in the tracks selected. The length of the track stays unchanged.

Shortcut: Alt + Del

Tempo
Tempo Map Dialog...
Detailed information about the "Tempo Map" dialog is available in chapter "Tempo Editing
(view page 300)".

Tempo Map BPM Mode

Detailed information about the "Tempo Map BPM Mode" is available in chapter "Tempo
Editing > Tempo Map Modes: BPM Mode / Grid Fit Mode (view page 302)".

Tempo Map Grid Fit Mode

Detailed information about the "Tempo Map Grid Fit Mode" is available in chapter "Tempo
Editing > Grid Tapping" (view page 305).

Insert Tempo Change

Here you open up the "Tempo and Time Signature Dialog (view page 310)" in order to
insert tempo change.

Insert Time Signature Change

Here you open up the "Tempo and Time Signature Dialog (view page 310)" in order to
insert time signature change.
 EDIT MENU 519

Insert Grid Position Marker

Detailed information about the "Grid Position Marker" is available in chapter "Tempo Editing
> Grid Position Marker". (view page 305)

Tempo Scaling
With this menu command all BPM values of the selected tempo curve points can be scaled
with one adjustable factor.

Ignore All Tempo Markers / Use Project Tempo

With this option you can ignore any previously created tempo markers in your project, so
that only the project tempo observed.

Metronome Active
This command activates/deactivates the metronome. This function can also be activated
via the "Click" button in the transport controls.

Metronome options
Detailed information about this is available in "File -> Program Preferences -> Metronome
Options (view page 84)".

Create click track

The new command Menu Edit > Tempo > Create click track creates an audio track,
which contains all metronome click as objects.

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 + #").

Shortcut: "Alt + ÷" (number block), right arrow

520 EDIT MENU

Move Range Start Right

This function moves the beginning of the range in the current arranger window by one grid
unit to the right. The length of the movement depends on the set grid value. This may be
adjusted via "Project options -> General" (Shortcut: "I", "Ctrl + Shift + #").

Shortcut: "Alt + *" (number block), right arrow

Move Range End Left

This function moves the end of the range in the current arranger window one grid unit to
the left. The length of the movement depends on the set grid value. This may be adjusted
via "Project options -> General" (shortcut: "I", "Ctrl + Shift + #").

Shortcut: "Alt + -" (number block), "Shift + right arrow"

Move Range End Right

This function moves the end of the range in the current arranger window one grid unit to
the right. The length of the movement depends on the set grid value. This may be adjusted
via "Project options -> General" (Shortcut: "I", "Ctrl + Shift + #").

Shortcut: Alt + +" (number block); 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

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.
 EDIT MENU 521

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

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.

Shortcut: Shift + F3

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.
522 EDIT MENU

Range Over All Selected Objects

Choose this option to extend the range over all selected objects.

Remove Range
This command removes the current range from the grid and marker bar. This function is
also available by right clicking in the grid and marker bar.

Range Not Over Tracks

This command selects the selected range from the grid and marker bar only, and not in the
tracks. 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.

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 play cursor 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"

Split Range for Video

This function is especially useful when working with AVI videos. The upper section displays
the entire project, the lower left section displays the range start, and the lower right section
indicates the range end. For the lower sections, a zoom depth of 1 frame is preset to make
image-precise cutting and editing possible.

To undo the split, restore the original range by pressing "Shift + B".

Store Range
Samplitude enables ranges to be stored by selecting the corresponding range number.
 EDIT MENU 523

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

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…
The "Range manager" displays all saved ranges of the current project.

Detailed information about the "Range manager" is available in the chapter "Manager ->
Range manager (view page 149)".

Shortcut: Ctrl + Alt + Shift + B

Recall Last Range

Use this function to recall the last selected range. Repeated application accesses ranges
up to five levels back.

Shortcut: Shift + Backspace

Crossfade
Crossfade editor
Samplitude features a professional crossfade editor.
524 EDIT MENU

The crossfade editor is opened by clicking the toolbar button or via menu "Edit ->
Crossfade editor". You can also use the keyboard shortcut "Ctrl + F".

Use the crossfade editor to conveniently and efficiently edit all aspects of a crossfade. All
changes are non-destructive and can be undone.

Crossfading with the crossfade editor

In the VIP, select the objects which you wish to fade into and open the crossfade editor.

The following editing options are available for selection:

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)
 EDIT MENU 525

 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 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.
526 EDIT MENU

Enable asymmetrical crossfades: The fade offset settings of both objects are no longer
connected to one another and can therefore be set independently of one another.

Auto Crossfade Active

With this option, all newly recorded or cut material in a VIP (or material that is dragged from
a wave project into a VIP track) has an automatic fade-in applied to the start and end.

Every object may be assigned a standard fade-in, and this may be edited via the object
editor fade menu via "Get/set global crossfade".

If two objects overlap in this mode, a real-time crossfade will occur at the intersection. The
fade settings can be modified using a double click on each object in the object editor.

If required, you may manually edit each intersection with the crossfade editor or handles.

Batch Processing...
Use batch-processing to automate long work processes. This makes it possible to define
an editing sequence, which will be applied to all selected files.

Every task will be entered into the task list. Define multiple batch tasks, which will then be
executed one after the other.

Possible editing options:

 Normalization
 Linear fading (in and out)
 Real-time effects
 Time Stretching/Pitch Shifting
 De-clipping
 Remove DC offset
 Target format settings: Word width (8/16/24/32 float), sample rate, stereo/mono
settings, file format conversion, compression process,
 memory settings.

For example, you can normalize a whole list full of 24-bit wave files to 96%, apply 5 ms
fades at the beginning and the end of each file, compress them with the multi-band
 EDIT MENU 527

compressor, change them all to 16-bit mono, resample them on 22 kHz, and then save
them all as MP3 files.

Tasks
The task list is on the right edge of the batch processing window. New jobs are created by
activating the “Add job” button. If you select a job (with a mouse click), the four settings
tabs are displayed (source files, effects, target format, target files). "Remove job" removes
the selected job. “Perform jobs” starts the batch processing.

As long you don't close down Samplitude, all the tasks remain saved until execution, even
if you close the batch processing window in the meantime.

Source Files

Create the list of the files for editing with the "Add file" button. Multiple selection is
possible. Select "Add directory" to add all of the audio files within a directory (including all
subfolders). All file formats that Samplitude can import may be loaded. "Save list" creates
a playlist in *.m3u format for selection later. The option "Detect L&R files" makes it
possible to edit left and right files as stereo. "Remove” deletes all selected list entries.
"Remove all" deletes the complete list.
528 EDIT MENU

Effects

1. Normalize: Enter a target maximum amplitude value in % or dB. For example, a value of
75% corresponds to -2.5. Alternatively, you may also enter volume changes in dB. Detailed
information about normalization is available in "Effects -> Amplitude -> Normalize (view
page 603)".

2. Master effects: To avoid redundancy in the batch processing dialog, effects settings
have been integrated with the mixer preset files.

The Samplitude mixer enables all of the mixer settings to be exported as a mixer preset.
Click the "Save mixer settings" button in the mixer. This is located under the snapshot
storage slots.

When you load the *.mix file into the batch-processing function via "Load preset", all effect
settings for the master channel will be calculated into the file batch. "Edit preset" opens a
special FX routing dialog that provides access to all of the effect parameters.

Detailed information about the FX routing dialog is provided in the chapter "Mixer - buses
and routing -> Effects routing/plug-ins dialog (view page 174)".

Additional effects: Besides the master effects of the mixer presets, non-real-time effects
such as "Resampling/Time Stretching", "Remove DC offset", and "Remove modulation"
may also be applied. The "Settings" button opens the corresponding effects dialog.

3. Fades at the start and end of projects Linear fades may be added to the start and
end of files. The fade lengths may be set freely.
 EDIT MENU 529

Target format

All settings in this dialog can be saved as presets. You can freely choose the bit resolution
(8/16/24/32 bit float), the sample rate, stereo/mono/left/right as well as the save format
with the corresponding format settings.

You can find out more about sample rates in the "File > Effects > Sample manipulation >
Adjust sample Rate (view page 682)".

You can find out more about file formats in the "Menu > File > Export (view page 449)".

Destination Files

There are various ways to save edited files:

530 EDIT MENU

Replace source files: The original file is replaced with the edited one. If the file is used in a
VIP, the VIP will be closed first.
Save files with new name to the source directory: The edited file is copied back into the
source directory and the file name will be expanded with an additional "file name prefix"
and "file name suffix".
Save file in the following directory: The edited file will be saved in the selected directory;
the file name will be extended to include the "file name prefix" and "file name suffix".
Remove file name suffix with numbers: This option removes numbers added by
Samplitude's batch processing function (e. g. "_48kHz" or "_T001").
Delete jobs from list after processing: If you select this option, a job that has been
processed will be removed from the list.
"Delete source files after processing" may also be applied.
Create subdirectories: This option saves all files in the same subdirectory structure
including the source path. Subdirectories are created as required.

More
Range Editor…
This window specifies the currently marked range's start and end positions and length in
various measurement units.

Adjustments to the parameters have the following effect:

Change start of range -> Range end remains constant

Change range length -> Range start remains constant
Change range end -> Range start remains constant

Edit time display

Here you can set and the number fields for the range position (Alt + Num pad 1), range
length (Alt + Num pad 2), and range end. (Alt + Num pad 3).

Shortcut: Alt + Num pad 1 … 5

 TRACK MENU 531

Track Menu
Insert New Tracks
Add One Track
Use this function to add a new track to the last track in the project.

Add Several Tracks

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

The maximum track count in Samplitude is limited to 999 stereo tracks. Each of these
tracks can also act as a AUX bus and/or as a submix bus.

Insert Track(s)
This command adds one empty track at the end of a selected track.

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

This command adds a MIDI track to the end of a selected track.

New Folder Track

This command adds a folder track in front of the selected track. If a range across several
tracks is selected, each of these tracks will be added to the new folder track.

Detailed information about folder tracks is available in "Screen elements -> Program
interface - overview -> Folder tracks (view page 61)".

New Submix Bus

Add a submix bus as a track here. The new bus will be added below the selected track.

New AUX Bus

Add an AUX bus (view page 426) as a track here. The new bus will be added below the
selected track.

New Surround Bus

You can mix down your project in Surround sound retroactively. Use this command to
create a Surround bus that will be placed below the selected track. All tracks routed to one
Surround bus receive a Surround panorama module instead of the normal panorama slider
to control the Surround position of the output signal.
532 TRACK MENU

As soon as you have creates a Surround bus, you can route the exiting signal of an object
to this Surround bus and set the Surround panorama independently from the track
panorama settings.

The Surround master is created simultaneously when a Surround bus is created; the
individual channels are routed to the different output devices.

New Surround AUX Bus

Use this command to create a new Surround AUX Bus.

A Surround AUX bus allows integration of Surround effects. This may be fed by a normal
track or by a lower lying Surround bus. The AUX bus itself can again feed a Surround bus
with a higher track number.

Copy tracks
Use this function to copy tracks that are selected to the track header (view page 98), i.e. in
the clipboard.

If you want to copy several sequential tracks, drag out a selection over all of the tracks that
should be copied. The selection does not need to be adjusted to the track contents.

Next, load the selected tracks into the clipboard via "Copy tracks", and then insert them as
additional tracks above the last selected track with the command "Insert tracks". This
results in all track settings, save the AUX send paths, being adopted.
 TRACK MENU 533

Paste Track(s)
This function inserts all tracks copied into the clipboard (VirtClip (view page 427)) above the
selected track.

Deletes Track(s)
This function deletes all selected tracks.

Track type
Here you can specify whether the track should be an audio track or a MIDI track.
Moreover the track can be defined as a submix and/or AUX bus.

So you can define the track as Economy Track. (view page 28)

Input
Stereo in: The channel input is switched to stereo and the signal will be picked up on two
channels.

Mono in: The channel input is switched to mono and the signal will only be picked up on
one channel.

Mono mix in: The track input is switched to mono, the signal is recorded like a stereo
recording (dual channels), and then mixed into a single channel.

MIDI track record: If you click this menu entry the MIDI section of the track editor will
open, allowing you to record MIDI files.

Group track controls

With this function you can group control functions like faders, record or mute buttons from
different tracks. If you want to group track controls, select the desired elements while
holding down the "Ctrl" key and then activate "Group track controls". Control groups will
be automatically called up when one of the elements of this group is activated.

Example: When muting a submix bus, no AUX channels from the original tracks will be
sent. An additional control group can be created in order to simultaneously control the
faders of several tracks. By clicking and simultaneously using the Shift + Ctrl keyboard
shortcut individual faders can be moved in the opposite direction. By clicking together with
the shortcut "Shift + Ctrl", individual faders may even be moved in opposite directions.

Note: Please note that only one control element may be present per control group.
Overlapping control groups can't exist.
534 TRACK MENU

Ungroup track control group

You can use this function to ungroup. To do so, click on an element in the control element
and select "Ungroup track control".

Hide Track
This command hides the selected track from being displayed in the track view. It will,
however, remain visible in the mixer and will continue to play there.

The menu item "Show all tracks" shows this and all other hidden tracks.

An overview of all tracks including their status of visibility is included in the track manager.
("Tools -> Manager -> Track manager" shortcut: Ctrl + Shift + S"). Hidden tracks may be
recognized in the track manager by the lack of a tick beside "Arrangement". In the column
beside it to the right, you can hide the track in the mixer window as well.

Detailed information about the track manager is provided in "The Manager -> Track
manager" section.

Unhide All Tracks

Use this command to show all hidden tracks in the arranger once again.

Track size
Maximize Track
The activated track is maximized, i.e. it is displayed in a large view.

Minimize None
All minimized (and maximized tracks) are displayed in the same size.

Display Subtracks
This command opens the subtracks for a folder track.

Freeze Track
With "Track freeze", you can have the selected file rendered into a wave file which replaces
every object on the chosen track. The object and track effects are also added, reducing
the CPU load resulting from CPU intensive effects and plug-in calculations.

The advantage of "Track freeze" is that the frozen track is saved in a separate VIP and can
be edited or recalled at any time. This allows you to work effectively, highly flexibly, and in a
way that reduces strain on the computer's resources.
 TRACK MENU 535

Detailed information about freezing plug-ins is provided in "Software instruments/VST plug-

ins -> Freezing plug-ins (Freeze)".

Track Freeze for AUX Buses/Submix Buses

Submix and Aux bus tracks may also be frozen. This way, you can get a complete group of
tracks to release the required CPU load including all effects, fades, crossfades, and
automation settings in one step.

Submix Bus
 Tracks routed onto the submix bus are not changed. They remain the same.
 The submix bus input is muted
 The file created while freezing is inserted into the submix track as an audio object.
 Changes made to the tracks after freezing which are routed to the submix bus have no
effect on the playback of the frozen submix bus.

AUX Bus
 AUX send settings in tracks are taken into account when freezing
 Tracks routed onto the frozen AUX bus are not changed but remain unchanged instead
 The AUX bus input is muted
 The AUX send fader of the affected tracks is colored blue.
 An asterisk is added in front of the name of the AUX send fader in the mixer.
 The file created while freezing is inserted into the AUX track as an audio object
 After freezing, any changes made to the tracks that transmit to the AUX bus are not
updated in the file that was created during the freezing process.
Edit Track Freeze
This command opens the temporary trackbouncing VIP in which the frozen track is saved.

You can make any changes you like here (just like in any other project), from object cuts via
effect calculations in the track and object to adding other wave projects.

Frozen Submix/AUX Bus

If you have changed something on tracks that route to a frozen submix bus, you should
"unfreeze" the bus using the "Track unfreeze" command and then refreeze it immediately
afterwards with "Track freeze" in order to keep it up-to-date.

Unfreeze Track
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 the temporary freeze project are also applied to the track.

Note: If you add additional tracks which were created when freezing a track to the project,
"Track unfreeze" will no longer be usable.
536 TRACK MENU

Track Effect Settings

Track Routing Dialog
You can apply all important settings for real-time effects In the track routing dialog.

Track Routing Dialog - Routing

All available effects are listed in the effects list in the respective context (track, object, or
master). By right clicking, you can directly access the settings dialog of the respective
effect. The check boxes for volume, pan and gain knobs as well as AUX gain knobs are
grayed-out, because they are represented in the list only for the purpose of ordering the
effects.

The order of the effects in the mixer tracks and the mixer master may be configured freely;
however, in the object, this order is restricted. You can change the position of an effect
with the up/down buttons in the "Effects sequence" section. "Reset" changes the order
back to the previous sequence.

There are two entries for "AUX send" (pre and post) in the mixer tracks. A right-click opens
the AUX routing dialog. Depending on whether the AUX send controller is switched to pre
or post, the corresponding entry in the signal chain will be used to junction off the AUX
signal to the AUX bus. DirectX and VST plug-ins may also be routed pre and post in a
similarly flexible manner.

Track Routing Dialog - Dialog Buttons

Save/Load/Delete: Manage your individually customized settings here.

All Tracks: The respective settings are applied to all tracks.

 TRACK MENU 537

Reset: Returns all settings to the Samplitude basic settings.

Copy/Paste: Use these buttons to quickly apply the settings to different tracks/objects.

Edit: Opens the dialog for the active effect/plug-in. This can also be achieved by right
clicking the desired list entry.

On/Off: Switches the respective activated effect "on" or "off". Activating or deactivating the
check box preceding the corresponding effect/plug-in has the same effect.

Remove: You can also remove internal Samplitude effects (FX inserts) instead of just
deactivating them if you want to save resources. "Unloaded" effects are displayed with a
minus sign in the box on the left side.

Play/Stop: Plays and stops playback at the current cursor position.

Copy Track Effect Settings

This command allows you to copy the complete effects settings of the active track into the
clipboard. This includes the order and parameter adjustments of all internal effects
including those of DirectX and VST plug-ins.

Insert Track Effect Settings

This command allows you to insert the complete effects settings from the clipboard in a
track. This includes the order and parameter adjustments of all internal effects including
those of DirectX and VST plug-ins.

Reset Track Effect Settings

This command resets all track effects settings to default values, i.e. no effects are applied.

Save Track Effect Settings...

Here you can save custom track effect setting as .TRK files.

Load Track Effect Settings

Here you can load previously saved/preset track effect settings in the selected track.

AUX Sends
Use this dialog to create new AUX sends or determine the panorama out of existing AUX
buses. You can also switch the AUX track to pre-fader or post-fader or deactivate it.
538 TRACK MENU

Description of the "AUX Sends" dialog

You can enter the send level of each AUX bus numerically or pull the orange bar in the gray
field from left to right.

By default, all AUX buses are routed "post" in Samplitude. To switch them to "pre", activate
the corresponding box.

New AUX Bus: Clicking this button creates a new AUX bus.

Reset AUX Sends: All AUX sends settings are reset.

Mono Effect Processing

Effects for this track will be calculated in mono.

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 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 MENU 539

Track/Dev+: Sets the recording device for this tracks to the next, e.g. if inputs 1 + 2 of the
sound card are set, it will be switched to 3 + 4. The button with the "+" sign to the right
sets the recording and playback devices to the next ones simultaneously.

Playback: Select your sound card device to record this track. You can also select a bus
track.

All Tracks: Applies the same record device chosen for this track to all tracks.

Track/Dev+: Sets the playback device to the next, e.g. 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.
"Economy (view page 28)" as well as "2-channel Surround" modes may also be activated
for this track.

Timeshift/Delay: Use this field to set an offset for an entire track. Positive values cause the
playback from this track and the play cursor display to be delayed by the amount entered.
Negative values cause playback to occur earlier. All other tracks and the play cursor will be
delayed in relation to the entered value. To the right of the input field, you can select the
unit for the time delay.

Colour: 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.

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.
540 TRACK MENU

 Project name_track name: Transfers the project name to all tracks and adds the
corresponding track name to them, for example, demo_Drums.wav, demo_Bass.wav,
etc.
 Get track name from first object name: This option gives the track name the same name
as the first object in that track.
 Get track name from first object file: This option gives the track name the same name as
the first file in that track.

REC: Specify whether or not you want to record MIDI or audio here.

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.

MIDI
The "MIDI" section provides access to the various MIDI options.

Recording Device (MIDI): Use this menu to choose a MIDI entry device.

All Tracks: Applies the same recording device selected for this track to all tracks.

VST Instrument Editor: This button opens the graphical interface for the connected VST
instruments.

Playback Device (MIDI): Use this menu to select the MIDI playback device. The VST
instruments may also be selected as playback devices.

All Tracks: Sets the same recording and playback device as selected for this track for all
tracks.

Record Controller Curves During Playback: This option enables controller curves to be
recorded during playback.

The following are available as additional playback parameters: in-channel, out-channel,

transpose, program change, bank high, bank low. You can also activate MIDI Thru for the
affected track. This activates the loudspeaker symbol for this track.

Automation/Controller: This button opens a dialog to change the settings of the MIDI
controller.

Detailed information about controller automation is provided in "Automation -> MIDI

controller automation (view page 338)".

Track Name: Use this field to change the name of the current track.
 TRACK MENU 541

Revolver Tracks
New empty revolver track: This command creates a new revolver track.

Before track objects are rearranged, select the option "New Revolver Track (copy)". The
track objects will be copied as a new Revolver Track and a star appears before the track
name. The original objects may now be edited or repositioned to produce a different
version of the track.

Delete Revolver Track: This command deletes a Revolver Track.

Previous Revolver Track: This command displays the previous Revolver Track

Next Revolver Track: This command displays the next Revolver Track

More
Cut tracks
This function cuts out all tracks that are selected in the track header (view page 98). The
corresponding tracks are stored in the clipboard in the meantime.

Track effects
These options allow (as with the Mixer channels) the application of real-time effects to the
selected track in Samplitude.

More information about effects is available in "Effects - division and working methods (view
page 178)".

 AUX sends: Opens the AUX send routing dialog window

 Dynamics: Dynamics, Advanced dynamics, Multiband dynamics, sMax11,
efx_Compressor, eFX_Gate, AM-Munition, AM-Track, AM-Phibia, AM-Pulse
 Frequency/filters: Parametric EQ, EQ116, FFT filter, brilliance enhancer, Filtox,
eFX_DeEsser
 Delay/reverb: Delay, room simulator, efx_Reverb, efx_StereoDelay, Ecox, Variverb
 Distortion: Distortion, Ampsimulation, Vandal, eFX_VocalStrip,
 Restoration: DeClipper, DeClicker/DeCrackler, DeHisser, DeNoiser
 Stereo/phase: Pan/Surround editor, Multiband Stereo Enhancer, track phase inversion
 Modulation/special: Vocoder, efx_ChorusFlanger, efx_Phaser, eFX_TremoloPan, Corvex
 MIDI: Velocity Dynamics
 Plug-ins: opens the VST plug-in dialog. Here you can select MAGIX plug-ins, VST effect
plug-ins as well as DirectX plug-ins from 3rd parties from the "Add Plug-ins" dialog, you
can also call up the "VST/Direct X/Rewire Setup".
 essentialFX: eFX_ChorusFlanger, eFX_Phaser, eFX_Reverb, eFX_StereoDelay,
eFX_Compressor, eFX_Gate, eFX_DeEsser, eFX_VocalStrip, eFX_TubeStage,
eFX_TremoloPan
 MAGIX plug-ins: AM-Munition, AM-Track, AM-Phibia, AM-Pulse, Corvex, Ecox, Filtox,
VariVerb, Vandal
542 TRACK MENU

Track properties
This submenu enables access to all track properties.

Mute: Mutes the active track.

Shortcut: Alt + M

Mute inactive: Mutes and also deactivates the track. This increases performance as the
caching and FX processing of this track are not necessary)

Shortcut: Ctrl + Alt + M

Solo: Switches the active track to "Solo" mode.

Shortcut: Alt + S

Solo exclusive: This setting switches the active track to exclusive solo mode, i. e. only this
active track is audible. All other tracks are silenced in solo mode.

Shortcut: Shift+ Alt + S

Record: Arms the track for recording.

Shortcut: Alt + R

Monitoring: Switches manual monitoring for the corresponding track on/off.

Shortcut: Ctrl + Alt + Shift + F

Lock: Locks the active track.

Shortcut: Alt + L

Edit volume/Panorama: Enter a numerical value for volume in dB or for the panorama
curve.

Shortcut: Ctrl + Shift + K; Ctrl + Shift + P

Track phase inversion: Rotates the phase of the selected track.

Shortcut: H

Mute bus inputs: Sets the input of the selected submix bus or AUX bus to inactive, i. e.
the signals routed to the bus are not routed through to the signal path of the bus.

Global mute: Enable/disable all mute states of the tracks.

Global solo: Enable/disable all solo states of the tracks.

 TRACK MENU 543

Global: solo safe: All tracks will be switched to "Solo safe" mode. In this mode the
corresponding track, if switched to solo, will be monitored together with its AUX returns.

Global: solo PFL: All tracks will be switched to "Solo PFL" mode. In this mode the
corresponding track, if switched to solo, will be tapped at a position before the fader and
heard as a pre-fader signal.

Global: solo exclusive: All tracks will be switched to "Solo exclusive" mode. In this mode,
the corresponding track will play exclusively if switched to solo. Solo tracks already
switched to solo mode will be switched back.

Pan/Surround Editor (Stereo-Panorama-Dialog)

This command opens the Surround/Panorama dialog which provides lots of useful
panorama presets. If you are working in the normal Stereo Master Mode, you have the
option of activating 2-channel surround.

The "Mono" button in the track editor sets the track to mono editing from input to the
panorama controller. Particularly all track effects preceding the Pan controller operate in
mono, which considerably saves CPU resources. The routing position of the Pan controller,
however, can be freely adjusted in the FX routing dialog. In this case, the submix and AUX
return buses always remain stereo.

If stereo objects are located in mono tracks, the mono share (L+R) is played.

If you use AUX sends, you can also use the panorama fader of the AUX send routing dialog
for panning the mono signal.

In Samplitude there is also a Surround Master Mode which can be set up via the "File"
menu -> "Project Properties" -> "Mixer Setup". If this mode is active, every track is set to
Surround Mode.

VST Instrument Editor

Software instruments as well as MAGIX synths (e.g. Robota Pro) may be integrated
seamlessly into a virtual project and controlled via internal MIDI functions and editors. The
instruments are integrated into all effects and routing options. If you have a track open in a
virtual instrument, you can open the user interface of the VSTi here.

Note: If activating this menu item does produce results, this means that a VST instrument
has not been loaded into the corresponding track.

Detailed information about plug-ins can be found in "Software/VST instruments (view page
312)".
544 TRACK MENU

Activate Previous/Next Track

Use this command to activate the next (lower) or previous (upper) track in the VIP from the
view of the currently activated track. With the cursor keys you can conveniently scroll up or
down.

Shortcut:

Activate next track Alt + cursor down

Activate previous track Alt + cursor up

Track visualization
The visualization from the menu window can be set as a master or track display.

Detailed information on the individual visualization displays can be found in the chapter
"View > Visualization" (view page 798).
 OBJECT MENU 545

Object Menu
Unlike with the "Edit" menu all commands from this menu refer to selected objects in the
virtual project.

Object Editor...
Use the object editor (view page 114) for object-oriented editing. This enables you to
quickly and easily edit each selected object independent of any additional track settings.

Shortcut: Ctrl + O

MIDI Editor...
This menu item opens the MIDI editor. The content of the MIDI object selected in the VIP
may be displayed and edited here. You may 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 "OK", a MIDI object in the current track is created at the cursor position/start of
the range.

Detailed information about this is provided in "MIDI in Samplitude -> MIDI editors (view
page 247)".

Edit audio file

Here the wave project belonging to an object opens and is displayed in the wave window.
The range corresponds precisely to the part of the audio data which the object accesses.

Detailed information about offline audio editing and real time is available in "Working in the
project window -> Samplitude as a wave editor (view page 108)".

New MIDI Object

This creates a new MIDI object in the selected track. A pop-up menu opens when the
function is selected to choose from multiple templates.

Presets include MIDI drums and MIDI phrases (filter sweep, 6 octave sequence, etc.) or
an empty template.

These are also available in the "Templates" folder in the program directory. The pop-up
menu may also be expanded with other templates simply by copying the desired MIDI files
into the "Templates" folder or exporting them directly from Samplitude as a template.
546 OBJECT MENU

New MIDI object in the range

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

New Synth Object

A 4-beat loop object is created at the current play cursor position. The instrument interface
for the synth object that is created may be accessed by double clicking the object. The
synth objects are Atmos, BeatBox 2, DrumnBass, and LiViD.

Edit
Cut Objects
Use this command to delete selected objects from the current project and insert them into
the VirtClip. The content previously in the VirtClip will be overwritten.

Copy Objects
This command copies the selected objects into the VirtClip. The previous content in the
VirtClip will be lost.

Insert Objects
Use this command to add objects from the VirtClip into the project, starting from the
current position of the play cursor. Note that this may cause objects to overlap.

Delete Objects
This deletes the selected objects from the current project. The content of the VirtClip will
remain.

Shortcut: Ctrl + Del

Duplicate Objects
All of the selected objects are copied and positioned behind the original object dependent
on the set grid.

Duplicate Objects Multiple

Use this function to duplicate selected objects sequentially. In the dialog window that
opens, enter the number of copies, the corresponding distance, and the entire length.

The following parameters are available:

Number of Objects: Specify the number of duplicates here.

 OBJECT MENU 547

Group Created Objects: Decide here whether the duplicated objects should be assigned
to a group.

Time Difference: Set the distance between each object's starting point here. The default
length is set to that of the object you wish to duplicate. This setting connects the objects
seamlessly with one another so that a loop is created.

Duration: As an alternative to the time difference, the entire length of all copies may be set
here. This is calculated from the product of the time difference and the number of copies.

Creating looped objects

Use this command to define a loop inside an object. Use the previously selected range
above the object to set the loop start and end points. By dragging the length handle at the
bottom right of the object you can make the loop exceed the previous object end point.

If you only selected an object, but not the range above it, the entire object will be looped by
dragging to the right.

Loop objects are suited, for example, to quick creation of full drum tracks from a drum
loop.

Loop points may also be set easily via the object editor.

Shortcut: Ctrl + L

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
548 OBJECT MENU

Split objects at Marker Positions

The object is split into pieces at the marker positions that lie within the object borders. The
newly created objects will be named after the previous markers.

Split Objects at Track Marker Positions

The object is split into pieces at the marker positions that lie within the object borders. The
newly created objects will be named after the previous track markers.

Split Objects at Audio Marker Positions

The object is split into pieces at the audio marker positions that lie within the object
borders. The newly created objects will be named after the previous audio markers.

Heal/Unsplit Objects
This command recombines two objects that have been split without any audio calculation.
To do this, the objects in the VIP must be positioned exactly beside each another, and the
audio material must be connected. The objects must therefore be different but sequential
pieces of audio material from the same wave project. If this not the case, the command will
not function properly.

Before executing the command, select both of the objects that were split previously. All of
the second object's properties, like fades and effects, will be discarded. The resulting
combined object will feature the properties of the first object.

Trim Objects
This function moves the object borders of a selected object to the edges of the current
range. To do this, the range must be contained completely within the object's borders.

Shortcut: Ctrl + T

Trim MIDI Objects

This function removes the MIDI data of an object that is not located within the current
object's borders ("virtual MIDI data"). For example, this type of object virtual MIDI data
results from dragging the left object border of a MIDI object after a MIDI recording inward
(to the right). This function can be very useful if you wish to edit multiple MIDI objects at the
same time in the MIDI editor, since overlapping virtual MIDI ranges can be very difficult to
keep track of.

Glue Objects
A new object is created using those selected. Trackbouncing is used in this case. If you
have selected just one object, this will be glued together with the object to the right. This
function corresponds with the "Glue" symbol in toolbar.

Shortcut: Ctrl + Alt + G

 OBJECT MENU 549

After gluing, original cut may be subsequently edited the using the "Freeze object -> Edit
object freeze" function. When selecting this function, a single-track VIP that contains the
original objects will open as well. These may then be edited individually.

Use the "Freeze object -> Unfreeze object" function at any time to restore the original state
of the object.

Mute Objects
This mutes the selected object.

Shortcut: Ctrl + M

Lock Objects
This protects objects from being unintentionally moved. When this function is active, the
key symbol in the lower portion of the object turns red. If the key symbol is grayed out
because of the display settings, the objects will be displayed crossed out instead.

Note: Please take note of the "Locking options". These specify which functions may be
locked for set objects.

An object may also be locked by clicking the key symbol in the lower portion of the object.

Unlock Objects
This unlocks an object. All selected objects will be unlocked.

An object may also be unlocked by clicking the key symbol in the lower portion of the
object.

Lock Definitions…
Detailed information about this is available in "File -> Program Preferences -> Lock
Definitions...".

Edit Copy of the Wave Project

Use this command to create a copy of the wave project featuring the object first. This copy
may then be edited using the "Wave editing" function.

Edit Root VIP

Audio objects that were compiled using an internal mixdown of a virtual project to a wave
project and then inserted into a new project contain information about the VIP that was
used to generate them (bounced). The "Edit root VIP" function allows you to reopen this
VIP for editing.

Sample: A CD is compiled from any number of songs that were created in Samplitude and
were converted to individual wave files using the trackbouncing function (view page 456)
550 OBJECT MENU

and are now visible in the arranger window of the new project. It's possible that you may
want to change something else in the song retroactively. "Edit root VIP" opens the original
project to make the desired changes. Once the modified project is saved, it will be re-
bounced and updated in the project that is used to compile the CD.

Demix MIDI Objects by MIDI Channels

This function will create a new track for each channel of the selected MIDI object. The
objects will then contain only the MIDI files of the specific MIDI channel.

Quantization
Audio Quantization Wizard
The quantization wizard also lets you apply the
functions described above for transients and beat
marker editing. These commands reflect the
typical work process when adjusting a multi-track
drum recording to the VIP grid and are applied to
object selection. The "One click button"
automatically executes the "Determine
transients", "Consolidate transients", "Cut at
transients", "Quantize object positions (AQ)",
and "Remove gaps between objects"
commands sequentially.

During determination of transients, you can set

the sensitivity of the detection with the
"Sensitivity" controller. The higher the value, the
more beat markers are created.

Use the "Analyze again" and "Clear" buttons to

recalculate or delete an already created audio
material analysis.

If you would like to connect the slices you have

created to crossfades, then enter the length of
the fade into the respective field "Overlap
(crossfade) length".

Individual gaps between objects may be closed either by Object Time Stretching or by
using the audio material from the slices to the right beside the gap.

Define transients
Audio quantizing objects is particularly well suited for modifying multi track drum
recordings.
 OBJECT MENU 551

"F3" and "F2" allow you to jump to the next or previous transients in the audio signal. By
quantizing the VIP object position and dividing objects at beat markers/transient positions
you have the option to perform highly flexible dynamic drum quantizations.

All following commands refer to selected objects and can also be accessed using the
Audio quantization wizard.

"Specify transients" marks the peaks of the selected objects as "AQ" with special beat
markers. A beat marker is an audio object marker, which is written into the audio file. To
make these markers visible, turn on "Objects -> Transients (AQ)" ("Shift + Tab"). All other
audio markers may be displayed via "Objects -> Audio markers".

Detailed information about audio markers can be found under "Menu Play/Rec > Markers >
Audio marker Manager (view page 589)".

Consolidate Transients
Transients within a certain range (e.g. 20 ms) are moved to the first transient position with
this command. The effect is that "Split at transients" doesn't create too many splices,
especially if you have several tracks with slightly different transient positions for the same
drum hit, i.e. due to microphone distance related signal latency. The time window may be
specified with the audio quantization wizard.

Create Groove
"Create groove" button in the audio quantization wizard creates a groove template based
on the AQ markers (transients) according to the selected audio objects in the selected
range.

Create MIDI trigger from transients

This function creates a new MIDI track below the track which contains the selected and
analyzed objects. The transients found there will be displayed as MIDI events with
corresponding velocity.
552 OBJECT MENU

If you integrate a VST instrument in a newly created MIDI trigger track now you can double
up or replace your existing audio track with additional sounds.

Create Groove Template from Transients

This function stores the transients created for the objects as a groove template in the
program folder "FX preset -> Grooves".

Select groove templates in the audio quantization wizard under "Quantization settings ->
Grid". The length and start of groove template is always set to full beats.

Split at Transients
All selected objects are split over multiple tracks at the beat markers (AQ). This quantizes
each drum hit individually.

Example: To split all drum tracks according to the bass drum and snare tracks, carry out
transient recognition for the objects in those tracks. Next, select all drum tracks and apply
the "Cut at transients" command. Now all objects will be split at any bass drum and snare
hit.

Quantize object position (hard)

The menu command "Hard quantize audio object position" equals a soft Q value of
"100" or "Quantize object positions (AQ) (view page 552)" in the Quantization wizard.

Quantization setting - 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 menu command "Hard quantize audio object position" equals a soft Q value of
"100" or "Quantize object positions (AQ)" in the Quantization wizard.

Offset
The value range in this parameter stretches from -100 to +100. By changing the offset
values, you move the whole quantization grid. Select a negative value for the offset, and the
quantization grid will be moved by the corresponding value to the left, or forward in time.
On the other hand, if you select a positive offset value, you will set the quantization grid by
the corresponding value to the right, or backwards in time.

A value of -100 corresponds to a shift of half a grid length to the left; +100 corresponds to
a shift of a half a grid length to the right.

Quantize object position (AQ)

Now all the selected objects will be adjusted to the corresponding quantization settings
that you previously set in the Audio quantization wizard. During this process the "Soft AQ
parameter" will not be observed.
 OBJECT MENU 553

When quantizing the object is hard quantized, i. e. it will be shifted to the next snap point.

If you are not satisfied with the results, you can "Reset Audio Object Quantization" settings,
which will set the objects back to their original position

Soft AQ
"Soft AQ" executes soft quantization according to the "Soft Q" parameter settings.

Remove Object Gaps

After object quantization has been applied, gaps between the objects can occur, which
may lead to audible dropouts in overhead signals. The command "Remove gaps between
objects" provides options for closing these gaps. The function "Use next object slice
audio material" may be used to move the object start position of the object to the right of
the gap to the left until the gap is closed, or the gaps between the objects may be filled by
Time Stretching the objects next to the gaps. Each method can be selected in the audio
quantization wizard. The overlap (crossfade) length setting of the first option, i.e. "Apply
next audio object slice's audio material", is applied.

Undo/Redo/Reset Quantization
Use the round arrow buttons to undo/redo the last quantization applied. In this case, the
counter-clockwise round arrow serves as the "Undo quantization" function, while the
clockwise arrow serves as the "Redo quantization" function.

Reset quantization: This function resets all quantization processes of the object positions.

Reset Audio Object Quantization

The "Reset object quantization" resets the selected objects to the original position and also
undoes the quantization.

Quantize Settings - Preset

Different presets are available for selection:

 5-tuplet: Quantization occurs in fifths

 Magnetic quantize: The "window" value is set to "50", i.e. only 50% of quantization will
be included. Only those events will be quantized that are located within a range of 25%
of the snap range to the left and right of the grid point.
 Soft quantize: The "Level" parameter is set to "50", i.e. quantization occurs at a half
interval between the current position and the next grid point.
 Swing: The swing parameter is set to "75", i.e. in contrast to the binary rhythm, which
features a "swing" value of "50", uneven/un-highlighted counting times will be set to
delay. This highlights the "swing" feeling.
 Triplets: Quantization occurs in triplets
 16th offbeat: The quantization grid's timing is moved back a 16th note
 8th offbeat: The quantization grid's timing is moved back a 8th note
 "New groove" and "More life for hi-hat" provide groove templates

Of course, you can also set your own values and save them as a preset.
554 OBJECT MENU

Quantize Settings - Default

The "Standard settings" button provides the option of resetting the preset values:

Q threshold: 0
Q window: 100
Swing: 50
Soft Q: 25
Offset: 0

Quantize Settings - Grid

Use the "Grid" parameter to set the selection step length and thereby the values for
quantization. A value of "1" provides a snap value of a single note, "2" is a half note, "4" is a
quarter note, etc. There is also a series of decimal values, n-tuplets, and a selection of
special groove templates.

Detailed information about groove templates is available in "MIDI editors -> Quantize ->
Quantize settings - Groove template (view page 260)"

Q Threshold
The parameter "Q threshold" may be used to slightly vary quantization by excluding notes
from quantization that are very close to the next quantization value.

Q Window
"Q window" refers to the interval to the left and right of a grid point; events will be
quantized within this range. No quantization will take place beyond this, and for this reason,
the events outside of this window will remain at their position. The quantization area is
dependent on the values of the parameters "Q snap" and "Q threshold".

Example: Grid: 4 max. Window: 4

 100: The Q range covers the entire area between the grid points on the quantization
grid. All events will be quantized
 50: The Q range covers half of the quantization interval. Events with gaps of ¼ of the
grid width left and right of the grid point (1/16 note values in this example) are quantized
 0: no Q range -> quantization off

Swing
Set swinging, ternary playing with this value. This enables you to enter the division for an
uneven/unaccented grid points.

 50: "50-50/1:1" split. The unaccented eighths are exactly half way between the even
eighth notes ("even", binary playing method)
 67: "67-33/2:1" tuplets. The beat is split up into three counts, whereby the note is
assigned 2 beats (67%) and the off beat note one count (33%)
 75: "75-25/3:1" split. For example, a pointed eighth and a sixteenth is created from two
eighth notes
 OBJECT MENU 555

Show Grid/Time Signature

Displays the desired beat signature and number of beats. The display window will change
accordingly.

Audio Quantization – Tutorial

1. The first step is to enable display of audio markers/transients in the display options ("Y
-> Design -> Display options -> Options -> Audio markers/transients").

2. Load a VIP with a multi-track drum recording where the drummer has played to the
click, so that the VIP raster matches the drumming tempo.

3. Select a range for audio quantization. We recommend around 8 - 16 beats to guarantee

fast calculation. Analysis of transients for a complete song can take a little longer. Next,
separate the objects into the selected range size.

4. Select all drum objects, open the audio quantization dialog, and move the "Sensitivity"
slider. Beat markers should appear within the object at the transient positions. Adjust the
sensitivity so all main hits are detected. Use the "F2" and "F3" keys to jump to the previous
or next marker.

5. To cut objects for all tracks at the beginning of transients, specify the beat markers with
the "Consolidate transients" command. Samplitude adjusts the beat markers of all tracks
within a period defined in the "Time window" parameter to the beat marker position farthest
to the left.

6. To separate all quantization objects, access the "Split at transients" command.

7. Use "Quantize object positions" to adjust the individual positions of the partial objects.
You also have the option of changing the quantization settings.

8. Audio gaps might appear between some slices due to quantization. These can be filled
with the option "Remove gaps between objects".

If you are not satisfied with the quantization result, you can "Reset quantization" to set the
split objects back to their original position and try other quantization settings.

When you have finished editing, you can Glue slice objects together (shortcut: Ctrl + Alt +
G) on each track to save CPU performance.

MIDI Note Quantize (Standard)

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

Detailed information about quantization is available in "MIDI editors -> Quantization".

MIDI Humanize Q
This command applies the current Humanize value in the quantization options.
556 OBJECT MENU

Detailed information about quantization is available in "MIDI editors -> Quantization".

MIDI Quantize Settings...

Use this command to open the dialog for quantizing MIDI events.

Detailed information about quantization is available in "MIDI editors -> Quantization".

Extended MIDI Quantize

Start Q
This command quantizes the start positions of the MIDI notes for all selected MIDI objects
according to the MIDI quantization settings. The grid view corresponds to the set start
quantization value.

Detailed information about quantization is available in "MIDI editors -> Quantization".

Start and Length Q

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

Detailed information about quantization is available in "MIDI editors -> Quantization".

Length Q
This command applies quantization to the lengths of the MIDI notes of all selected MIDI
objects according to the MIDI quantization settings.

Detailed information about quantization is available in "MIDI editors -> Quantization".

Soft Q (approximate quantization)

This command applies the current Soft Q (level) value in the quantization options.

Detailed information about quantization is available in "MIDI editors -> Quantization".

Quantize Note Ends to Grid

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

Detailed information about quantization is available in "MIDI editors -> Quantization".

 OBJECT MENU 557

Reset MIDI Quantization

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

Detailed information about quantization is available in "MIDI editors -> Quantization".

MIDI Input Q (global)

Use this option to quantize the MIDI recording destructively. The original position may be
restored via the menu item "Object -> Quantize -> Reset Quantization".

Object effects
The following effects may also be accessed at the object level.

Dynamics: Dynamics, advanced dynamics, multiband dynamics, sMax11,

efx_Compressor, eFX_Gate, am-munition, am-track, am-phibia, am-pulse

Frequency/Filter: Parametric EQ, EQ 116, FFT-Filter/Spectral analysis, Brilliance Enhancer

(optional), Filtox, eFX_DeEsser.

Delay/Reverb: Delay, RoomSimulator, eFX_Reverb, eFX_StereoDelay, Ecox, VariVerb.

Time/Pitch: Resampling/Timestretching, Elastic Audio.

Distortion: Distortion, Vandal, eFX_VocalStrip, eFX_TubeStage.

Restoration: DeClipper (optional), DeClicker/DeCrackler (optional), DeHisser, DeNoiser

(optional).

Stereo/phase: Object channels, Switch channels, multiband stereo enhancer, invert phase
(both channels, left channel, right channel)

Modulation/special: Vocoder, efx_ChorusFlanger, efx_Phaser, eFX_TremoloPan, Corvex,

object reverse

Plug-ins: opens the VST plug-in dialog. Here you can select MAGIX plug-ins, VST effect
plug-ins as well as DirectX plug-ins from 3rd parties from the "Add Plug-ins" dialog, you
can also call up the "VST/Direct X/Rewire Setup".

essentialFX: eFX_ChorusFlanger, eFX_Phaser, eFX_Reverb, eFX_StereoDelay,

eFX_Compressor, eFX_Gate, eFX_DeEsser, eFX_VocalStrip, eFX_TubeStage,
eFX_TremoloPan.

MAGIX Plug-ins: AM-Track, AM-Phibia, AM-Pulse, AM-Munition, Corvex, Ecox, Filtox,

VariVerb, Vandal.
558 OBJECT MENU

Selecting Objects
Select All Objects Under Cursor
Selects all objects found under the play cursor or selected track ranges.

Select All Objects

Selects all objects in the arranger window.

Shortcut: Ctrl + A

Select Objects in Active Track

All objects in the active track will be selected. This function may also be applied by double
clicking a free area in the active track.

Object Lasso
To select several objects, click on an empty area in the lower portion of the track and then
drag the mouse over the objects you wish to select. Sometimes there is not enough space
between the objects. In this case, adjust the mouse behavior with the object lasso.

Once activated, click on an object and pull up a selection frame without moving the object
you clicked on (which would be the case in "Universal" mode). After selecting, the mouse
reverts to regular behavior. To use the lasso selection method several times in sequence,
the object lasso must be reactivated each time.

Shortcut: Ctrl + Alt + L

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, >

Select Previous Object

Use this command to add the previous object on the same track to the current selection.

Shortcut: Ctrl + Alt + Shift + Q

Select Next Object

Use this command to add the next object on the same track to the current selection.

Shortcut: Ctrl + Alt + Shift + W

 OBJECT MENU 559

Switch Selection
All deselected objects are selected and all selected objects are deselected.

Deselect Objects
Deselects all objects.

Shortcut: Ctrl + Shift + A

Groups
Group Objects
This function assigns all selected objects to a group. As soon as one object is selected, all
objects in the group are automatically selected so that you can work on them collectively.

Shortcut: Ctrl + G

Ungroup Objects
Use this function to ungroup a selection of objects. This turns all selected objects into
independent objects again.

Shortcut: Ctrl + U

Temporarily Exclude Object from Group

This command removes most recently clicked object from an existing group. By clicking an
object again and repeating the function, the removed object is moved back into the group.

Shortcut: Ctrl + Shift + U

or Shift + Ungroup button

Temporarily Exclude All Objects from Groups

This command temporarily removes all objects from their groups. In this case, the
"Ungroup" button will blink. If the function is accessed again or if the blinking buttons are
pressed again, the groups will be restored and the button will stop blinking and return to
inactive status.

Shortcut: Shift + Alt + Ungroup button

The shortcut "Ctrl + Alt + Ungroup" resets the grouping history.

Additional information about grouping objects is available in the chapter "Working with
objects -> Group/ungroup objects (view page 133)"
560 OBJECT MENU

Moving objects
Move objects
This opens the dialog window to enter the starting position of an object in number of
samples, milliseconds, SMPTE, or beat units.

Arrange Objects
Use this function to edit the numerical interval between the selected object and the object
in front of it on the same track. With multi object selection the entire distance between all
objects on a track can be set.

Object/Fade step size

Select an object for simple object editing.

If you have selected two objects for editing, it is possible to edit it them separately as well
as together.

Each of the commands below is available in two step sizes. The step sizes can be set in
the dialog that follows.

Use the "Ctrl" key to select the left object for editing and the "Alt" key to select the
right object. Doing this the commands below are automatically carried out with Step size
1. To edit with a step size of two, hold down the Shift key as well. Moreover press a key
on the num pad 0-9, and activate the respective function.
 OBJECT MENU 561

Left object to the left Ctrl + 1

Right object to the left Alt + 1
Left object to the right Ctrl + 2
Right object to the right Alt + 2
Move object(s) left Ctrl + Alt + 1
Move object(s) right Ctrl + Alt + 2
Object(s) track downwards Ctrl + Alt + Shift + Page down
Object(s) track upwards Ctrl + Alt + Shift + Page up
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
Move crossfade left Ctrl + Alt + 3
Move crossfade right Ctrl + Alt + 4
Start offset to the left Ctrl + 5
Start offset to the right Ctrl + 6
End offset to the left Alt + 5
End offset to the right Alt + 6
Increase left volume Ctrl + 8
Reduce left volume Ctrl + 7
Increase right volume Alt + 8
Reduce right volume Alt + 7
Increase volume Ctrl + Alt + 8
Reduce volume Ctrl + Alt + 7
Left object content to the left Ctrl + 9
Left object content to the right Ctrl + 0
Right object content to the left Alt + 9
Right object content to the right Alt + 0
Object(s) content to the left Ctrl + Alt + 9
Move Object(s) content right Ctrl + Alt + 0
Additional key for step size 2 Shift key

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.

Object Hotspot to Play Cursor Position

Use this command to move the hotspot of the selected object to the play cursor position.
Once you have activated a range, you can use this function to set the hotspot of the
selected object to the start of the range. If you selected multiple objects, all other objects
are sorted relative to the new position of the first object.

Shortcut: Ctrl + Alt + P

562 OBJECT MENU

Object Begin to Play Cursor Position

Use this command to move the starting point of the selected object to the play cursor
position. Once you have activated a range, you can use this function to set the starting
point of the selected object to the start of the range. If you selected multiple objects, all
other objects are sorted relative to the new position of the first object.

Object End to Play Cursor Position

Use this command to move the end of the selected object to the play cursor position.
Once you have activated a range, you can use this function to set the end of the selected
object to the start of the range. If you selected multiple objects, all other objects are sorted
relative to the new position of the first object.

Object to Original Time Position

With this command you can move the selected objects to their original track positions.

Shortcut: Ctrl + Alt + O

Set Original Time Position

This command opens a dialog which lets you write a new original position into the
broadcast WAV header. The current object position is used as the new position, which
may then be changed manually.

Object step size 1

See "Object/Fade step size".

Object step size 2

See "Object/Fade step size".

Hotspot
Setting a Hotspot
With this function makes it possible to give an object another special snap point hotspot
instead of its object front edge.

The hotspot is not placed at the current play cursor position inside a selected object.

Shortcut: Shift + H

A vertical line represents this in the object. From now on this object snaps to its hotspot at
the corresponding snap markings.

You can make the selected object jump from its hotspot position to any changed position
of the play cursor by using the function "Object hotspot to play cursor position (Shortcut
Ctrl + Alt+ P)" (view page 561).
 OBJECT MENU 563

Delete Hotspot
This command deletes the hotspots for the selected object.

Takes
Take Manager...
Detailed information about the take manager is available in the chapter "Managers > Take
manager (view page 150)".

Shortcut: Ctrl + Alt + Shift + T

Take Composer
This menu item opens the take composer.

Detailed information about the take composer can be found in the chapter "Manager ->
Take Composer (view page 152)".

Object Color/Name
Object Name...
This command opens a dialog to assign names to all of the selected objects.

Shortcut: Ctrl + N

Object Background Color…

The selected background color from the color dialog is applied to all selected objects.

Object Foreground Color…

The selected foreground color from the color dialog is applied to all selected objects.

Note: If you have selected "Red/Blue alternation" or "Comparisonics colors" for the
waveform color in the display options ("View -> VIP display mode -> Definition (view page
491)"), there will be no change to the display of the object foreground color. The change to
the waveform color will only be active when you restore the "Default color settings".

Freeze Objects
This function renders each selected object as a new wave file. The original object is
replaced in the arranger. Freezing increases performance in case a very system-intensive
real-time plug-in is active. The original object is maintained at all times and may be re-
edited using the "Edit object freeze" function or put back into the arranger via "Unfreeze
objects".
564 OBJECT MENU

"Freeze MIDI object" replaces the MIDI objects in the audio return signal of a software
instrument featuring audio objects. The audio return signal must be routed to the MIDI
track to do this.

If more than one object is selected, the function will be applied to each individual object.
The frozen objects are grouped. Fade-in, fade-out, and object volume are not calculated,
since these properties are applied to the object properties of every new resulting object.

Edit Object Freeze

This command opens the Freeze VIP where the frozen object is saved. This VIP contains
tracks with the original object.

Changes made in the temporary freeze project are applied to the object as well if
requested.

Note: The length of the freeze VIP cannot be changed. This is because the length is set by
the object to which the "object freeze" or "glue objects" function was applied.

Unfreeze Object
This menu item removes the wave file created during "Object freeze" and brings back the
original object including the settings that were saved in the temporary trackbouncing VIP.

Note: Do not create additional new tracks in the freeze VIP, since using the "Unfreeze
object" function will no longer be possible.

Remix Agent – Tempo and Beat Recognition

The Remix Agent is a powerful tool for analyzing the tempo and beat of your music. First,
automatic tempo and beat recognition is carried out for manual editing later. You can then
split the object into remix objects, adjust the arrangement tempo and object tempo to one
another, and write the tempo and beat information into the audio file.

Remix Agent – Applications

 Provides beat-precise splitting of songs so that you can rearrange the remix objects any
way you like in the multi-track project.
 Adjusting the tempo of the arrangement to the tempo of the newly integrated song/CD
track.
 Integration and adjustment of newly integrated song parts to the tempo of the
arrangement

Remix Agent – Requirements

Tempo and beat recognition is applied on audio material with a length between 15
seconds and ten minutes. This should be rhythmic music.
 OBJECT MENU 565

Launch Remix Agent

Start the Remix Agent from the "Tools" menu or from the context menu by right clicking the
object.

Note: To use the Remix Agent in the wave editor, make sure that there is no tick beside
"Destructive wave edit mode" ("File -> Project properties").

Remix Agent – Working Method

The Remix Agent works in fours 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

Place the play cursor at the position where detection should start in the remix object by
clicking the timeline. If the object contains a longer intro without any beats or quiet
synthesizer sounds in their place, the start marker should be placed after the intro.

The start marker should always be placed just before the beat or even better, just in front
of the starting beat of a bar.

Alternatively, you can set the play cursor start position before opening the Remix Agent in
the arranger of the virtual project or in the wave editor for the position where detection
should start.
566 OBJECT MENU

Step 2: Check the automatic tempo and bar recognition

After opening the Remix Agent by pressing the "Continue" button, it will begin to analyze
the audio material and try to determine the tempo. The object is then played with the result
sounding like a metronome click and numbered green beat lines appear in the waveform
display.

Note: If the tempo or bar information of the object to be analyzed is already available, these
are displayed as dots at the respective positions above the display of the waveform.

Below the waveform display, a display is provided on the left-hand side for the detected
beat. In the middle, you'll find a small transport controller to simplify navigation. The fader
acts as a position controller. To set the metronome volume, additional fader and mute
buttons are provided on the right-hand side.

Correction of beat positions and tempo

Automatic tempo recognition doesn't always work from the start. 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 time shifting that may occur between the
metronome clicks, use the tempo correction as well as the "Tap tempo" button:

Tempo correction: The Remix Agent provides various speed settings; the speed the
detected by Remix Agent as the most probable is preset. If the determined speed isn't
correct, select a different, more suitable one from the list. The next time the object is
played, it should be synchronous with the metronome clicking.

On/off beat correction: Sometimes 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 the different settings until you hear the metronome
clicks in time with the beats.

Tap tempo: Alternatively, 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. Stray markers are
automatically removed in so that the set tempo remains fundamentally intact.
 OBJECT MENU 567

You can move the markers with the mouse. If you hold the "Ctrl" button simultaneously,
subsequent markers are also moved.

If the metronome clicks now correspond with the music, continue to the next step.

Step 3: Determining the start of a bar

Now set the beat type. 4/4 beat is set as default. You can correct it here if need be. The
beat at the beginning of the beat should always be synchronized with the high, stressed
metronome click or the red line in the waveform display.

This can be corrected in one step: If the start of the bar is audible, click "Tap one" once
with 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 is an efficient option for correcting the bars of longer sections.

Continue to the last step once the starts of the bars are now correct.

Step 4: Application of BPM and beat recognition

This allows you to specify what should be done with the analyzed audio material. The
following option is available:

 Create remix objects from the analyzed audio material

 Adapt the project tempo to the tempo of the audio material or vice versa
 Save only the tempo and beat information in the audio file for possible editing later on.
568 OBJECT MENU

Create remix objects

Use this option to split the song into individual objects by beat, which can then be used
later on in the virtual project.

Note: The "Create remix objects" option can only be processed if the Remix Agent has
been opened from within the virtual project.

Create remix objects – audio quantization

If you have selected this option, the new objects will be fit directly into the beat grid of the
arrangement.

Especially with live songs, there are slight tempo variations, making it possible that various
beat lengths appear. 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.

The "Use resampling for small corrections" option makes sure that the higher quality
"resampling" algorithm is used on smaller corrections rather than the "Time Stretching"
algorithm.

Note: If you change the tempo of your multi-track 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

If you select this option, the new objects will be set to "Loop" mode. This way, newly
created remix objects can be stretched out as much as you like using the right object
mouse handle.

Create remix objects – set arrangement tempo to the object tempo

Here, the arrangement of the virtual project takes on the found BPM value. To use the split
song as the basis for a new composition in the remixes, use this option.

Use crossfades: Remix objects may be faded into one another with this function. The
parameters of the transitions can be set in the crossfade editor.

Group: This function groups the remix objects.

 OBJECT MENU 569

Save tempo and beat information in audio file: If you select this option, the tempo and
beat information are written to the audio file.

Background color: Click this button to set the background color of the remix objects you
want to create.

Adapt tempo
This option provides you with the opportunity to adapt either the tempo of the analyzed
audio material to your project or the project speed to the speed of the analyzed audio
material.

Note: The "Tempo alignment" option can only be processed if the Remix Agent has been
opened from within the virtual project.

Apply arrangement tempo to object tempo

This adapts the object length to that of the existing arrangement.

You can choose from three different methods:

Use Time Stretching: The pitch of the song remains constant in timestretching, but the
sound quality may suffer.

Use Resampling: Resampling changes the pitch (similar to changing the speed of a
record player), but retains most of the sound quality of the song.

Note: If you change the tempo of your multi-track 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.

Use audio quantization: During audio quantization, the tempo adjustments are calculated
into the audio file so that it seems as if remix objects were created and then immediately
compiled into a new audio file. If recognition is unreliable, the result may feature extreme
tempo variations. In this case, it is particularly important to set the start marker at such a
position (before opening the Remix Agent) so that the tempo may be detected reliably. The
advantage of audio quantization is that smaller tempo variations may 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.
570 OBJECT MENU

Save tempo & bar info into the audio file: If this option is active, the tempo and bar
information are saved in the audio file. The objects in the virtual project won't be changed.

Set arrangement tempo to object tempo

Just like "Create remix objects", the arrangement of the virtual project assumes the BPM
value determined in the Remix Agent. If you would like to use the split song as the basis for
a new composition in the remixes, then select this option.

Change global settings: The BPM value of the arrangement in the VIP is set to the
detected value.

Adapt tempo map: Sets a tempo marker in the virtual project's arrangement for each bar
from the position of the play cursor to the end position of the remix objects.

 Use quarter notes: If this option is active, four markers are set (quarter notes) instead of
one (whole notes).
 Use beat position instead of tempo marker: Beat position markers are set instead of
tempo markers.

First example: Synchronizing a MIDI arrangement

1. Place the song object you want to synchronize the MIDI arrangement and the MIDI
object to on top of one another on the same track in the virtual project. Open the
remix agent for the song object. Specify the beat and quarter positions using the
remix agent in step 1-3.
2. In step 4, select "Adjust tempo", then "Apply arrangement to object tempo" and
"Adjust tempo map". This specifies that you want to create a tempo map.
3. Now select "Use quarter beats" and "Bar position instead of tempo marker". The
tempo map receives a synchronization point at each quarter and not only at the
beginning of each beat. If you click the "Apply" button and open the MIDI editor for
the MIDI object, the beats will match one another and all notes will be shown and
played in sync to the song. Even the metronome click will be in time with the song.

Second example: Mixing two song objects

1. First, adapt the project tempo of the virtual project to that of the first song object that
you want to fade from. Select the options "Apply object tempo to arrangement
tempo" and "Change global settings".
2. Next, adjust the speed of the second song object to that of the project by applying
the "Set object tempo to arrangement tempo" option.
3. Since the project speed now matches the song speeds of both songs, you can easily
fade between the two songs.
 OBJECT MENU 571

Save tempo and bar info

If this option is active, the tempo, and bar information are saved in the audio file. The
objects in the virtual project won't be changed.

Generate beat markers in the current range: Use this option to place markers at the
beginning of the beats of a song. This corresponds to the positions of the strokes
displayed in red in the waveform display.

Generate quarter markers in the current range: Select this option to place markers at
the beginning of the positions of the quarter beats starts. This corresponds to the positions
of all the strokes in the waveform display.

audioid
Detailed information on audioid can be found in "Menu CD/DVD > audioid... (view page
795)".

Comparisonics Audio Search…

This function uses the patented Comparisonics algorithm. This allows you to find the same
or similar sounding ranges in an audio file very quickly.

To do this, double click on the object you wish to use while holding down the "Shift" key,
and this will then open it as an HD wave project. Now select the range to examine and
copy it into the clipboard (shortcut: "C").

Now start the audio comparison function.

The dialog that appears enables the sensitivity threshold for the recognition algorithm to be
changed. During the adjustment process, markers appear in the project specified as
"Match markers" at positions where the algorithm detects similar audio passages.

After closing the search dialog, you may jump to the ranges that were detected by clicking
the left border of the corresponding "match" marker, even during playback.

Time Stretch/Pitch Shift Patcher...

572 OBJECT MENU

Time Stretch/Pitch Shift Patcher - Overview

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

The following may be patched individually:

 Algorithms for Time Stretching/Pitch Shifting

 Time factor/pitch
 Time factor processing (new length/new BPM)

Time Stretch/Pitch Shift Patcher – Patching

Patches only work if you have opened the wave project in destructive "Wave editing" mode
and if it is not open in a VIP simultaneously.

Choose the algorithm you wish to use in the dialog. You may also specify the tempo of the
wave file using the "Time factor" controller.

You may now test the selected algorithm in conjunction with the "Play/stop" and "Play
original" buttons. By clicking the "Patch" button, Samplitude writes the information
permanently to the wave file.

Algorithms for Time Stretching/Pitch Shifting

Samplitude features the "Beat marker stretching (smoothed)", "Smoothed", "Beat marker
slicing", "Beat marker stretching" as well as "Monophonic voice" algorithms as well as the
"Standard" algorithm for real-time Time Stretching.

Detailed information about this is available in "Offline effects -> Resampling/Time

Stretching/Pitch Shifting (view page 647)". Use the patcher to save the most suitable time
stretch algorithm for your needs in the wave project so that the chosen algorithm is used
automatically on your wave projects when using Time Stretching/Pitch Shifting.

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
 OBJECT MENU 573

an existing arrangement. If the "New BPM" field in the dialog is grayed out, you can change
the value using the "Time factor" controller.

More
Duplicate Objects (in Place)
Use this function to duplicate all selected objects. The duplicated objects lie congruently
over the original objects. The duplicated objects may be moved to the desired position by
dragging the mouse in "Object/curve" or "Universal" mode.

Duplication is also possible via drag & drop while holding down "Ctrl".

This enables objects to be duplicated quickly without having to access the VirtClip.

Extract
Use this command to delete all unselected objects.

Note the difference between this and the "Extract" function in the "Edit" menu (view page
517), which only applies to the selected area.

New Object
This function creates a new object. The last activated object is inserted at the position of
the playback cursor in the selected track.

Object Manager...
The object manager displays all of the objects used in the arranger window in chronological
order.

If you select objects by ticking the box in the "Track" column, they will be selected in the
arranger as well. This makes the selection of objects a speedy process.

Detailed information about the object manager is available in the chapter "Managers ->
Object manager (view page 143)".

Shortcut: Ctrl + Shift + O

574 PLAYBACK MENU

Playback Menu
Play Once
This plays the wave project or the selected range once. This function corresponds to the
"Play" button in the transport control (view page 52) as well as the "Play once" button in the
toolbar (view page 66).

Shortcut: Spacebar

Play Loop
This plays the wave project or the selected range in a loop. This function corresponds to
the "Play" button in the transport control (view page 52) as well as the "Play loop" button in
the toolbar (view page 66).

Shortcut: Spacebar

Play in Range/Loop
The current range is played from the start of the project as a loop. This mode is especially
useful for testing loops in the instrument sample and corresponds to the "Play in
range/loop" button in the toolbar (view page 66).

Shortcut: Shift + P

Play with Preload

Playback is prepared with all buffers loaded. Use this function prior to starting precise
synchronization manually.

Shortcut: Shift + Spacebar

Play Only Selected Objects

Use this command to play the selected objects only. All unselected objects will be muted
temporarily. If the play cursor is not already located at the first selected object's time
position, it will be moved there.

Shortcut: Ctrl + Spacebar

Play Cut
Play to cut start (in point)
A defined time segment is played until the start of the selected range. The duration of this
segment can be set under "Options -> Program preferences -> Set pre-roll time (view page
503)".

Shortcut: F5
 PLAYBACK MENU 575

From play to cut start (in point)

A defined time segment from the start of the selected range is played. The duration of this
segment may be set under "Options -> Program preferences -> Set pre-roll time (view
page 503)".

Shortcut: F6

Play to cut end (out point)

A defined time time segment is played until the end of the selected range. The duration of
this segment may be set under "Options -> Program preferences -> Set pre-roll time (view
page 503)".

Shortcut: F7

Play from cut end (out point)

A defined time segment from the end of the selected range is played. The duration of this
segment may be set under "Options -> Program preferences -> Set pre-roll time (view
page 503)".

Shortcut: F8

Play over cut/crossfade

This allows you to simulate the cut, in which case a defined segment is played until the
beginning of the selected range. The selected range is then skipped and a defined
segment is played from the end of the selected range. The duration of this segment may
be set under "Options -> Program preferences -> Set pre-roll time (view page 503)".

Shortcut: F4

Play into Cut

Playback begins allowing for the lead-in time before the selected range starts and ends
allowing for the lead-out time at the end of the selected range.

Restart Play
Use this command to move the play cursor to the original position during playback or back
to the range start and then start playing from this position once again.

Stop
Choose this option to stop playback. The play cursor will jump to the start position.
Whether or not the original position is the previous starting position or current stop position
may be set in the playback parameters (shortcut: "P").

Shortcut: Spacebar
576 PLAYBACK MENU

Stop and Go to Current Position

This option cancels playback; the play cursor will remain at the current position.

Shortcut: Number block "0" or ","

Playback Mode
Loop Mode
This mode plays the selected ranges in a loop. This corresponds to switching on the
"Loop" button in the transport control.

Change Play Direction

This command changes the playback direction, even during playback.

Cue Mode
Cue mode is a special live playback mode often used for playable material like original
sounds in radio broadcasts and theater. The objects contained in the original sound track
(= cues) may be played back in sequence while they are recorded in another parallel track.

You can control Cue mode in two ways:

1. Control using object edges

Starting playback with the space bar highlights the next range and then plays it in Cue
mode. Playback stops automatically at the object's end. Upon resuming playback the
following object starts etc. Related objects are treated as an object.

Of course, multi-track projects may be played in cue mode. The object on the first track will
be used for the Start/Stop range markings.

2. Control via track markers

With the help of the CD track markers you can use and control cue mode for complex
arrangements independent of the object edges of the first track. To do so, switch on "CD
arrangement" mode in the "CD/DVD" menu. Now position CD track markers at the desired
positions in the timeline.
 PLAYBACK MENU 577

Once play is activated, playback will begin from the next CD track marker and end at the
next one after that, which in turn is the starting put for the next playback range.

Note: For smooth Cue mode use deactivate the Loop mode.

In cue mode, the recording mode in the transport control changes to Record without
playback (band control) (view page 581). The original sound track is highlighted with a
special background color.

If recording is done in cue mode, automatic scrolling in the arranger window will remain
switched off.

The play cursor may be repositioned at any time within the currently played original sound.

"System options -> Playback (view page 477)" may be accessed to ensure that the first
track in cue mode is switched to"Solo". Pre-roll (ms) may be used to specify in
milliseconds how long the delay between execution of the record command and the actual
start of the recording should be.

Scrubbing Active
 Scrubbing Active Keyboard shortcut: "Alt + Shift + Page down"
 Jog (Absolute)
 Two Speed
 Shuttle (Relative)
 Scrub Left Keyboard shortcut: "Alt + Shift + Arrow left"
 Scrub Right Keyboard shortcut: "Alt + Shift + Arrow right"

Detailed information about scrubbing is provided in "Playback -> Playback options ->
Scrubbing (view page 579)"

Playback at speed 1 - 4: Select from four different playback speeds. Playback begins
immediately after the corresponding object is clicked.

 Play with Speed 1: Playback begins at the cursor position at 1/4 of the original speed.
 Play with Speed 2: Playback begins at the cursor position at half speed.
 Play with Speed 3: Playback begins at the cursor position at original speed.
 Play with Speed 4: Playback begins at the cursor position at double speed.
578 PLAYBACK MENU

Playback parameters
Choose this option to open the play parameter window.

Shortcut: P

Check the "Stop at current position" option if you wish the play cursor to remain at the
same position after stopping playback. If this option is not active, the play cursor will jump
to the original position or back to the start of the range when playback is stopped.

The "Check space key for playback stop also in background" option also allows the
space bar to be used for "Play" and "Stop" in Samplitude while using a different software
application.

An additional function can be used in case of overload, i.e. "Escape key stops playback
and record".

The pre-roll time is a necessary parameter for editing in Samplitude. Pre-roll time is used
to define (to the second) the desired section before the start of the selected range.

The maximum reverb time for objects without fade-out can be set up to 60 seconds here.

Note: Please note that the length of reverb time can lead to performance problems.

Cue ensures that the first track in cue mode is switched to "Solo". Pre-roll (ms) may
be used to specify in milliseconds how long the delay between execution of the record
command and the actual start of the recording should be.
 PLAYBACK MENU 579

Detailed information about cue mode is available via the menu item "Play / Rec ->
Playback mode -> Cue mode (view page 576)".

With Autoscroll the graphical display runs the entire time before the play cursor reaches
the visible section. This provides a constant overview. Switch to autoscroll mode by
checking "Active". "Active for zoom < 1 s" causes autoscrolling to begin at very high
zoom levels of less a second

Choose between "Page" and "Soft" autoscroll modes. With page scrolling, the section
changes before the play cursor moves outside the section, while with soft scrolling, the
play cursor always remains in the middles of your chosen section and the arrangement
moves along beneath it. At smaller buffer sizes (view page 25) (e.g. < 4096 samples),
scrolling will be softer.

Note: The autoscroll process can overload the processor in some cases, in which case
dropouts will occur in 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 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 play cursor and the mouse position is used to
control the speed. The play cursor follows the movement of the mouse. The further you
move the mouse from the play cursor, 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.
580 PLAYBACK MENU

Scrubbing speed: This specifies the factor of the original speed applies to the scrubbing
speed. The range of values stretches from 0.01 to 10.0, i.e. 1/100 of the original speed up
to ten times the regular speed.

Scrubbing only on active track (1 track): If this check box is active, Samplitude will only
scrub the active track.

Global play device: Specifies the sound card driver for playback.

Record
If you select this menu point, recording is started immediately for the live, active track. You
can record both the audio as well as the MIDI into each active track here.

Detailed information on recording can be found in the chapter "Samplitude Quickstart ->
Workshop: recording (view page 80)".

Shortcut: R

Record Mode/Punch In
Standard Mode (Playback while Recording)
This option corresponds to the option in the recording options with the same name. This
mode allows tracks to be recorded in addition to existing audio tracks while playback is
running.

Switch on the new recording tracks and activate monitoring.

These tracks are now active in "Input" mode, i.e. the input sound desired for recording will
be audible for these tracks. Recording begins at the play cursor position.

If you have selected a range behind the play cursor on the grid and marker bar and have
activated "Loop" mode, then recording will only begin at the loop start. Click the recording
button at the play cursor position and the track will signal that it is ready to record (the
recording button will blink during playback). Recording will only be activated once the start
of the range is reached, and the selected range will be recorded in "Loop" mode.
 PLAYBACK MENU 581

Record without Playback

If you begin recording in "Record without playback" mode, then recording will start at the
play cursor position when the record button is pressed. Initially, only the track's input signal
will be audible at the point where you are currently working in "Record" mode. The play
cursor will not run in the timeline.

If playback is now started from the position of the play cursor, all playback tracks will be
audible from this position. Recording continues independently until the "Record" button is
pressed again. The recording that was just created will now be visible as a new object in
the arranger.

Punch Marker Mode

This button activates Punch Marker Mode. "Punch-in/out" is a recording process which
can be started and ended while playback is running.

There are two principal approaches for punch recordings:

 Punch "on-the-fly": In this mode, the recording may be started (punch-in) and stopped
again (punch-out) at any time during playback. Multiple punch processes may be made
during a single pass in order to improve various positions in one recording. Start
playback with the spacebar. Next, clicking the "Record" button in the transport console
"punches in" and "punches out" again.

Note: If you check "Prepare all tracks for track punch record" in the "System options ->
Record (view page 475)" menu, you will also be able to punch your recording by pressing
the "R" buttons for the individual audio tracks (see below).

 Punch with markers: To execute the punch procedure with markers, activate the
buttons "In" (sets the punch-in marker) and "Out" (sets the punch-out marker) at the
desired positions. Start the process with the "Record" button on the transport console
or the "R" key of the corresponding track. The actual recording occurs within the punch
range. While this is happening, the "Record" button will flash when the play cursor is in
front of the "In" marker. The button remains red during the punch recording.
 Multiple punch recordings in one pass: It's possible to make multiple punch
recordings in one pass with the help of punch markers. To do so, add extra punch
markers by positioning the play cursor at the desired point and, while keeping the "Alt"
key held, press the "In/Out" buttons in the transport control.
Note: When working with punch processes, it is useful to have "Auto crossfade" mode
active. "Auto crossfade" will create smooth transitions automatically between takes so that
no pops or crackles result.

 Punch recordings may also be executed as loops. Select a range across the planned
punch range, press the "Loop" button and activate the recording. This will be looped
until the process is canceled with the spacebar. Punch-in and punch-out markers are
set automatically. A punch recording is at the punch position per pass. To find the best
take from these looped runs, use the "Take manager (view page 150)".
582 PLAYBACK MENU

 If the recording option "Pre-activate all tracks for track-punch recording" is active
("System options -> Recording"), then audio tracks that were not active when recording
was started may be added to a recording, or tracks may be removed from the
recording. Click the "Record" button for the desired track. Punching an individual track
requires that the track has been assigned to a sound card input that has not already
been used for recording. This is indicated by a red circle around the record button in the
track header.

Note: Tracks that have been displaced in "Punch marker" mode via individual track
punching will not be influenced by punch markers.

Record Pause
Recording is set to pause.

Record 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
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.
 PLAYBACK MENU 583

 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.

Resampling to 44.1: If you have set a sample rate of 44,100 Hz and then activate this
option, Samplitude will apply resampling at 44.1 kHz. The quality of resampling may be set
via "System options -> Effects -> Resampling/Bouncing. (view page 483)".

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:

Please also read the chapter "System options -> Global audio options -> Monitoring
settings (view page 27)" for more details.

Monitor: Use this button to activate the LED control displays. Please note that the
recording device must be selected prior to beginning this. While recording, the LED control
displays move slower, but they nevertheless show each maximum level.

Play while recording: Activate synchronous recording and playing here if this supported
by your sound card.
584 PLAYBACK MENU

Note: If you want to record and play over multiple sound cards, small differences may
result during playback of longer passages. This is as a result of sample rates of cards
which are not 100% synchronous. Ideally you should use the same card for recording as
you do for playback if possible. If your card creates a delay between the start of recording
and the start of playback, you can balance it out in the "Record Offset" field. 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.

Create VIP object: Specify whether or not all recordings should be integrated
automatically into a virtual project via this mode. 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.

Read CD/DAT marker: DAT devices and several professional CD players output digital
marker information via an SPDIF output e. g. CD track markers or DAT markers). With this
recording option all marker information is read from the soundcard's SPDIF input, provided
the selected audio device supports it.

Pre-recording (ASIO only): This recording option inserts audio material added at the
beginning of the recording to the beginning of the current recording.

More information about pre-recording is available via the menu item "Program preferences
> System/Audio > Record (view page 475)".

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 viaFile >
Program preferences > System/Audio > Record (view page 475)".

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: During active external synchronization as the "Slave", recording does not start
immediately, but rather when the master starts.
 PLAYBACK MENU 585

Stop: Ends a running recording process.

Recording pause: Use this button to interrupt the recording process. The play cursor
continues to run. Pressing "Recording pause" again restarts the recording from wherever
you want it to continue.

Take +: Each object or take number (Take 1, Take 2...) is given a marker so that it can be
found again quickly.

The take manager (view page 150) is ideal for managing the individual takes.

Marker 1: While recording, the option is available to select a marker at the current position
of the play cursor, e. g. to correct an erroneous passage later on.

Close: Use this button to exit the recording options window.

Monitoring

Please also read the chapter "System options -> Global audio options -> Monitoring
settings (view page 27)" for more details.

Move Play Cursor

to Beginning
This option positions the play cursor at the beginning of the project.

Shortcut: Home

to End
This option positions the play cursor at the end of the project.

Shortcut: End

to Range Start
Sets the start position of the play cursor at the beginning of the currently selected range.

to Range End
Positions the start position of the play cursor at the end of the currently selected range.

to Start of Section
This option positions the play cursor at the beginning of the visible section.

Left/Right Move in Page/Scroll Mode

Use these commands to move the play cursor to the right or left.
586 PLAYBACK MENU

In "Page" mode, the play cursor moves across the screen to the end of the visible section;
at that point, the window view shifts to the start of the following section.

In "Scroll" mode, the play cursor jumps to the middle of the section and remains there as
the project moves through it.

Shortcuts:
Movement in "Page" mode: Right arrow/left arrow
Movement in "Scroll" mode: Alt + left/right arrow

Note: Once a range open is open, use the "left/right arrow" keys to control the beginning
of the range.

Object Border Left

The play cursor jumps to the left to the next object edge in the selected track.

Shortcut: Ctrl + Q

Object Border Right

The play cursor jumps forward to the right to the next object edge in the selected track.

Shortcut: Ctrl + W

Marker Left
The play cursor jumps to the left to the next marker in the arranger window.

Shortcut: Alt + Q

Marker Right
The play cursor jumps forward to the right to the next marker in the arranger window.

Shortcut: Alt + W

Recall Last Stop Position

If the option "Stop at current position" has not been selected in "System options ->
Playback", then the play cursor may be positioned at the last stop position with this
command nevertheless.

Shortcut: Ctrl + Alt + ,

Repeat Last Position(s)

This command jumps the play cursor to a maximum of 5 previous stop positions.

Shortcut: Backspace
 PLAYBACK MENU 587

Markers
You will find a number of functions for managing markers. The function keys and numbers
can be used to easily save, name, and reopen marker positions.

Detailed information on working on ranges and markers can be found in the "Functions in
the project window" chapter.

Save marker
With the option "Marker with name..." you can specify further markers to which you can
assign a name of your choice.

In the "Marker with names and numbering..." dialog " you can freely number and name
additional markers. The "-1 sec" button drags the marker one second forward in the
marker list.

The command "Markers with automatic numbering" automatically creates markers with
sequential numbers.

Shortcut: Shift + #

The function "Marker on record position" causes a marker to be created at the current
recording position during each recording.

Shortcut: Alt + ?

Defined markers are visible at the top border of the project window and can be moved with
the mouse. The mouse pointer changes to a double-arrow (<->).

Set markers 1 - 10: You can set markers at the play cursor's current position by selecting
a number between one and ten from the menu.

Shortcut: Shift + 1...0

Jump to markers 1 - 10: You can set marker positions at the play cursor's current
position by selecting a number between one and ten from the menu.

Shortcut: 1...0

Marker on Range Borders

Use this function to set a start and end marker at the borders of a selected range.

Set Markers on Silence

This function automatically sets markers at positions of selected low-volume or silent audio
objects. Open the dialog to specify a threshold and a minimum time for detection.
588 PLAYBACK MENU

Min. time (ms): Set the minimum time threshold that must be exceeded in order to set a
marker.

Threshold (dB): Specify the threshold in decibels here.

Note: When working in destructive wave editing mode, the height of the range in the wave
project is set to the level of the threshold to make it easier to see.

Start number: Enter the marker number that is counted upwards to "Marker after silence"
here.

Prefix: Enter additional characters/letters which will precede the "Markers after silence"
here. This makes it possible to easily differentiate them from markers that may already
exist.

Add time (ms): Enter the time range in order to move the "Markers after silence" forward
here. The selected object is moved forward by exactly the amount of the time range and
filled with silence.

Delete all markers with prefix: Deletes all markers that have prefixes.

Delete all markers: Deletes all markers in the project

Delete VIP objects: This option cuts the object at the set value and may then be deleted.

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
This deletes the marker at the current position when selected from the marker list by
clicking its front edge.

Delete All markers

This function deletes all markers in the active project. The audio markers, however, remain
in the wave objects.

Delete Markers in Range

Deletes all markers of the selected range.
 PLAYBACK MENU 589

Set New Audio Marker

This command sets an audio marker at the current play cursor position of a selected audio
object. If a marker was previously set at this position, then its name will be applied as an
audio marker.

Copy Audio Marker to VIP Marker

This copies all available audio markers of the selected object to the marker bar in the
arranger window. Application of the VIP markers only occurs within the object boundaries.

Copy VIP Marker to Audio Marker

This copies existing markers from the marker list inside the object borders to the
corresponding position of the audio object in the wave project.

Audio marker manager

Audio markers are linked to the audio material, and are visible on the upper side of´an
audio object. The purpose of the audio marker is to mark positions within the audio
material, this marking will therefore remain regardless of the positioning in the virtual
project.

Make Audio markers visible by marking the "Audio markers" checkbox in the view
options ("Shift + Tab") in the "Objects" section.

The audio markers displayed in the object of the virtual project are identical to the markers
in the corresponding Wave project. If you want to place a new project marker in a Wave
project, as is done automatically when recording a new take, the audio markers are visible
at the same position in the audio material in all related objects.

The following markers are able to be created and edited via the audio marker
manager:

 By right clicking under the upper edge of an audio object in the virtual project a menu
will appear, in which all audio markers are listed. You can go straight to them by clicking.
In the same menu you can place new Audio markers at the play cursor's position or
open the Audio marker manager.
590 PLAYBACK MENU

 The position of the Audio marker selected in the Audio marker manager can be changed
in the editing field. If you click there a double ended arrow will appear at the selected
point, with this you can change the corresponding value. The value content can be
chosen in the field to the right.

Note: All time information for the audio marker relates to time positions in the audio
material, and not to positions in the virtual project.

Set Start Marker

This function sets the punch start marker (punch-in) to the beginning of a selected range.

Set End Marker

This command sets the punch end marker (punch-out) at the end of a selected range.

Delete Punch Markers

This command deletes the punch-in marker and the punch-out marker from the marker
bar.

Additional Punch Start Marker

Adds another punch in marker.

Additional Punch End Marker

Adds another punh-out marker.
 PLAYBACK MENU 591

Delete Additional Punch Markers

This command deletes additional punch markers from the VIP.

Set new Tempo marker

Detailed information on placing Tempo markers can be found in the chapter Edit > Tempo
> Tempo Map Dialog". (view page 301)

Set New Time Signature marker

Detailed information on placing time signature markers can be found in the chapter Edit >
Tempo > Tempo Map Dialog". (view page 301)

Set new grid marker positions

Detailed information on grid position markers can be found in the chapter Edit > Tempo >
Tempo Map Dialog". (view page 301)

Ignore all Tempo Markers, Use Project Tempo

This option enables all previously created tempo markers in your project to be ignored so
that only the project tempo is authoritative.

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.

To view the marker manager, click the "Manager" button in the toolbar and select the
"Markers" tab.

Shortcut: Ctrl + Shift + Alt + M

Detailed information about this is can be found in the chapter "Manager -> Marker
Manager".
592 PLAYBACK MENU

Auto JamSession
You can now jam quickly and creatively with your virtual band thanks to Auto Jam
Session's practical loop automation function. Record your instrument on separate tracks
and develop the song structure systematically.

The recorded tracks are then put straight into an endless loop after the recording.

Auto JamSession - access

Open an Auto Jam Session via "Playback -> Auto JamSession..." or via the "Record"
mode box in the transport window.

Shortcut: Shift + J

Auto JamSession – modes

There are numerous ways to record a song:

 If you want to play loops yourself, leave the "accompaniment" field empty. The loop that
was recorded first is used as set the tempo of the song in BPM (beats per minute). The
buttons 1-8 function as mute or solo buttons depending on their set modes.
 If you would like to jam to another prerecorded session, select one of the included
accompaniments. The tempo of the song will be determined from the template. There
are two types of templates:
 PLAYBACK MENU 593

Template in instrument mode (mute): The accompaniments consist of multiple

instruments that can be muted using buttons 1-8 (or the corresponding number keys on
the keyboard).
Variations mode (solo): These accompaniments contain multiple variations of the same
instrument that you can switch back and forth during playback via buttons 1-8.

Reset: This function allows you to switch between various "Reset" functions. You may
either:

 set the "Mute/solo" buttons back to original state or

 stop the last recorded loop at the play cursor position or
 stop all imported loops at the play cursor position or
 stop all loops at the play cursor position or
 delete the entire project.

Auto JamSession - operation

After launching, you'll see the simple view of the Auto JamSession. On the right-hand side,
you'll find useful hints on how to use the feature.

"Action" button: The "Action" button on the lower left is an important control element, and
it may also be activated via the spacebar. Repeated clicking triggers the various functions
in series to produce your own jam session.

1st click: Playback begins. Recording does not start.

2nd click: The first recording starts. Record your first beat(s). As a symbol that recording is
running, the "Action" symbol turns red.
3. Click: Interrupts the recording while playback continues. The portion played is inserted
into the arrangement as a looped object.
4th click: In the next track, the recording starts. You can also hear the previously recorded
loop.
5th click: The recording is interrupted, playback of the first and the newly recorded loop
continues.
etc.

This allows any number of additional voices to be played.

Double clicking the "Action" button stops the most recently recorded loop and cuts it at
the current play cursor position. Triple clicking cuts all played loops at the current
position.

Clicking the "Stop" button ends the playback/recording immediately.

Auto JamSession - loop effects

You can change your arrangement with these real-time effects. The loop effects influence
either every track or just the last track recorded (see below).

From a technical standpoint, these loop effects belong in the object effects category. If the
loop effects are activated, separate objects will be created from the loops.
594 PLAYBACK MENU

Half speed: Press this button to halve the playback speed.

Double speed: Press this button to double the playback speed.

For example, "Half speed" allows you to play nearly impossible guitar solos. Switch the
existing backing arrangement to "Half speed", record your guitar solo, and then click
"Double speed" again. Your accompaniment plays in original speed again and your solo
now sounds twice as fast and an octave higher.

Reverse: This effect plays the whole arrangement backwards. Opening it again resets it.

Auto JamSession - advanced dialog

Clicking the ">>" button opens the enhanced Auto JamSession dialog.

Tempo

Select the tempo from the list or enter one of your choice here.

"–" indicates that the speed adapts to the first recorded loop or to that of the
accompaniment (if chosen).

Quantization

The quantization ensures that recorded loops fit into the arrangement that is created.

There are multiple options for quantization:

Length of the next whole loop: The new loop is recorded with the same length or a
whole-numbered multiple (2x, 3x, 4x...) of the original loop length. The loops always remain
 PLAYBACK MENU 595

synchronous, but do not need to have the same starting point. This is the preset
quantization mode.

Start + length of the next whole loop: Recording only starts after the next loop border.
The length is quantized like in "Length of the next whole loop". The starting points of the
loops are all at the same positions.

Length to previous whole loop: The loop end is shortened to the last exceeded loop
border. This is useful in case the "Action" button (spacebar) is only managed to be clicked
shortly after the next loop passage during playing.

Start + length to next bar: The starting point of the recording and the loop length are
adapted to the bar. This is useful if you have recorded the first loop over multiple bars.

Start + length to the next beat: The starting point of the recording and the loop length
adapt to quarter beats. This is useful if very short loops are played.

Both of these last two options are useful if the "Tempo" has been set or is given by the
accompaniment.

Freestyle: Quantization is deactivated in this case. No more loop starts or loop lengths are
adapted when recording.

Quantize mute/solo/effects: This option also quantizes the control of solo, mute, and
other effects (double speed, half speed, reverse).

Only use loop effects on the last track: The loop effects are always used on the last
track.

Auto JamSession - record device

You can select the desired sound card or sound card input via this dropdown menu.

Visualizer: This button switches the visualization on or off.

Monitor: This button activates/deactivates monitoring. This means that the incoming signal
is displayed in the visualization and played by the sound card output.

Tuner: This button opens an additional visualization in the "tuner" mode for tuning
instruments (e.g. a guitar).

Auto JamSession - recording information

Recording time: The recording time indicates how long you've been recording.

Remaining time: This indicates how much longer the hard disk may recorded to. If you
have multiple hard disks or hard disk partitions, the recording capacity of each of these are
also shown.
596 PLAYBACK MENU

Retrospective Recording (MIDI Pre-Recording)

Samplitude creates a MIDI object in the recording-ready MIDI track that may be adjusted in
terms of buffer length via "System options -> MIDI".

Retrospective recording intermittently saves MIDI events and audio signals in an adjustable
memory buffer in RAM. This takes place while running, even if a recording is not being
made via the record button. This enables creative moments to be captured and then
integrated into the project as a file/object. In this case, it doesn't matter whether the project
is playing or not.

The MIDI object may be added at the cursor position or synchronous to the last playback.
A prerecording of 2 seconds is also saved during MIDI recording as an extra take. By
changing the takes in the take manager, e.g. from "MIDI Take3" to "MIDI Take3 PreRec",
you can drag the object to the left to restore the rhythm played prior to the actual
recording. The object borders will be adjusted to exchange the take.

Note: If you would like to add an audio recording from the buffer into the project
retroactively, drag the newly created object to the left after recording (according to the set
pre-recording time in the recording dialog of the system options).

MIDI Record Mode

The MIDI recording modes specify how newly recorded MIDI data is inserted into the virtual
project 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.
 PLAYBACK MENU 597

Replace
In this mode, MIDI files of the existing object will be replaced with newly imported ones. If
you record over several objects, these are combined into a single new object.

MIDI Panic – All Notes Off

This command sends a note off command to all MIDI devices that are activated in the MIDI
options for all 128 notes on all 16 channels. The sustain (Controller 64) is also shut off, and
the pitch wheel and modulation are reset to 0. All VSTis used in the project will also receive
the all notes off command.

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 stopped.
598 AUTOMATION MENU

Automation Menu
No effect (Track)
If you select this display option the track automations are deactivated.

Edit selected curve

Create
The curve generator (view page 335) creates a beat-based volume curve and pulses
according to eighth, quarter, half, or full notes. You can enter a minimum and maximum
value or define delay values as an option for the beat-based envelope curve calculation.

As an alternative, you can also let the curve generator write an envelope curve scan.

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.

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 (view page 329)".
 AUTOMATION MENU 599

MIDI Controller Automation

This opens the "MIDI controller/automation curve settings" dialog.

Detailed information about MIDI controllers is available in the chapter "MIDI controller
automation (view page 338)".

Shortcut: Ctrl + Alt + A

Hide Automation
Use this option to deactivate the display of automation curves for all tracks.

Show Track Automation

Select this display option to display only the track automation.

Show Object Automation

If you select this display option, only the object automation will be displayed for all tracks.

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.

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.
600 EFFECTS MENU

Effects Menu
This menu entry provides fast access to the relevant real-time effects at object level.
Correspondingly, menu entries for all object effects are provided here.

Note: All effects opened using this menu are calculated destructively, provided the option
"Apply effects offline" is active. The option to work with a copy is available in order to
preserve the original audio material. The "Create copy" option is already selected in the
corresponding dialog.

Notes concerning offline effects editing

 When editing objects via the context menu item "Edit wave project", offline effects
always have an effect on all of the objects that reference the same audio material. If this
is not desired, access the command "Edit a Copy of the Wave Content" prior to
destructive editing via the selected object's context menu. Samplitude will create a copy
of the audio material and add this to the project folder. The corresponding object now
refers to the copy that has been created. Following this, offline effects may be applied to
the selected object without influencing other objects.
 Activate the option "Create copy" in the offline effects dialog to use the undo function in
the VIP later (this allows you to undo destructive editing).
 The following functions are available exclusively for wave projects: "Sample Manipulation
-> Sample Amount *2, /2", "Show/Hide", "To Zero" and "Build Physical Loop".

Note on the "Undo" function: Please tick "Undo active" via the "Options menu ->
Program Preferences -> Undo definitions (view page 497)" for virtual projects and for wave
projects in order to activate the undo function.

 Please note that most functions only work within the selected range in the wave window.
To use the functions on the entire wave project, the entire wave project must be
selected (Shortcut: "A"; menu item: "Edit > Range > Range all").
 On the other hand, selected objects in VIP projects are changed independently of the
selected range across the entire range (the only exception here is the "Get noise sample"
function. (Eine Ausnahme bildet hier nur die Funktion „Noise Sample holen“). If you do
not wish to change the whole object, spit it at the range edges using the "T" key and
activate "Auto-crossfade" mode to avoid crackling transitions.

Play/Stop: This button starts/ends the preview function for each offline effect. Previewing
editing does not occur in real-time, the result, however, will match the end result.

OK: The edit is applied to the selected range of the sample or the selected object.

Cancel: Click this button to close the dialog window without applying any editing.

Help: Displays the Help feature.

 EFFECTS MENU 601

Advanced options for offline effect calculation

These settings may be opened in the corresponding effects dialog by clicking the
"Advanced options" button. Alternatively, this dialog may be accessed via "Options ->
Program preferences -> Destructive effect calculation...".

In this dialog, choose to write a copy with offline effects from the many options.

Destructive Effect Calculation in Wave Projects

If this is not desired, access the command "Edit copy of wave project" prior to
destructive editing via the selected object's context menu. Samplitude will create a copy of
the audio material and add this to the project folder. The selected object now refers to the
copy that has been created. Following this, destructive effects may be applied to the
selected objects without influencing other objects.

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. A
check must be placed beside "Create copy" in the effect dialogs for this to be available.

Note: Deselect this function if you're sure that the undo function will not be required. A lot
of time and hard disk capacity can be saved if a copy of the wave is not created.

 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 wave file is also changed, which may
cause problems when working with looped objects or in various VIPs.
 Write effect to an FX file (._FX.wav): The result of the effect calculation is written to a
separate file with the extension "_FX.wav" so that the original wave project remains
602 EFFECTS MENU

untouched. This also makes it possible to execute the effect calculation in the 32-bit
float format, to save it, and thereby keeping the full quality of the effect. The file is not
overwritten with every new effect calculation, but rather the new effect is simply added to
the effect file.
 Generate a new FX file for each effect: All offline effects are saved in separate files
with sequential numbers. Alternatively, these files may be given detailed names featuring
effect descriptions and the date.

The effects file may also be saved in the format of the output file, in a 24-bit format, or in a
32-bit float format.

Offline effects calculation in wave projects

When opening a offline effect in wave projects, the result of the effect calculation is always
added to the opened wave project. The options of the offline effect calculation on VIP
objects described above are not taken into account.

Temporary files for the "Undo" function are only created with offline effect calculation if the
"Undo" function for wave projects is also activated (Shortcut: "Y" – Program -> Undo) and
"Create copy" is ticked in the corresponding effect dialog.

If an effect is applied to a specific range in the wave project, 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): Preview time is the duration calculated for listening to effects in
the preview function.

Maximum length of editing range for spectral cleaning (seconds): Enter how long
(maximum) the audio material should be edited during spectral cleaning.

Amplitude: Normalize, normalize (quick access), loudness adaptation

Dynamik: Dynamics, Advanced Dynamics, Multiband Dynamics, sMax11, AM-Munition

(Samplitude Pro X Suite), AM-Track (Samplitude Pro X Suite / SE Version for Samplitude
Pro X), AM-Phibia (Samplitude Pro X Suite), AM-Pulse (Samplitude Pro X Suite)

Frequency/Filter: Parametric EQ, EQ116, FFT filter/spectral analysis, brilliance enhancer

(optional), Filtox

Delay/Reverb: Delay, room simulator, Ecox, Variverb

Time/Pitch: Resampling/Timestretching, Elastic Audio

Distortion: Distortion, Amp simulation, Vandal (Samplitude Pro X Suite / SE Version for
Samplitude Pro X)
 EFFECTS MENU 603

Restoration: De-clipper, de-clicker/de-crackler (optional), de-hisser, de-noiser, get noise

sample, remove DC offset (offline), spectral cleaning (offline)

Stereo/phase: Switch channels, multiband stereo enhancer, invert phase (both channels,
left channel, right channel)

Modulation/Special: Convolution, vocoder, Corvex, reverse

Sample manipulation: Change sample rate (offline), sample number/2 (offline), sample
number *2 (offline), reverse, form loop (offline)

MAGIX Plug-ins: AM-Munition (Samplitude Pro X Suite) AM-Track (Samplitude Pro X

Suite/SE Version for Samplitude Pro X), AM-Phibia (Samplitude Pro X Suite), AM-Pulse
(Samplitude Pro X Suite), Corvex, Ecox, Filtox, VariVerb, Vandal (Samplitude Pro X Suite/SE
Version for Samplitude Pro X)

essentialFX: eFX_ChorusFlanger, eFX_Phaser, eFX_Reverb, eFX_StereoDelay,

eFX_Compressor, eFX_Gate, eFX_DeEsser, eFX_VocalStrip, eFX_TubeStage,
eFX_TremoloPan.

Process Only Left Stereo Channel

Process Only Right Stereo Channel

Process Effects Offline: Tick the checkbox here to process effects offline

At object level you can swap object channels, invert phases, Object EQ, Object Dynamics,
Pitchshifting/Timestretching, Object backwards, Elastic Audio, and MAGIX plug-ins.

Amplitude
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.
604 EFFECTS MENU

Shortcut: Shift + N

Note: If you experience very slight clipping during recording and then proceed to normalize
the material, you won't achieve the same quality as when you produce an overmodulated
recording! For example, if you only modulate half of the material, then your recording will
have a quality of 15-bit samples – normalizing to 100% will not change anything.

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.

Working Mode
Virtual: This function performs real-time normalizing on the selected objects. In this case,
the sample data is not changed, but rather the object volume is adjusted so that the
loudest part of the object reaches the selected normalization level. This virtual normalization
is non-destructive, unlike destructive normalization, which changes the audio material
irrevocably. The object to may be restored to its original volume setting by selecting
"Reset", which is located below the volume fader in the object editor.

Destructive: The audio material is physically altered. A tick is set beside "Create copy" in
the dialog.

Multiple Object Selection

When multiple objects are selected, there a number of different techniques to normalize
them.

Independent normalization: Each object is normalized according to its own maximum

level.
 EFFECTS MENU 605

Uniform normalization: The maximum level is detected from all objects and each object is
normalized according to that value. This is active by default.

Quick Access
Set parameters: Use this button to make the settings of the normalization function
accessible via quick access.

Get parameters: Use this button to get the current quick access parameters in the dialog.

Normalize (Quick Access)

This function enables the specified settings in the "Normalize" dialog under "Quick access -
> Set parameters" to be used immediately.

Shortcut: N

Loudness Adaption
This command executes an automatic RMS normalization. The loudness of each individual
title is analyzed and the level of the titles is adapted to create uniform volume sensitivity.
The preset target value is -15 dBfs. The target value may also be adjusted individually. The
closer the value is to 0 dBfs, the louder the signal will be.

This adjustment determines the percentage of control between the titles and the target
volume value.

Fade In/Out…
Use this function to show or hide selected ranges of samples in a wave project. The
amplitude will change according to the progression from the start value at the beginning of
the range to the end value and the end of the range.

A simple fade-in process may be activated in the dialog via the parameters "Fade start in %
= 0", "Fade end in % = 100". A simple fade-out may be executed by setting "Fade start in
% = 100", "Fade end in % = 0".

You can have the transition display in three different curve envelopes: exponential, linear, or
logarithmic.

Note that in virtual projects, powerful real-time fade and crossfade options are available
that usually make the use of destructive fade routines unnecessary.
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Set Zero
The level in the selected range is set to zero. This allows unwanted parts within a sample to
be removed.

Dynamics Effects
What Compressors are Available in Samplitude?
There are four different modules for dynamic editing available in Samplitude:

1. essentialFX Compressor (view page 690): A simple, efficient tool for reducing
dynamics with soft characteristics and adaptive control processing. The "essentialFX
Compressor" is a very musical compressor.

2. Dynamics (view page 607): A quick and easy-to-use dynamics module. Its main
functions (setup) may be set to compressor, expander, gate, or limiter. More specific
parameters may also be changed; "dynamics" always uses an efficient algorithm, which
also reduces required CPU resources.

3. Advanced Dynamics (view page 608): This module is a very comprehensive tool. It's a
combination of a classic dynamics module (compressor/expander/gate) and an
approximating limiter. The result is an undistorted, optimally modulated signal with defined
volume. Setting the parameter is done either via direct input or by graphically changing the
characteristic. Level detection may be derived via either "Peak", "RMS", or "Fast" mode.

4. Multiband Dynamics (view page 612): This module offers extensive dynamics editing
options. The advantage of dynamics manipulation across multiple frequency bands
versus a standard process is that the danger of pumping and other side-effects sinks
drastically. For instance, the function is able to prevent bass peaks from reducing the entire
signal. Multiband technology also lets you specifically edit individual frequency ranges.

5. Samplitude's AM-Track, AM-Pulse, AM-Phibia, and AM-Munition also provide

specific dynamics editing functions that simulate analog effects processors. Read more
about this in the extensive chapter "MAGIX Plug-ins (view page 698)".

6. sMax11 (view page 618): This module enables the loudness of the audio signal to be
increased by specifying input amplification (gain in). Essentially, this involves a hard or
brickwall limiter with input amplification.

Which compressor should be used and when?

When to use a certain dynamics module depends on how specific the change needs to be.
The "Dynamics" and the "essential FX Compressor" modules work well on mixer channels
to quickly and efficiently influence the dynamics.

The sound of an object should normally be changed very specifically. In this case, the
dynamics of an instrument may be varied between the verse and the chorus, depending on
the playback method. This is a desired relation that may be preserved or even forced using
precise compressor settings. We recommend using "Advanced dynamics" to change the
dynamic behavior of the source material as optimally as possible.
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Experiment with "AM-Track", "AM-Pulse", "AM-Phibia", and "AM-Munition" to add

characteristic pre-amps or tube sounds to your pieces.

The mixer's master module features "Multiband dynamics" to give the entire mix its final
balance. Since increasing the volume using a multiband compressor may produce clipping,
it's necessary to have a limiter, which then approximates all clipping samples at the limiter
threshold.

We recommend using "Multiband dynamics" for each object/CD track when mastering
CDs. This enables you to react to the differences of CD tracks with different multiband
dynamics settings.

"sMax" is intended as a loudness maximizer/limited that adds increased loudness to your

audio signal.

Dynamics (Compressor/Expander/Gate/Limiter)

Use this editor to adjust a sample's dynamics. Each function may be previewed in real
time.

The graphics display shows the corresponding resulting dynamics curve for an improved
overview.

The following functions are available:

Compressor: The dynamics of a piece are limited, loud sequences are dampened, quiet
sequences become louder. Compression is often used to add power to audio material or
to increase the loudness. The level of compression is adjusted by the "Ratio" controller; the
activation threshold is determined by "Threshold". You can also influence the "Attack" and
"Release".

Limiter: Only the loudest passages are limited (above the threshold). Quiet passages
remain unchanged. Limiters are used to reduce the level peaks without reducing the
master dynamics. After the limiter process, the master level can be increased using
normalization without having to worry about overmodulation. The "Limiter" preset sets a
threshold of -0.2 dB when using the limiter as a peak limiter in the master area of the mixer.
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Limiter 100%: Performs the same editing as the limiter; however, the level is immediately
raised to 0 dB, which corresponds with a subsequent normalization.

Expander: The dynamics of a piece are increased, loud sequences remain quiet, quiet
sequences become even quieter. Dynamics expansion is often used for recording speech
featuring a high noise level. The expansion causes the level of the speech to be raised
while the noise is suppressed. Please note that there is also a powerful De-noising
algorithm provided.

Gate: Very quiet passages (below the threshold level) are dampened or set to zero. This
way, you can effectively suppress noise during the pauses between takes. Even at high
compression (ratio > 5), the gate function is still useful to avoid strong increases in the
quietest of passages and background noise.

Dynamics - Parameters
Ratio: This parameter controls the compression ratio. A value of 5.0, for example,
corresponds to a volume reduction that's five times the threshold, while a value of 1.0
means that compression is not applied.

Threshold: This sets the threshold; the effect will be applied above and below this level.

Attack: This sets the time frame from crossing the threshold to the maximum extent of the
effect.

Release: This sets the time frame between the point below the threshold and the complete
reduction of the effect.

Gate level: This parameter specifies which levels should be set to 0.

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Advanced Dynamics

Advanced dynamics – general controls and presets

Load, save, delete presets: Save, load, or delete settings here. The default file ends with
*.dy2. In addition, all dynamics presets (*.dyn) can be loaded. The parameters are
converted to those available in the "Advanced dynamics" module. If saved again, the
preset will be saved with the *.dy2 extension to make sure the settings are stored.

Dynamic scope: When the selected object/sample is played, the in and out level of the
signal appears as a white, scattered line.

Reduction display: The level reduction of the played audio material is displayed to the
right of the graphic display.

In/out displays: These meters show the input and output displays in dB.

Reset: Reset the reduction, in and out displays.

Mode: These setups are typical applications of "Advanced dynamics". They provide default
settings that make the graphical editing of the reference line easier. In this case, the
number of editable parameters are limited by the choice of the setup so that with pure
limiter application, for example, the other curve points will not change.

OK: Accepts the parameters.

Cancel: Rejects the parameters.

Advanced dynamics – editing the reference line (graphically)

To graphically edit the static transmission reference line, left click one of the bases of the
curve on the reference line and move it while holding down the mouse button. Moving the
bases at a point often also influences the parameters of other points.
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To position the point directly in the reference line field, right click. A dialog appears to read
and enter the input and output values.

If you switch on the "Hard" parameter in the limiter, a blue field entitled "Limited zone" will
appear for threshold values below 0 dB. This field shows that the level of the signal never
extends into this limited zone.

In order to hide a handle, move the applicable threshold slider to 0 dB. In order to make it
visible again, the threshold must be below the limiter threshold.

Advanced dynamics – editing the reference line (parametrically)

Gate
Level [in dB] determines the minimum level at the input. All signals below this level will
have an output signal level of 0 dB.

Limiter
Level [in dB] determines the maximum level at the output. Note the "Hard" setting.

Hard: When this parameter is active, the output signal limits exactly to the set threshold
value. This means that no value shall be higher than the set limiter level. Of course, the
signal is not simply cut off at this limit; the applied algorithm brings the signal as close as
possible to the limit without changing the sound much. If the "Hard" setting is not active,
the algorithm only controls according to the set transfer reference line and behaves like an
analog limiter.

Soft: This parameter specifies the curve of the reference line in values from 0 to 20, in
which case 0 indicates no curve. Curving is useful if the continuous change between
uncompressed and compressed signals becomes apparent, i.e. the signal level alternates
around the inflection point. With "Soft", a smooth transition is achieved.

Advanced dynamics – envelope

The time constants affect the sound characteristic significantly. In this way, specific time
constants may lead to distortion or "pumping" effects.

Attack: This sets the time frame between the crossing of the threshold and the maximum
extent of the effect in milliseconds.

Release: This sets the time frame between reduction of the threshold and the complete
withdrawal of the effect in milliseconds.

Compressor 1/2 threshold: This sets the input threshold in dB; above this level, the
respective component will be activated.

Compressor 1/2 ratio: This parameter controls the compression ratio. The "Linear" button
resets the ratio to 1:1.

Gain: Use this fader to set the whole static reference line in dB.

All changes to these parameters directly influence the static transfer characteristic line.
Please note that the parameters influence one another.
 EFFECTS MENU 611

Advanced Dynamics - Dynamic parameter

The "Reaction" function works much in the same way as the Compressor does to the
source material.

PEAK: This mode uses the signal's peaks as a basis for calculation. The dynamics module
reacts to level peaks quickly and efficiently.

RMS (Root Mean Square): This mode is involves the signal's average volume, which
corresponds with the dynamic behavior of analog dynamics modules. It sounds relatively
round and balanced, less focused. The time constant for signal detection of the control
signal only refers to the setting of the "Attack" fader. Both time constants are analyzed for
signal equalization when manipulating signal dynamics.

Fast: Use this option if the object dynamics should only be modified a little. The maximum
level at the output is never higher than the limiter.

Preview: If this option is not checked, the dynamics section will not provide a preview.
Thereby allowing artifacts (pumping) and over modulations to be set. On the other hand,
without a preview, this option will not automatically "level" steep attack phases in the
waveform, which may result in sharper-sounding audio material. To emulate the sound of
analog dynamic modules is is recommendable to work without preview. The length of the
preview may be entered in the "Samples" field.

Side chain...:If "Advanced dynamics" is used as a track or master effect and the track is
not a Surround master, the "side chain" button will appear. Enabling this option is used to
request an external signal to calculate the internal control signal.

Clicking the "side chain" button opens the side chain menu.

Side chain in: Activates and deactivates the side chain function.

Sidechain sole:With this option you can listen to the sidechain signal. The compressor will
be switched to "Bypass", and only the input of the side chain will be played. When closing
the plug-in dialog, the "Side chain solo" function is automatically reset. "Sidechain solo" is
also ideal for acoustic control when applying the sidechain filter.

In the lower half of the menu all tracks are listed, of which you can set one or more as
sidechain inputs. In the AUX section of tracks that used as sidechain signals or mixer
channels a new AUX send fader will be assigned for the target track.Internally, a side
chain bus (AUX bus) is created. To differentiate from the "normal" AUX buses, a ">" is
612 EFFECTS MENU

added. "Pre-fader" is set to catch the side chain signal. This means that the sidechain
remains independent of the fader position of the sending channel.

Right clicking on the AUX send button selects this as "Side chain send". Thereby you can
use further track as the source for the sidechain signal at a later date.

Sidechain filter: The sidechain filter can be filtered by a parametric equalizer (view page
621).

Advanced dynamics – dynamic scope

Dynamic scope appears when you play the selected object/sample in an open dialog. You
can then see a scattered white line, a "snow cloud" with individual points that represent
the input and output values. This way, the change to the samples achieved via advanced
dynamics may be visualized constantly.

The dynamic scope's functions may be easily explained via the following example:

Select "ZERO" and press "Play;, now the effect won't change the signal. The scope shows
all samples on the red line, which indicates that all output values equal the input values.
Slide the gain fader upwards to see that the "snow cloud" follows the reference line. If very
high time constants are selected, then this takes place relatively slowly.

Selecting a relatively short attack time (10 ms), a long release time (400 ms) and a severely
arched reference line can also move the effect towards "pumping". The "restlessness" of
this dynamic scope mirrors the "pumping" graphically.

Advanced dynamics – tips and tricks

 Select one of the provided presets as a general setting. You can now adapt the
reference line to the source material with the help of the dynamic scope and very
precisely separate the signal components.
 If the scattered line of the dynamic scope moves very jerkily, this is probably because of
the settings of the time constants. Set these according to the sound preferences and
then save the personalized presets.
 In order to couple an "analog" limiter with the hard limiter algorithm, define the Limiter
level at the maximum desired sample level. Once set, an "analog" limiter may be set by
using an extreme ratio setting (compressor 10.00 or expander 0.10).
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Multiband Dynamics
The "Multiband dynamics" section lets you edit the dynamics with up to four
independent frequency bands. The entire signal is split into individual frequency bands in
this case. The dynamics are then edited separately for each band.

The combination of the individual bands is 100% phase-neutral, and thanks to the FIR
Complement Filter, technique no discoloration of the frequency response occurs. In other
words: If there is no dynamic editing in the individual bands, i.e. the signal is only split into
the bands and then reassembled, the audio material will be perfectly compiled to the state
it was before. The advantage of dynamics manipulation across multiple frequency bands
versus a standard process is that the danger of pumping and other side-effects sinks
drastically. For instance, the function is able to prevent bass peaks from reducing the entire
signal. Multiband technology also lets you specifically edit individual frequency ranges.

Multiband dynamics – overview

In the "Frequency separation/Gain enhancement/Reduction" dialog, you'll find the
parameters for the filter bank. The graphic shows you the frequency response curves of the
individual curves. The left axis labeling shows the damping in -dB, while the upper axis
labeling shows the frequencies in kHz. The individual curves are displayed in color.

The illustration to the right displays the dynamics reference line. It illustrates the ratio from
the input level (upper axis in dB) to the output level (left axis in dB).

The dynamics reference line is always displayed for the band that was selected for
adjusting the dynamics.

The dynamics section of the individual bands is equipped with the following parameters:
"Gain", "Ratio", "Threshold", "Attack", "Release, "Gate Level" as well as the modes
"Compr. Max", "Compressor", "Limiter", Limiter 100", "Expander", and "Gate".

Multiband dynamics – general controls

Saving, loading & delete presets: This is where all parameters are saved loaded or
deleted. The default file extension is *.mdy.
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Reference line
Band: Select a band for dynamic editing here. The reference line of each selected band is
displayed in white, while the other bands are displayed as lines in their corresponding
colors.

Copy to all bands: After pressing this button the parameters of the selected band, i.e. the
parameter values that appear on the screen, are applied to all bands. If you also have "Link
bands" selected, the values for all bands remain coupled to one another.

Setup
Bands: Select the number of bands between 1 and 4. On setting 1, there is no separation
into various frequency bands. In this case the algorithm works like the standard dynamic
section. The more bands there are, the more processing power the algorithm requires.

Band separation: See below

Link bands: If this option is active, the changes to the dynamic parameters affect all
bands. It's usually unnecessary to set up the dynamic parameters for each band
individually. Especially with general settings, it's often necessary to adjust the parameters
together.

Advanced mode: If this option is selected, the same internal processing routines are set
as in the "Advanced dynamics" module.

Note: If you have activated "Link bands", this does not mean that all parameters in all
bands will have the same values. Only those parameters are the same which were
changed after "Link bands" was selected. If all bands should feature the same settings,
click "Copy to all bands".

Preview: If this option is checked, the dynamics section will perform a preview. When
unchecked, artifacts like "pumping" or distortion may occur. On the other hand, without a
preview, this option will not automatically "level" steep attack phases in the waveform,
which may result in sharper-sounding audio material. This setting affects all bands.

Bypass dyn. (bypass dynamics):

The dynamic editing of individual bands is removed from the signal route. This option is
used to compare the results of editing with the unchanged original.

The difference from the "Bypass all" switch is that when "Bypass dyn." is in solo mode,
individual bands may be compared separately, with or without dynamic editing as the filter
bank is still activated.

Bypass all:
In this case as well, the entire multiband dynamic section is removed from the signal route.
Since the entire filter bank is "bridged", "Solo" mode may no longer be used. The gain
fader for the sum is also no longer active.

Help: Displays the "Help" feature.

 EFFECTS MENU 615

OK: The algorithm is applied to the selected range of the sample or the selected object.
The parameters of the dialog window are applied when used in the master section of the
mixer.

Cancel: Click on this button to close the dialog window without calculating the effect.
When used in the master section of the mixer, the parameters of the dialog window are not
applied.

Multiband dynamics – setups and parameters

Parameters for the dynamic sections
Ratio (factor): This parameter controls the level of the corresponding effect; 1.0 means
that there is no effect. Clicking the button beside it resets the ratio to 1.00.

Threshold (-dB): This is the input threshold value above and below which the
corresponding effect is applied.

Attack (ms): This sets the time frame from crossing the threshold to the maximum extent
of the effect.

Release (ms): This sets the time frame between the point below the threshold and the
complete reduction of the effect.

Gate level (-dB): This parameter specifies the value after which the level should be set to
0.

Output parameters:
Gain Band (dB): This adjusts the level at the output of the dynamics stage individually for
each band. Note that the influence of this controller cannot be fully displayed. If you set the
controller higher, clipping may occur; in this case, the reference line continues upwards out
of the display border.

Solo mode: In "Solo" mode, frequency bands may be monitored one at a time. This
function particularly simplifies the setting of filter parameters. For instance, you can locate a
critical frequency range of a mix before editing the dynamics.

Mode
Compr. max: The dynamics of a frequency range are limited, loud sequences are
dampened, quiet sequences are retained. These settings are often used to add power to
audio material or to increase the loudness. Among other things, this type of dynamics
editing effect is referred to as the "Maximizer" or "Loudness enhancer". Use the "Ratio"
input field to set the degree of compression via the "Threshold". You can also influence the
"Attack" and "Release" via the corresponding input fields.

Compressor: The influence of the dynamics corresponds with the behavior of a "classic"
compressor: The dynamics of a frequency range are limited, loud sequences are
dampened, quiet sequences are retained. This setting is used especially for sound design
via compression without raising the total volume. The level of compression is adjusted by
the "Ratio" controller; the activation threshold is determined by "Threshold". "Attack" and
"Release" may also be influenced. A "Gain" controller has also been added to the controller
to compensate for volume reduction.
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Expander: The dynamics of a frequency band are increased, loud sequences remain quiet,
quiet sequences become even quieter. Dynamics expansion is often used for recording
speech featuring a high noise level. The expansion causes the level of the speech to be
raised while the noise is suppressed. Note that a powerful De-noising algorithm is also
provided for noise suppression.

Gate: This function dampens or sets very quiet passages below the threshold level to zero.
This way, you can effectively suppress noise during the pauses between takes. Even at
high compression (ratio > 5), the gate function is still useful to avoid strong increases in the
quietest of passages and background noise. If different threshold values are entered in
different bands, with a bit of skill, drum loops may be "chopped up".

Limiter: Only the loudest passages are limited (above the threshold). Quiet passages
remain unchanged. Limiters are used to reduce the level peaks without reducing the
master dynamics.

Limiter 100%: Performs the same editing as the limiter; however, the level is immediately
raised to 0 dB, which corresponds with a subsequent normalization.

Note: To use the limiter as protection against overmodulation, you should take into
account that the limiter may only reliably prevent overmodulation in a single band. If the
bands are mixed together, the sum may again result in an excess of the threshold level set
for the bands.

Out (all)
Set the volume level for the entire algorithm here. This parameter cannot be set individually
for each band. The graphic does not reflect this setting. Use the "Volume" fader to balance
the volume difference via the dynamics process.

Limiter on/edit (only in the master area of the mixer and in the object editor):
This turns off/edits the peak limiter. It prevents overmodulation of the volume increases
when using the multiband dynamics section.

Separation frequencies
Use the sliders at the bottom of the graphic to adjust the separation frequencies for each of
the filter bands. The number of separation frequencies depends on the number of selected
bands ("Bands" parameter). The border frequencies for the deepest and the highest bands
(high-cut and low-cut) are displayed. The border frequencies are those at which filter
damping amounts to -3 dB. For mid bands (band pass 1 and band pass 2), the mid
frequencies and bandwidths are displayed. The bandwidth is, in this case, the distance
between both separation frequencies. This corresponds to the intersection of the
neighboring frequency curves.

Band separation (in the setup area)

A higher setting for "Band separation" ("Normal", "High") has a similar influence on the
various properties of the filter, whereby the "precision" also increases:

1. The edge steepness of the filter curves increases and the transition range between
two bands decreases.
 EFFECTS MENU 617

2. Dampening in the stop band increases (setting low: approx. 25 - 35 dB, normal:
approx. 35 - 45 dB, high approx. 55 - 75 dB).
3. The ripple of the frequency range of the bands decreases. However, this is not a
problem as the ripple of the individual filter bands compensate each other when put
together thanks to the complementary filter technology. In any case, the output signal
does not contain ripples.
4. The latency caused by the effect increases.

Multiband dynamics – filter bank for experts

Those who know a little about the program will be curious why the setting/display of values
doesn't appear as it does in the parametric equalizer. The answer: in this case, a different
digital filter type is used whose frequency response cannot be fully written using these
parameters. While analog filters and "normal" digital filters always contain a logarithmic level
drop (the drop can, for example, which is set to -12 dB per octave), the filters used in this
case have a linear frequency-response curve, i.e. the level drop in dB increases in size the
further the distance from the separation frequency. This method also has the advantage of
100% phase accuracy, among other things. The display of the mid frequencies is derived
from the "traditional" filter parameters and this way simplifies "acclimatization".

Tips & tricks: strategies to manage the flood of parameters

A multiband dynamics processor (naturally) contains many parameters.

If you need to alter the dynamics of all bands, rather than one individual band, the following
approach may be useful:

Step 1: Global presets for all bands

1. Select the mode that corresponds the most with your needs. If you wish to increase the
volume of the audio material, select "Compr. max.". If you wish to improve sound
characteristics, increase the transparency, improve the clarity of speech, freshen up older
recordings or create more powerful bass without increasing the volume, use the
"Compressor". The selection of this mode only applies to the selected band.
Click "Copy to all bands". Selecting this mode ensures that all bands feature the applied
setting.
2. Activate "Link bands". Any changes you perform in the current band are automatically
mirrored on the other bands.
3. Change the parameters of all bands until the audio sounds right.

Step 2: Fine-tuning of individual bands

1. Turn off "Link bands".
2. Activate "Solo" mode for a band. Individual bands may now be isolated, making the task
of optimizing settings for each band easier. The optimum settings for the higher frequency
bands have lower values because the waveforms are shorter here.
3. If you can't find satisfactory settings for some of the bands, try to change the split
frequency setting for the selected band. A narrow band setting may help prevent
"pumping" artifacts in the sound.

To edit a specific and critical frequency range only, a different approach may be
taken:
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1. Turn off "Link bands".

2. Activate "Solo" mode for the band that contains the critical frequency range.
3. Change the separation frequencies for the band so that they can effectively filter out the
critical area. Now the dynamic editing can begin. First, select a suitable mode.
4. "Limiter" mode or "Compressor" mode are suitable for the dynamic limiting of critical
frequencies, i.e. for sibilant sounds.
5. Use the "Bypass dyn." checkbox to compare the processed and unprocessed bands.
6. Now turn off the "Play solo" option and compare the original and edited signals using
"Bypass all".

A third option is to first compare the supplied presets and then use the presets as a
starting point for searching for optimum settings.

In most cases, even loading a relevant preset will produce good results. But if you really
want the very best sound or volume increase result, you'll often have to apply these
settings manually.

Comparing at constant volume levels

Use this method to compare the sound differences without allowing the dynamics
processing to alter the volume levels. Use the "Out (all)" option to adjust the volume until
the audio signal level matches that of the bypassed level, i.e. when the "Bypass all" option
is used. If the multiband compressor is used in the "Master" area of the mixer, the peak
meter of the mixer may also be used as support.

sMax11

The sMax11 maximizer increases the loudness of the audio signal.

This is done by entering the input amplitude (gain-in). The signal will be amplified by this
level. The sMax11 simultaneously ensures that the signal doesn't exceed the output level
(gain-out) that has been set. This requires regulation of the response time set via the
mode and release time. Essentially, this involves a hard or brickwall limiter with input
amplification.
 EFFECTS MENU 619

A typical approach might look like this: First, switch on the link option. Now increase
the input amplitude until the audio changes become unacceptable. Reduce the level again
slightly. Distortions may be minimized by increasing the release time. In any case, the
compression effect and the increase in loudness will therefore be lower. Maybe switch on
the bypass. The link option keeps the loudness constant, allowing changes to be
compared better. Once the optimal setting has been located, switch off the link option, and
set the output gain back to 0 dB.

sMax11 - general controls and presets

The options Save, Load, and Delete are not provided directly in the dialog for this effect.
These are integrated into the preset list, at the bottom. Click these list entries to load, save,
or delete presets. The default file extension is *.max.

Play/stop: This button starts/stops the real-time preview function. Use it to check the
corresponding filter setting.

Latency display: This value provides information about current distortion of the effect in
samples that should be included for latency compensation. The latency of this effect is
influenced by the set effects mode (among other things).

OK: Applies the preset parameters.

Cancel: Rejects the parameter settings.

? (Help): Opens the help file for this effects dialog.

sMax11 - graphical displays

Mod. display: This meter indicates the modification of the signal in dB. The portion of the
input amplitude is not included. Only the level with the non-linear changes (required for
catching level peaks) will be displayed.

In/out displays: These meters display the input and output displays in dB.

Reset (meter): This button resets the meter displays.

sMax11 - special control elements

Gain-in: This value specifies how much the signal should be increased (maximum).

Reset (gain-In): Resets the "Gain-in" parameter.

Gain-out: This value sets the maximum output level.

Reset (Gain-out): Resets the "Gain-out" parameter.

Link: This option connects both gain values.

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Note: If the link option is active, then "Gain-in" may be increased, e.g. without increasing
the output volume. This makes it easier to detect distortions resulting from a high "Gain-in"
value.

Release: Set the time frame for the complete dissipation of the effect on the signal in
seconds.

Mode: The setting of the mode influences the effect's control behavior:

 Balanced: Lowest level of distortion with transparent sound, robust to use.

 Fast: Accesses slightly faster than "Balanced". This mode corresponds with the
behavior of the hard limiter in the advanced dynamics unit.
 Aggressive: Very short attack time, suitable for especially sharp transients for this
reason
 Hard clipper: Controls are shut off in this mode. Level peaks are simply cut off, which
may lead to serious distortion. This mode may be useful if transients of an individual hit
still need to be highlighted.

Use of different modes is dependent on the case of application. For example, "Balanced"
mode should be used for speech. For signals with dominant percussive sections, the
sharpness of the hits may be maintained by using "Aggressive". The right setting will cover
distortions that occur or make them very minimally audible.

efx_Compressor
The (essential) eFX Compressor (view page 690) is a simple, efficient tool for reducing
dynamics with soft characteristics and adaptive control processing. It is a very musical
compressor.

AM-Munition, AM-Track, AM-Phibia, AM-Pulse

(Samplitude MX Suite)

More information is available in "MAGIX plug-ins (view page 698)".

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Frequency/Filters
Parametric EQ
This dialog features a parametric 4-band equalizer.

The parametric equalizer allows you to activate filters for four freely selectable frequency
bands to adapt the sound of a sample/object more individually. Broadband elevations in
high and bass values as well as narrowband corrections to the frequency response can be
carried out here.

Volume: Use this controller to adjust the master volume by up to +/-20 dB should the level
rise or sink too much while filtering.

Gain: These controllers allow you to raise or lower the filter +/- 20dB. Setting the controller
to 0 deactivates the filter and thereby uses no CPU power.

Freq. (Frequency): The frequency controllers set the cut-off frequency of the individual
filters between 10 Hz and 24 kHz. You can freely choose the frequency enables multiple
filters to be set to the same frequency giving a greater effect.

Q (bandwidth): Set the bandwidth of the individual filters between 0.10 (very wide
bandwidth) and 10 (extremely narrow bandwidth).

Note: Depending on the parameter you select (gain, frequency, or Q factor), the fader to
the left of the input fields controls the corresponding parameters. Gain and frequency
values can also be changed directly in the display by dragging with the mouse.

Type: Set the filter type here. Filters types available include Peak, Shelving, High pass (=
low cut), and Low pass (= high cut).
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Note:

The shelving filter starts signal manipulation at the cutoff frequency in order to apply the
effect until the end of the audible range. This includes high and low-pass filters.

A high-pass filter cuts the signal sharply after the defined cutoff frequency.

A low-pass filter cuts the signal sharply above the defined cutoff frequency.

The peak filter stretches the around the defined cutoff frequency. This includes "normal"
parametric EQ, bandpass filters, and notch filters.

Play/Stop: This button starts/stops the realtime preview function. This lets you check the
acoustics of the respective filter settings.

Setup A, B, C: Switch between three different filter setups using the mouse to quickly
execute an acoustic comparison of two different settings, even during previewing. Save the
individual EQ setups with a mouse click on the corresponding button (A, B, or C) while
holding down "Shift".

EQ116

The EQ116 provides filters for six freely selectable frequency bands to adapt the sound of a
sample/object more individually. Broadband elevations in high and bass values as well as
narrowband corrections to the frequency response may be applied here.

EQ116 - general control elements, presets and setups

Load, save, delete presets: Save, load, or delete settings here. The default file extension
is *.aeq.
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Setup A, B, C: Switch between three different filter setups using the mouse to quickly
compare two different settings, even during previewing.

Reset: Sets the effect to its original initialization state.

Bypass: The algorithm is removed from the signal route. This allows the unedited signal to
be compared to the result of the algorithm.

Play/stop: This button starts/stops the real-time preview function. Use it to check the
corresponding filter setting.

Latency display: This value provides information about current distortion of the effect in
samples that should be included for latency compensation. The latency of this effect is
influenced by the set effects mode (among other things).

OK: Accepts the parameters.

Cancel: Rejects the parameters.

Help: Opens the "Help" file for this effects dialog.

EQ116 - Graphic displays

Filter graphic: This graphic provides a view of a number frequency-related details:

 Amplitude response: The resulting amplitude envelope from the individual band
settings
 Group runtime/Phase response: One of these envelopes may be shown optionally.
Toggle between these in the scale options dialog. The group delay describes the
frequency-dependent time delay in passing the signal whilst the phase response shows
the dependence of the phase of the frequency.
 Original: This curve displays the original frequency response.
 Edited: This curve shows the frequency response after processing by the effect.
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The display of the filter graphic may be adjusted by accessing the "Scale options" and by
using the vertical and horizontal scroll bars.

Hide real-time curves: This option hides the "Original" and "Edited" real-time curves.

Real-time offset: Adjust the offset value in dB for the real-time curves for optimal display.
Click in the display window after every change to the values to make the adjustment visible.

In/Out displays: These meters show the input and output displays in dB.

Reset (meter): Reset the in and out displays.

EQ116 - Editing the reference line

Filter graphic: The band filter parameters gain and frequency may be changed within the
graphic by clicking and moving the level points. The bandwidth can be changed by turning
the mouse wheel near to a level point

Volume: Use this controller to adjust the master volume if the level rises or sinks too
much while filtering.

Tape on/off: In the header for each tape group, there is an on/off switch for turning the
corresponding tape on or off. The associated level point will disappear from the filter
graphic accordingly. In der Filtergrafik verschwindet dann auch der zugehörige Stützpunkt

Gain: These controllers allow you to raise or lower the filter. Setting the controller to 0
deactivates the filter and doesn't use CPU power.
 EFFECTS MENU 625

Freq. (frequency): The frequency controllers set the cut-off frequency of the individual
filters between 10 Hz and 24 kHz. You can freely choose the frequency enables multiple
filters to be set to the same frequency giving a greater effect.

Q (bandwidth): Set the bandwidth of the individual filters between 0.10 (very wide
bandwidth) and 10 (extremely narrow bandwidth).

Type: Set the filter type here. These include normal (= peak), low shelving, high
shelving, high pass, and low pass

Slew rate (gradient): This influences the internal process of a filter band and thereby the
slew rate of the high or low pass in the lockout zone. The settings are not equally available
to all filter types. For a high pass and low pass, a slew rate may be selected between 6
dB/octave, 12 dB/octave, 24 dB/octave, or 36 dB/octave. For low shelving and high
shelving, there is a choice available between 6 dB/octave and 12 dB/octave. The filter
type "Normal" is fixed at 12 dB/octave.

Note: Depending on the parameter you select (gain, frequency, or Q factor), the fader to
the left of the input fields controls the corresponding parameters.

EQ116 - internal operating modes

Mode: Set the internal operating mode for the EQ116 here.

The following modes are supported:

 Normal: The advanced equalizer operates in a manner that corresponds with the
parametric 4-band equalizer, and therefore represents a compatibility mode.
 Oversampling: This effect works internally compared to the first mode and a higher rate
at which the filter formation takes place. In particular, the upper frequency range
achieves a better amplitude frequency response.
 Linear phase: This filter formation occurs such that no phase shifts occur. Processing of
this filter takes place according to a process that is fundamentally different than other
modes.
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FFT Filter/Sound Cloner

The FFT filter (for real time use in the object editor, in the track or master section) allows
you to precisely filter linear signals. The FFT filter for real-time application is a "minor" option
with a huge number of possible settings, analyses, and functional modes for destructive
editing of audio material.

Note:All effects opened using this menu are calculated destructively, provided that,
additionally, the option "Process Effects Offline" is active. You do, however, have the
option to work with a copy to be able to keep the original audio material. The "Create
copy" option is already selected in the corresponding dialog.

Edit the red filter curves by drawing with the pencil tools in the graphical display. If you let
the object play along, you will immediately hear how the sound of the edited object.

The graphical view shows 3 curves that are integrated in a coordinates system. This
includes the vertical axis, which shows the volume in dB, and the horizontal axis, which
shows the frequency in Hertz (the pitch).

The yellow curve represents the original frequency response, and the blue one
represents the corrected frequency band that accompanies the original frequency
response after the red filter curve is applied.

The following tools are available via the object FFT filter:

Pen for free-hand drawing: This tool allows you to draw any curve you need. Hold the
"Shift" key down to draw straight lines.

Pen for quantization drawing: Use this tool to draw stepped filter curves; the quantization
steps depend upon the set resolution. Hold the "Shift" key down to draw straight lines.
 EFFECTS MENU 627

Bend tool for curving lines: Click with this tool above or below the curve to bend the
curve/frequency area. The further away from the line you click with the bend tool, the
sharper the curve will be. This effect may be enhanced by clicking by holding down "Ctrl".

Navigation tool: Use the navigation tool to move the visible selection vertically and
horizontally while zoomed in.

Zoom tool: Click with the left mouse button to zoom into the display; zoom out with the
right mouse button. By left clicking and dragging you can stretch a range which will then be
displayed as a zoom range.

Besides the FFT filter tools, the following buttons are also available:

Snapshot: If this feature is activated, the filter's current in and output spectrum will be
preserved in the graphical interface.

Save: This command saves the filter curve as a text file.

Load: This command loads a filter curve from a text file.

Copy: This command copies the filter curve to the clipboard (Shortcut: Ctrl + C).

Insert: Use this command to insert the filter curve from the clipboard into the FFT filter
selected for the object; this replaces the current filter curve in the graphical interface.

Reset: This button resets all curves for the FFT filter.

Scaling options: Set the graphical display of the curve value here.
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Frequency axes property: The frequency can be output as a linear curve or as a

logarithmic curve. If the logarithmic display is selected, then the display's x-axis can be
output either according to frequency or according to pitch.

Value display: Here you can stretch the filter curve on the y-axis, either 5:1, 10:1 or 20:1.
For the dB values choose either the linear or the logarithmic display. The range of values
may be defined freely. Simply enter the desired minimum and maximum values into the
corresponding fields.

Curve display: Display the curve roughly as a stepped bar or as a soft curve.

Level: This controller pinches or stretches the filter curve. Set the level of adjustment for
the transmitted frequency response between 1 and 200%.

Vol.: This controller adjusts the total volume of the filter curve in dB, and thereby the "Out"
value of the level display.

Sound Cloner functions

With the Sound Cloner feature you can determine the sound characteristic of a selected
object and transfer it to another one. For instance, if individual songs of a music collection
are different to others, the sound cloner feature can adapt them to other pieces. This could
be treated with the characteristic sound of the late 60s, for example.

First of all, determine the spectral image of the object that should be used as an audio
template. Save this as a "clone". The clone may now be applied to the target audio
material.

The sound cloner's preset menu also contains a few useful filter settings besides the
"clone" presets.

Step 1: The learning process

Load a song with a sound you would like to use it as a reference. Place the play cursor at a
location in the song where the elements of the sound to be cloned appear. Don't select the
intro or a break. All of the instruments involved should be playing at this point. Press the
"Learn" button. The options "File" or "FX input" specify whether the sound clone should
originate from the original wave file or from the object that has been processed with effects.
The sound characteristic of the reference song is now created as a fingerprint. Save the
sound clone that has been created in the "FX presets" folder.

Step 2: Transfer frequency response

Now select the frequency response of the object that should be adjusted. By loading a
match preset from the preset menu, the sound characteristic will be communicated to the
sound at the position of the play cursor. The filter curve is calculated via the target audio
material's spectral analysis, which provides an audio image that is similar to the audio
image in the preset. If used as an object effect, the target material to be analyzed is taken
from the associated object, in which case the play cursor specifies the position inside the
object. The "Level" controller regulates the intensity of the sound transmission.
 EFFECTS MENU 629

When loading the sound clone, it's important to place the play cursor at a location in the
object where all of the instruments are playing; the sound cloner uses the audio material at
the play cursor as the basis for calculation of the filter settings. The selected filter curve will
not be transferred directly into the FFT filter; initially, a spectral analysis of the target audio
material is executed at the play cursor before the selected object's filter curve is adjusted.
By default, 20 seconds will be analyzed, but the length of the area to be analyzed can be
adjusted by dragging with the mouse on the range in the arranger.

Sound cloner controls

Learn: A frequency analysis is calculated at the playback position. A dialog opens in which
the result can be saved as a special match preset.

File: The sound clone's reference is created using the selected object. This produces a
spectral image of the object. Next, the Sound Cloner preset can be saved and then
appears at the bottom of the presets list. Real-time effects are ignored in this mode when
defining the reference.

FX input: The input at the effect is used as a reference. Realtime effects looped before the
FFT filter which is used as a cloner are accounted for in this mode when defining the
reference.

Inverse: Inverts the filter curve. This function inverts the sample data within the selected
range along the amplitude axis, i. e. negative values become positive and vice-versa.

Bypass: The algorithm is removed from the signal route. This way the unedited signal can
be compared to the result of the algorithm.

FFT Filter/Spectral Analysis (Offline)

With the FFT analysis filter you have a high-quality tool at your disposal which can be used
to solve typical problems in elegant and partially completely new ways. The FFT analysis
filter is a combination of a high-quality FFT spectral analyzer and an FFT filter. The
calculated frequency response curve can be edited using a freehand tool and then sent to
the audio material. The real-time preview function allows you to work in an intuitive and
time-saving manner.

Some areas of application of this tool are:

 Checking and correction of the frequency response of the recording or mix.

 High-precision frequency measurement, e.g. for verifying the tuning of instruments.
 High-precision filtering of the finest nuances to full sample distortion without any
changes to the phase response. Phase distortion effects like deteriorated impulse
response or room impression are minimized with this. Linear-phase filters do not have
their own sound.
 Sub-bass precision correction in the low-frequency range between 10 and 50 Hz with
any increase or dampening without the effects that usually occur with filters of this kind.
Ideal for bass-heavy pop music or for removing rumbling or footsteps.
 Selectively dampens or raises the level of individual instruments or pitches from
recordings.
 Formant filter
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 Dynamic filtering: Transition between two filter curves for filter switch effects, hiding
frequency variables, and much more.
 Transmit frequency ranges: For example, from other mixes or rooms or loudspeakers to
your own mix. This option can be very helpful if you want to improve the sound of your
samples or simulate individual monitoring conditions.
 Correction of the frequency range from recording and playback areas, loudspeakers,
amplifiers, etc.

FFT-Analysis filter - First step

To understand the basic operation of the FFT filter, we recommend that you now perform
the following steps on your computer.

A small warning: reduce the playback volume before experimenting with the FFT filter as a
precaution. With this technology you can easily increase the low frequencies to such an
extent that your speakers may not be able to handle.

Note: To quickly understand dynamic filtering, we recommend using a sample containing a

hissing sound. A corresponding sample can be quickly created using the Waveform
Generator (view page 775).

1. Filtering and frequency analysis

Step 1: Select a range of a sample in your wave project or select an object in the arranger
window of your virtual project.
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Step 2: Open the FFT Analysis Filter again. A blue curve depicting the current frequency
response of your sample/object is now visible. The red curve is the frequency
response filter. By default it is set to 0 dB for all frequencies.

Under given circumstances, according to the length of the selected range, only a portion of
the range is analyzed. To examine the entire range or object, click on the "Analyze all"
button to the top right of the dialog window.

Step 3: Now use the left mouse button to draw in the graphic display. The frequency
response of the filter changes according to the drawn curve. The blue curve also changes
while drawing: it now shows the frequency course almost reached by the sample after
application of the filter. The blue curve is therefore now referred to as the corrected
frequency response.

Note: If you use a faster PC, you can check the result in real time after pressing the
play/stop button. The changes may be heard immediately. Otherwise, you should use the
non real-time preview ("Preview" button).

2. Filtering in Direct Draw mode

You can also draw the desired frequency response (the blue curve) with your mouse.
Select "Direct" in "Draw" mode.

The yellow curve now displays the original frequency response as a comparison.
Changing the frequency response in this mode is rarely needed and can lead to over
modulation. For this reason, confirm that you want to "Prevent clipping" by clicking the
button of the same name after every adjustment to the frequency response.

By editing the blue curve you will of course indirectly change the frequency response of the
filter. To observe this, first reset the filter by pressing the "Reset" button. Switch back to the
other "Draw" mode "Filter". Now you will see that the filter curve is set back to zero. If
change back to "Direct draw" mode, edit the blue curve again and then switch once more
back to "Filter" mode; you can see that the frequency response of the filter will have
changed.

3. Dynamic Filter mode (fading between two filter curves).

Select the filter mode "Fade start". The displayed frequency response in this mode
corresponds to the left border of the selected sample/object. You can also edit this
frequency response in the Filter or Direct mode, as explained in the previous two points.
However, filtering will now also directly affect the marked range of the sample or the
selected object in the VIP.

Switch to "Fade end" and edit the frequency response the same way. The displayed
frequency response in this mode now corresponds to the right border of the
sample/object. In this case filtering affects the end of the marked range of the sample or
the object selected in the VIP.

The red filter curve or blue curve with the corrected frequency response changes between
both range limits and is faded from the first to second curve. Thereby the first curves fades
into the second curve.
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There are three different methods for fading available in the "Expert" dialog.

4. Filtering a sample/object with the frequency response of another

sample/object
The procedure for this task can be divided into two basic steps: "learn process" and the
filtering itself.

The learning process:

1. Mark a range of the sample/object of which you would like to use the filter curve for a
second sample.
2. Open the FFT Analysis Filter again.
3. Press the "Analyze all" button.
4. Press the button "Analysis -> Filter".
5. Save the result as a preset.
6. Close the dialog by clicking on "Cancel".

You have now completed the "Learning process".

You can now apply the acquired filter curve to another sample/object.

The filter process:

1. Highlight the desired range of a sample/object to which you would like to apply the
frequency response.
2. Open the FFT Analysis Filter again.
3. Load the saved frequency response by pressing the "Load" button.

Hint: For transferring frequency responses, you can also use the "Sound Cloner (view page
626)" feature integrated into the real-time FFT filter. The workflow in this case is simpler;
however, you have fewer tools at your disposal.

5. Transferring the frequency response (spectral envelope) from one

sample/object to another
This function is required, for instance, if the frequency response of a track mix (reference) is
applied to another track. The filter curve is in this case calculated from the reference
frequency response and the frequency response of the object that is to be changed.

The procedure for this task can be again divided into two basic steps: "learn process" and
the filtering itself. To do this you should proceed as follows:

The learning process:

1. Highlight the desired range of the sample of which you would like to use the
frequency response as a reference for the second sample. The selected range
should have the highest "musical density", i.e. all involved instruments should be
played. Drums or percussion should be available. The range length should not be
under 30 seconds.
2. Open the FFT Analysis Filter again.
 EFFECTS MENU 633

3. Press the "Analyze all" button.

4. Press the button "Analysis -> Filter". The filter curve now corresponds to the
frequency response of the sample/object. Individual peaks indicate that the frequency
response of individual tones has an influence on the result – in this case you should
use a greater range for the analysis or smooth out the peaks with the freehand draw
function.
5. Save the result as a preset.
6. Close the dialog by clicking on "Cancel".

You have now completed the learning process. It is now necessary that you compare the
acquired reference filter curve with the frequency response of the sample/object in order to
be able to calculate a filter function, which allows you to align the frequency response of
the sample/object with the reference filter curve.

1. Highlight the desired range of a sample/object to which you would like to apply the
frequency response. The selected range of the track should have the highest
"musical density" here as well, i.e. all involved instruments should be played. Drums
or percussion should be available. The range length should not be under 30 seconds.
2. Open the FFT Analysis Filter again.
3. Press the "Analyze all" button.
4. Open the saved reference frequency range by loading the corresponding preset.
5. Press the "Match filter" button.
6. If necessary, smoothen steep peaks or drops in the red filter curve by drawing along
the red curve with the mouse.

FFT filter – graphical view

Overview of the curves
There are nine curves to select from in total. The yellow curve represents the original
frequency response, the red one represents the filter curve, and the blue one represents
the corrected frequency band. The blue curve therefore represents the frequency response
of the spectrum after filtering.

In the "Filter" drawing mode, the red curve is edited, while in "Direct" drawing mode, the
blue one is edited.

In the lower dialog of the "Expert" area, you'll have the chance to display all three curves,
i.e. current frequency response, original frequency response and filter frequency response.
To do this, select "3" in "Display -> Curve numbers" in the dialog area.

The first three-curve group is used in the "Static" filter mode, the second is the start setting
"Fade start" for dynamic filtering, and the third in the end setting, i.e. "Fade end".

Faders and zoom buttons

Use the left fader to change the display range of the level of the yellow or blue curve, i.e.
the original and the current frequency response. The level is shown in the left axis label of
the graphic in dB.

 Use the fader on the right to change the filter range (red curve). If the fader is moved up,
the value range increases in size. The frequency response can be increased to higher
values or reduced to lower ones. This only involved fine-tuning and making corrections.
634 EFFECTS MENU

The smallest and largest values may be set in the "Max. range" and "Min. range" in the
"Expert" dialog. The precise values for damping/dB increase are shown in the axis
labeling to the right.

The volume fader moves the filter curve up or down and can be used to control the entire
volume.

 The bottom left features four buttons for the zoom function. "+" changes to the next
zoom level, "-" changes back a level. There are 10 zoom levels available in total. The "All"
and "Max" buttons set the display to the smallest/highest zoom levels. Clicking on the
"Max." button again will return to the previous zoom level. Use the fader beneath the
display to move the curve section. The selected frequency range is then shown in the
display in Hz.

Switch for the display views

Below the graphic, there are four switches provided to toggle between the different view
modes.

Display mode: Displays the frequency response as a curve or line diagram. The line
display provides a better overview in the low-frequency range, where there are fewer
frequency ranges.

Hz/notes: This option allows you to display the graphic in Hz or musical notes. The note
display is only available in the logarithmic frequency display (Freq: log).

Freq lin/log: This switches between logarithmic and linear frequency scaling. The
logarithmic display corresponds to the human perception of volume. Like on a keyboard of
a key instrument, the (graphic) spacing of the intervals, i.e. halftones, is uniform across the
entire range.

dB lin/log: Select between a logarithmic or linear scale for the level. Logarithmic display
corresponds with the human perception of volume.

FFT filter – controls

Filter
Analyze all: This calculates the frequency response for the entire sample/object. This
function is only available in "Static" filter mode. Once this function is applied, the button
deactivates.

Analysis > Filter: The red filter curve is calculated from the frequency response of the
sample/object. Use the analysis to filter a sample/object with the frequency response of a
different one or to transfer the frequency response to a different sample/object.

Invert filter: This inverts the filter curve. This function corrects the frequency range of
rooms or loudspeakers.

Match filter: In this case, a filter curve is calculated that adapts the frequency response of
the sample/object to the filter curve of a preset. This is useful if the filter curve contained in
the preset has been acquired from the frequency response of a reference mix, since the
sound characteristics of the reference mix may be transferred in a certain similar way.
 EFFECTS MENU 635

Prevent clipping: If you edit the frequency response and the sample is overmodulated, the
filter curve will be corrected correspondingly after pressing this button. This function is
independent of volume faders.

Reset: Click on this button to reset all curves to their default (0 dB) position.

Filter mode
Static: In this mode, the edited filter curve is applied to the range of the sample in the wave
project. When working in a virtual project, the edited filter curve is applied to the selected
object in the virtual project.

Fade start: This mode provides dynamic filtering. The first curve (sample start) may be
edited in this mode. The displayed frequency response in this mode now corresponds to
the sample at the beginning of the selected range.

Fade end: Edit the second curve (sample end) with dynamic filtering here. The displayed
frequency response corresponds with the sample at the end of the selected range. The
resulting filter curve is now faded in between the two created curves. In the "Expert" dialog,
three different filter fades are available.

Draw mode
Filter: Edit the red filter curve with the mouse in "Filter draw" mode.

Direct: This setting enables direct editing of the corrected frequency curve (blue curve). It is
necessary for this setting to be saved in order to transfer the frequency responses of
samples.

Expert: Opens a further dialog with additional setting options.

Play/start: Real-time preview function.

Preview: Non real-time preview function. In this case, full stereo operation is also possible.
The result corresponds with the end product.

Play original: The unedited original sample/object may be played here for comparative
purposes.

Help: Displays the "Help" feature.

OK: The filter is applied to the selected range of the wave project or the object selected in
the VIP.

Cancel: The windows close without applying the filter.

FFT filter – expert dialog

Analysis parameters
The settings apply to the frequency analysis. They concern highly specific use-cases.

Analysis precision: During frequency analysis, the sample is split into individual blocks. On
the "High" setting, the blocks overlap one another by 50%, while at "Normal", they simply
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border one another. At very high overlapping levels, it's much easier to capture very short
sounds, e.g. individual 1/32 notes. If you have selected "High", the calculation time for the
analysis will double, which will become most noticeable when using the "Analyze all"
function.

Analysis precision: In the "Noise" setting, analysis results for individual harmonics are
slightly distorted and the peaks widen. With the "Sounds" setting the entire frequency
response of noisy samples like drums, cymbals, or high hats may also be distorted a little.
Inaccuracy occurs mostly at lower filter parameter rate values.

Channels: In case of stereo samples, select whether or not the right or left channel or both
should be analyzed.

Analysis time: Specify how many seconds of the sample should be analyzed after 1.)
opening the FFT Analysis Filter, 2.) when changing the setting for the rate, or 3.) after
changing the settings for the analysis parameters. This setting only affects the display of
the frequency response in "Static" filter mode.

Note: Every time a change is made to the settings of the analysis parameters or to the rate,
the frequency response is recalculated. If you analyze the entire range of the sample using
"Analyze all" before making changes to these settings, the results will be lost if these
parameters are changed. In this case, select "Analyze all" again. The "Analyze all" button
will be active once again in "Static" filter mode.

Filter parameters
These settings apply to the filter process.

Filter precision and real-time filter precision: This sets the quality of the precision. If
precision is high, the calculation time also increases.

Low: The fastest method. In case of extreme filter settings in the bass area and at a low
rate, low-level modulation noises will be audible. However, with less extreme filter settings,
this setting functions without any noticeable loss in quality.

Normal: A practical compromise between CPU strain and audio quality.

High: Processing time increases by 30% more than the "Normal" setting. During dynamic
filtering, fading is smoothest via this setting.

Max. range (dB), min. range (dB): Set the limit of the maximum increase or the maximum
damping setting in dB for filtering. Fine-tuning may be applied using the fader on the right,
beside the graphic display. If you want to hide individual parts of the spectrum, set "Min.
range" to the lowest value (ca. -120 dB).

Threshold: When re-drawing the blue curve in "Direct" mode, only those frequencies that
were originally louder than this threshold setting will be changed. This makes it easier to
precisely increase or dampen harmonics.
 EFFECTS MENU 637

Display
Apply additional settings for displaying the curve here.

Grid: Switches the grid on and off.

Number of curves: Set the number of curves to be displayed here.

Filter transition
There are three different modes available for dynamic filtering:

Direct: A simple fade is made directly between two curves.

Move/direct: In this case, both curves are faded, but the start curve is to the side, i.e. it is
moved onto the frequency axis. For example, if a band pass is set for the start curve, the
timing of the mid frequency changes (filter sweep). The corresponding high value of the
start and end curve specifies the extent of the curve move. If you are working in "Filter"
draw mode, edit the red curve first. If the entire filter curve is set to 0 dB, a higher value will
not be available.

Move: This method can be used to move the start filter curve. Once again, the
corresponding high value of the start and end curve specifies the extent of the curve move.
The second curve is used for specifying the "end point" of the move. Otherwise, it doesn't
have any influence on the result.

Resolution: This parameter affects the analysis and filtering processes equally. Set how
many individual analysis frequencies/filter bands should be available, in which case the
number of filter bands corresponds to exactly half of the value of the "resolution"
parameter. The higher the resolution, the longer the processing time needed – by approx.
5%/level.

FFT - Filter - The right settings

Frequency analysis
A higher resolution is required for sufficient precision in the low-frequency ranges (from
8192). The precision of the analysis in Hz at a sample rate of 44.1 kHz can be found in the
table.

Resolution Precision in Hz

256 172
512 86
1024 43
2048 21.5
4096 10.7
8192 5.3
16384 2.7
32768 1.35
Filters
Here you only need high resolution (8192) for low frequencies or for specifically blocking
out overtones. For all uses the settings 1024 to 2048 will suffice. Values lower than 1024
are rarely needed.
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Notes:

If you have drawn very detailed filter curves, it is imperative that you save the curve
parameters. When switching modes or parameters, the curves will appear to be closely
matched but will not maintain the same details.

Make sure that when previewing in realtime at a high rate that the value of the program
buffer in the ("Extended Buffer Settings" (view page 500)) is at least just as high, or even
better, a bit higher than the set rate. Otherwise real time monitoring is not possible. Rates
higher than 8192 are hardly useful when previewing in real time, since the internal real-time
buffer size of the algorithm corresponds to the set rate. In this case, editing while
previewing in real time will be "awkward".

Save/Load: Here you can save or load all parameters and curves. The default file
extension is *.fff.

Important: To apply the filter to other samples, the "Draw" mode parameter has to be
set to "Filter". Only in this case will the red curve be saved. This also applies if the filter is
indirectly applied by editing the blue curve in "Direct draw" mode.

However, if you save when "Direct" is selected, the saved frequency range may be
applied to other samples. In this case the saved blue curve is transformed into the red
one when loading.

FFT Filter - Problems and solutions

Modulation effects when using extreme filter settings for low frequency ranges
Set the "Precision" setting in the "Expert" dialog from "Low" to "Normal" or "High".

Problems with the realtime preview when using higher rates:

Make sure that when previewing in realtime at a high rate that the value of the program
buffer in the ("Extended Buffer Settings" (view page 500)) is at least just as high, or even
better, a bit higher than the set rate.

It is not possible to completely hide certain areas of the spectrum.

Select "Filter" in draw mode and reduce the "Min. range" value in the "Expert" dialog to
approx. -100 / -120 dB.

You have corrected the frequency response of a sample and then analyze the
result once again. The result does not match the corrected frequency response
(the blue line before performing filtering).
If you use the "Analyze all" function and set the filter parameter to "Precision: High" in the
"Expert" dialog when analyzing before and after filtering, an approximate match will be set.

Also resonance-like sounds arise in wideband band passes.

Reduce the slew rate of the band passes by not creating any vertical lines while drawing.
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In the "Fade start" or "Fade end" filter mode, fading is not applied uniformly.
In this case, select the highest setting for the filter parameter precision in the "Expert"
dialog. In "Direct" fade mode, the problem is reduced when the rate is reduced.
Experiment in the other blend modes with this parameter to find a suitable setting.

Brilliance Enhancer
(Optional as part of the Cleaning/Restoration Suite)

You can find more information on the Cleaning/Restoration Suite in the PDF document
"Cleaning/Restoration Suite" included with the program.

Filtox
More information is available in "Effects -> MAGIX plug-ins (view page 698)".

Delay/Reverb
Delay
Use this function to integrate an echo effect into a sample/object. To avoid overmodulation,
you should set up a certain modulation reserve.

Echo delay/reverb time: This controller sets the delay between the individual echoes or
the original signal and the first echo in milliseconds. Note that the delay is dependent on
the sample rate, i.e. a change in the sample rate after creating the echo leads (logically) to
a change in the echo delay.

Decay: Set the decay value for the simulation of the size of the room numerically as well as
using faders. In "Offline" mode, there is also a "ping pong" effect available, and you can
also set the reverb chamber in the real time dialog.

Mix balance in %: Enter the ratio of the original signal to the echo/reverb signal in percent
here. If you switch on the "Link" option, both values always add up to 100%.
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Room Simulator
This function allows you to simulate the reverb qualities of various rooms. The impulse
response or reverb time of a room is calculated with a sample. A room impulse response is
the reverb of a explosive noise, for example like that of a pistol. It contains all the necessary
information to simulate room reverb accurately.

You can manipulate the impulse response using the dialog parameters. In this way you can
adjust the reverb properties in a similar fashion to how digital reverb-effect devices do this.
In addition, however you also have the ability to set the reverb character by fundamentally
defining the impulse response. A graphic representation of the impulse response and the
envelope allows an optical overview of the impulse response manipulation using the Room
Simulator parameters dialog. In Samplitude this effect is also available as a realtime effect
in object, track, AUX bus, and master channel.

Room Simulator - general controls

Room Simulator - banks and presets
The Room Simulator offers several reverb banks. These "banks" divided into categories like
"ambience", "drums_percussion", or "small reverb", and these contain the corresponding
presets and impulse responses.

Loading a preset loads both the parameters of the dialog field and the impulse response.
The impulse response may be any sample saved to the hard disk as a WAV, HDP, or RAP
file. The impulse responses that come with the program have a special file format with an
*.IMR extension.

If a file has been deleted or moved in the meanwhile, an error warning will appear when
loading a preset. Correspondingly, when a preset is being saved, the selected impulse
response itself will not be saved, but only its path and file name. Presets have the extension
*.rms. Files with impulse responses from the program presets are located in the
"RoomSim" directory or in the bank directories.

The presets can be saved, loaded, or deleted. The load function is only needed if the
preset files are located in a different directory than the “RoomSim” directory.
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Room Simulator saving/loading/deleting presets

Presets can be loaded, saved, or deleted.

The presets that are located in the "FX-preset" subdirectory are automatically loaded and
listed in the dropdown menu, where they can be selected. The "Load" function loads
presets from directories besides "RoomSim" into the Room Simulator.

Impulse response
File: Select an impulse response here. Impulse responses may be loaded from the
"RoomSim" directory, the bank directory, and from the wave projects opened in the
program (Bank: [loaded projects]).

In case during Samplitude installation you have deactivated the "Install impulse response"
option, you will have access only to the opened wave projects (Bank: [loaded projects]) and
"Standard-impulse-response.rap" from the "Room Simulator preset directory" bank.

Info: This provides information about the length of the impulse response and whether it will
play back in mono or stereo.

Play (impulse response)

To verify the impulse response, this is played after this button is activated. Impulse
responses from IMR files will be played back only with 16 bits, even if the impulse response
has a 32-bit float format.

Load (impulse response)

The impulse response can be any sample that is saved to the hard disk in any directory as
a WAV, HDP, or RAP file.

Graphic display
dB lin: The graphic display with the impulse response has linear amplitude scaling. This
setting corresponds to the usual sample representation.

dB log: Choosing this setting will scale the amplitude display of the impulse response
logarithmically. This corresponds with the way the human ear perceives volume changes.

Zoom options (all, in, out, max, position):

These options zoom into the display to select the range to be displayed.

Curves
Red: Impulse response timeline

Light blue: 2-segment envelope curve to suppress early reflection and post-reverb.

Yellow: Freely definable envelope curve

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Freely definable envelope curve

The amplitude progression of the impulse response can be manipulated with the yellow
freely-definable envelope curve. Typically, it is used to dampen or delete early
reverberations of the impulse response. Using zoom options will aid greatly in this task.

Reset freehand envelope: Reinstates the curve's original status.

Pre-delay
The "Pre-delay" function delays the entire impulse response by a time interval variable
between 1 and 100 ms.

Convert impulse response to mono

If you choose this option, stereo impulse responses will be recalculated in mono. The
convolution count remains unchanged in stereo (it corresponds to the count of group
channels in case of Surround).

Calculate mono
Convolution is only calculated for one channel which reduces the required processing
power. The input signal and the impulse response (if stereo) are converted to a mono
signal before convolution. In the case of Surround sound, all channels of a group are
added to a mono signal.

Room Simulator - parameters

Parameter presets
Select, save, load, and delete presets that consist of parameters for envelope curves,
frequency sequences, and the mix here.

The presets are useful for testing various parameter settings without having to change the
impulse response.

The parameter presets have the extension *.rsp.

Envelope, EQ
Early reflect: This parameter lowers or suppresses early reflections by dampening the first
part of the impulse response.

Late reverb: This parameter decreases or suppresses the final part of the impulse
response.

Length: This setting can shorten the length of the reverb effect to up to 5% of the original
length by shortening the impulse response pattern. Note that reverb may end rather
abruptly, which may lead to unnatural decay patterns. Compensate by applying a lower
late reverb setting to fade the impulse response with the 2 segment envelope curve. You
can optically control the impulse response envelopes on the graphic display.

Crossover: Set the time length of the first of the two segments of the envelope curve here.
This parameter influences the dampening of the earlier reflections.
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Parameters for editing reverb frequencies

Lows: This parameter adjusts the low frequency component of the reverb.

Highs: This parameter adjusts the high frequency component of the reverb.

FFT EQ: The reverb component can be edited with an additional FFT filter. The graphic
display includes a real-time spectrum of the reverb component in the FFT filter to provide
visual control of the frequency characteristics of the room in which the impulse response
was recorded. This enables unwanted responses to be located and removed quickly.

On lower settings (< 4096 samples), the FFT filter is not available for the latency parameter.
This is because its linear function creates increased latency.

Mix, volume, reset

Original: Set the original signal level in dB here.
Reverb: Set the reverb level in dB here.
Volume: Set the master output level in dB here.
Reset: Set the level to its original position here.

Performance/options
Quality: In both "normal" modes, the room stimulation will be calculated using only half the
sampling rate. In most cases, this will be quite enough, since natural impulse responses
and even impulse responses generated by digital reverb devices rarely posses components
above 10 kHz (check this in the spectral representation of the integrated FFT filter). Many
other reverb devices work internally with the half-rate, since calculation over the entire
frequency range would be a waste of CPU capacity.

The difference between the two "normal" modes lies only in the quality of resampling that
leads to sampling rate reduction. In "Normal plus" mode, the resampling quality is higher.
The required calculation performance is slightly raised in this mode.

"High" mode calculates the entire frequency scale. The CPU load doubles in comparison to
"Normal" mode.

Internal block length: This parameter specifies a block length to calculate the convolution
function internally.

Short block lengths raise the count of the required calculation operations, causing CPU
strain to increase. Large block lengths lead to an uneven CPU loads. The parameter has no
effect on the calculation result itself.

The optimum for real-time processing tends to be about 16384 to 32768 samples.

For use in the AUX, track, or master without low latency, a setting of 8192 or lower is
recommended on faster systems (Pentium 1800 or Athlon XP 1500+ and higher) for an
acceptable response latency.

For use in low-latency conditions, the value can be reduced to 32 on faster systems (from
Pentium 2800).
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The value "optimal latency" adjusts the internal block length to keep the latency as low as
possible without influencing the performance too much.

The value "optimal latency" adjusts the internal block length to keep the performance as
high as possible without raising the latency too much.

Note: Setting a value smaller than the set buffer size is not useful. If the value corresponds
to the ASIO buffer size, the Room Simulator processing is latency-free (only with "higher
quality").

The FFT filter cannot be used at latencies less than or equal to "4096". Homemade impulse
responses provide the opportunity to use the FFT filter destructively on the impulse
response before calculating the room simulation.

The block length is raised internally when using the Room Simulator for destructive
processing, since processing at a lower latency would result in an avoidable increase of the
necessary CPU operations.

Retrieve, set: Saves and sets the quality options globally. Note that when using this on the
object and in the track, different settings may be applied for AUX insert effects or master.

Bypass: The "Bypass" button plays the original signal.

Overview of the impulse response parameter

Quality
"High" setting: Doubles the quality

Internal block length

Low internal buffer sizes (2048 samples): Increases the internal block length by approx. 50
percent.

Very low internal buffer size (128 samples): Increase in the internal block length by approx.
150-200 percent.
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Length of the impulse response

If the length of the sample used as an impulse response exceeds a power-of-two, the CPU
load doubles.

The performance required subsequently doubles whenever the following impulse response
lengths are exceeded:

11.88 s
5.944 s
2.97 s
1.48 s
0.74 s
0.37 s
etc.

Note: Make sure that homemade impulse responses are shorter than the next value,
particularly if the impulse responses are longer than 1 second, since the length of these
"continuous CPU load intervals" increases exponentially as length increases.

Sample rate of impulse reply

The CPU load increases proportionally to the sample rate.

Impulse response resolution

The CPU load is independent of this, since computation is carried out with float precision in
each case.

Room simulation - Tips and tricks

By using the numerous functions for destructive sample/object editing in Samplitude, you
can alter the qualities of the impulse response in countless ways by using the Room
simulator dialog.

 If you reverse apply the "Effects > Sample manipulation > Reverse" function to the
impulse response, you will get a reverse reverb effect.
 By using the Timestretching function the size of the room can be altered without
affecting the resonance behavior of the room itself.
 Employ an explosive envelope on any short samples and use the result as an impulse
response - a great way of creating exotic reverb effects
 You can also get interesting reverbs by using the impact on a percussion instrument as
an impulse response.

Room Simulator – Problems and Solutions

Reverb sounds unnaturally hard.

You can control the impulse response by setting the "Reverb" parameter. The graphic with
the impulse response enables quick optical control in logarithmic display (dB log).

The signal created contains a strong DC offset.

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Remove DC offset with the same function; "Remove DC offset (view page 672)"

Heavy hard disk activity or an error message concerning insufficient memory was
received.

This algorithm requires a lot of memory, especially for long impulse response patterns. All
background processes should be terminated and all RAM wave projects that are not
needed should be closed.

CPU power usage is too high.

 Check the "Internal block length" parameter's setting in the parameter's description.
 Activate the option "Quality: Normal".
 Shorten the length of the impulse response. Note the information provided above
regarding intervals with the same CPU strain.

Problems with very long impulse responses.

Real-time operation on modern computers: Impulse responses of up to 11.88 seconds

may be applied (with 44.1 kHz sample rate). The length is only limited by the CPU capacity.
For destructive calculation, the upper limit is 380.4 seconds (44.1 kHz sample rate). If this
upper limit is exceeded, the samples behind will be ignored during calculation. Impulse
responses of this length are, however, not practical for room simulation. When
experimenting with very long impulse responses (longer than 1 minute), note that the
algorithm usually requires a lot more RAM (over 500 MB). When loading long wave projects
as impulse responses, a warning appears to indicate that the calculation may lead to long
waiting periods.

eFX_Reverb
Detailed information on eFX_Reverb can be found at "essential FX > Reverb (view page
687)".

eFX_StereoDelay
Detailed information about StereoDelay is available in "essentialFX > StereoDelay (view
page 689)".

Ecox/Variverb
More information is available in "Effects -> MAGIX plug-ins (view page 698)".
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Time/Pitch
Resampling / Time Stretching / Pitch Shifting

All algorithms in this dialog use the "time factor" and "pitch (semitones)" as input
parameters.

Open the "Time factor calculation" section to determine the required time factor from the
original length and original tempo as well as the desired new length/desired new tempo.

Tip: To change an audio file's sample rate, e.g. from 48 kHz to 44.1 kHz, use the function
"Effects -> Sample manipulation -> Adjust sample rate (view page 682)".

Resampling
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.

This effect is relatively loss-free; the sound loss is less than with Time Stretching/Pitch
Shifting procedures. If a pitch change is desired or justified by changing the speed, then
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 571) ("Object" menu).

Default
In this case, an algorithm is applied that usually delivers very good results with factors from
0.9 to 1.1, that works in phase-locked mode, and therefore maintains the spatial effect of
stereo signals. This algorithm is only partially suitable for drum loops or other "beat heavy"
audio material since it may affect the "groove".

Time compression (sample length is reduced) is more successful with this algorithm than
Time Stretching, i.e. it is better to reduce the longer sample than vice versa.

This algorithm is especially suited to complex audio material. The CPU load is light.
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On extreme settings, aliasing effects may occur. An additional anti-aliasing filter may help in
this case. This filter is also available for all other algorithms that work internally with
resampling.

Beat marker stretching (smoothed)

Beat marker stretching (smoothed) represents the standard methods for high quality Time
Stretching and Pitch Shifting. This algorithm works basically the same way as "beat marker
stretching". In this case, the stretched material is synchronized with the beat markers so
that the groove remains perfectly intact. Furthermore, the smoothed algorithm is used in
between the beat markers. With percussive audio material, good audio quality is possible
even at very large time factors. The CPU power usage is also increased in this case.

Smoothed
This deals with a complex algorithm that requires higher processing time. The audio
material may now also be used at very large factors (0.5 – 2.0) without causing severe
artifacts. The audio material is "smoothed", which makes the sound softer and produces
an adjusted phase level. This smoothing is hardly audible, e.g. with speech, singing, or solo
instrumentation. Problems in the shape of distortions may result with more complex
spectra (sound mixes from various instruments or finished mixes). This algorithm is less
suited to drum loops and other audio material featuring strong transients. The groove will
remain intact, but phase shifting may "smudge" the attack. At smaller corrections (factor
approx. 0.9 - 1.1), the smoothing degree setting of "very low" is often sufficient.

The "smoothed" algorithm is especially useful for:

 Orchestra instruments, string instruments, wind instruments

 Monophonic and polyphonic speech
 Speech recordings featuring background noise (e.g. video recordings)
 Synthesizer areas, guitars

The "smoothed" algorithm is less useful for:

 Stereo mix
 Drum loops, percussion

CPU power usage is too high.

Beat marker slicing

This mode is especially useful for customizing drum loops, but it may also be used on other
audio material like monophonic bass runs or sequencer lines. The algorithm splits the
material into individual components of notes or beats, which are then selected via the beat
marker.

These "audio snippets" are then compiled into the new temporal measure: if the tempo is
increased, individual beats begin overlapping; if it is slowed down, short pauses between
the beats become audible.

Use this algorithm whenever possible, since timeshifting is possible in this case without
having to sacrifice quality and at minimum CPU usage.
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The algorithm "Beat marker slicing" is especially useful for:

 Samples that are able to be split into individual notes or beats

 Drum loops, provided the beats do not overlap and there is not much reverb

The algorithm "Beat marker slicing" is less useful for:

 Signals that cannot feature beat markers. Silence will be the result.

The CPU load is very light.

Beat marker stretching

This algorithm works in a similar way to the standard algorithm, the main difference is that
the stretched material is synchronized with the beat markers. This way, the groove remains
perfectly intact and doubled or faded out beats will not occur. Unlike the "Beat marker
slicing" algorithm, absolute silence does not occur when there are no markers or incorrectly
placed markers; instead, the synchronization quality is reduced or has errors. In practice,
automatic marker generation is usually sufficient for good results. Avoid short distances
with sequential beat markers (< 1000 samples).

Long overlap
If this option is active for "Beat marker stretching", the audio will not be as rough, however
echoes may result. This option is especially useful for drum loops featuring slight time
changes.

The "Beat marker stretching" algorithm is especially useful for:

 All types of rhythmic samples that are unable to be cut into individual notes or measures
(beats)
 Rhythmic samples of all types, although individual notes/hits will not be separated
 Applications that cannot be used for beat marker slicing or are too complicated for
perfect beat marker positioning.

Setting and evaluating beat markers

If beat markers have not been placed yet, these will be generated automatically in real time.
In the Resampling/Time Stretching dialog, select the "Patched" option to specify whether
or not saved ("patched") beat markers should be used in the wave project.

Use the following option to generate beat markers:

Find and use beat markers: After activating this option, the algorithm will locate the beats
and mark them as beat markers.

Note: This function is only available in the wave editor.

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Attack recognition threshold

Use this fader to set a threshold for beat recognition. When the wave project displayed,
you can follow the placement of beats visually. This also works with VIP objects if the wave
project is open at the same time.

Reset Beat-Marker: All Beat markers are removed.

Beat markers can be corrected manually. Beat markers can be re-positioned, copied,
deleted etc. by activating the applicable marker commands.

Hint: If you wish to set new beat markers manually, right-click on the marker bar and select
"Save marker -> Markers with names...". Name your new marker as "Beat".

We encourage you to set the value of the velocity detection threshold to a high value
before editing and then to delete the superfluous markers - this is far quicker than trying to
expand missing markers manually.

With the Timestretch/Pitchshift Patcher (view page 571) in the "Object" menu you can
easily set the markers. This give you the option to edit the Beat marker, if the dialog is open
(non-modal window). Thus you can check the fruits of your labors immediately, without
having to close the dialog. Moreover in the patcher, the tempo (BPM) and Timestretching
mode used by the object editor can be saved directly in the wave project.

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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Universal HQ
This algorithm provides a high-quality Time Stretching/Pitch Shifting method and offers
good audio quality with almost any audio material. Especially when it comes to complex
audio recordings like orchestral recordings, this algorithm delivers high-quality results.
Stereo properties also remain intact.

The CPU load can become very high when realtime effects are applied to many
simultaneously playing objects.

True Resynthesis Timestretching (TRTS)

How does True Resynthesis Timestretching (TRTS) work?

The signal is broken down into individual components, with the amplitude and frequency
modulated oscillators - simple synthesizers -are reproduced faithfully. If these synths play
longer or shorter a Timestretching effect will be created.

What is the difference to traditional TS algorithms?

All traditional algorithms work on the basis of signal-adjusted, automated cut functions
(Copy, Cut, Fade etc).

With TRTS however you can stretch timelines when "Resampling". The typical compression
artifacts and associated non-uniformities will not occur.

Will Artifacts emerge?

The artifacts are small in comparison to conventional processes. Linear stretching

impulses, sibilants and wide band noises leads to a change in sound characteristics and
can be produce artifacts. Tonal components can be stretch perfectly.

Are beat markers used?

Yes. At recognized beat markers the stretch factor is internally set to 1, so that the beat
isn't affected.

What advantages does the algorithm offer?

 Universally usable. Due to linear work practices TRTS is particularly suitable for very
small and very large Timestretch factors.
 Detected transients remain true to the original, undetected transients are only slightly
changed.
 It can also be used for material with complex rhythms (Jazz, Salsa etc). Here
conventional algorithms have more difficulty than in straight disco or techno beats.
 Particularly well suited to orchestras.
 No trimming or filtering out of signal components - thick, rich sound.

Which audio types could cause problems?

 Speech, especially deep male voices

 Sibilants
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 Computer-heavy pop and techno music, due to the discoloration of noisy sections.

How high is the CPU usage? How much memory is required?

Multiple CPU cores are used. On faster systems (Intel i7 - Processor 3 GHz) the algorithm
calculates stereo samples in near realtime at a sample rate of 44.1.

Memory requirement is dependent on the material and is somewhere in the region of 200
MB.

How will stereo behavior and spatial qualities be influenced?

The stereo position of components remains the same. Since the reverb portion is either
lengthened or shortened when stretch, the room size will also be correspondingly be
increased or decreased.

Elastic Audio
Shortcut: Ctrl + Shift + E

Elastic Audio – general

Elastic Audio is a specialized editor for changing the pitch of audio material. A combination
of automatic resampling and Pitch Shift Algorithms as well as pitch detection for
monophonic material allows extensive changes top be made to the pitch for audio material.

Pitch Shifting Algorithms are able to change a melody in the pitch without influencing the
tempo. Samplitude provides a variety of Pitch Shifting Algorithms, which can be used
depending on the existing material.

Elastic Audio offers the following options:

 Detection of the basic frequency in monophonic audio material.

 Automation of resampling and Pitch Shifting Algorithms. This also includes an algorithm
for format-true pitch shifts of monophonic audio material that utilizes results of the pitch
detection basic frequency analysis.
 Automatic and manual correction of the basic frequency process in monophonic audio
material.
 Automatic and manual correction of the pitch of notes from monophonic audio material.
 Changing melodies in monophonic audio material.
 Manual correction of the basic pitch curve.

Note concerning Time Stretching: Time Stretching cannot be automated, but it can be
used statically with Elastic Audio.

Elastic Audio - editing modes

The Elastic Audio editor may be used in two different operational modes, i.e. Relative and
Direct mode. If Elastic Audio should always open in "Direct" mode, then select the function
Open in mode "direct" from the Elastic Audio "View" menu.
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Elastic Audio – "Relative" mode

Edit the pitch curve (automation of the pitch's temporal path) as a relative pitch deviation
here. This corresponds roughly with the pitch bend controller for MIDI data.

Editing can be done with a free-hand curve, quantized "step" curves, or by using the Curve
Bend tool. The Curve Smooth tool enables equalization of the automation curve. This
smoothes pitch curve value changes that are too steep during playback.

Overview of graphics in "Relative" mode

Y-axis: Displays Pitch Shifting in semitone steps (within a range of -48 to 64 semitones).

Orange curve: Editable pitch and automation curve as relative detuning of the original
note.

Red line: 0 line as a reference for the editable pitch curve.

Elastic Audio – "Direct" mode

The pitch curve is traced immediately in "Direct" mode, and changes are absolute. To
customize the pitch correspondingly, the original pitch of the audio material must be
known. A preceding analysis of the audio material's pitch is therefore required for "Direct"
mode. This is basically only for tonal, monophonic material like solo vocals, solo
instruments, and speech.
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Start the analysis function with the "Pitch Detection" button. The analysis may take longer
with larger objects. After analysis, the VIP objects are divided into individual slice objects
according to the recognized pitches. The medium pitches of a slice object determine its
position in the graphic, independent of the set progression of the pitch curve inside the
slice object.

Select all of the slices first. Click an empty area in Elastic Audio Editor to deselect all of the
slices. The individual or multiple slices may now be selected via the modifier keys "Ctrl" and
"Shift".

Two handles are created for the pitch curve on the borders of the slice objects. These
handles can be moved in order to produce an increasing or decreasing pitch characteristic,
but still keeping the small changes in the basic frequency (vibrato).

Besides the pitch trace feature, this mode also provides you with "Tune!" functions for
automatic pitch correction.

Overview of graphics in "Direct" mode

Y-axis: The piano keys on the left side of the window display the pitch assignment in
notes. The individual pitches may be deselected by clicking them in this view so that they
won't be used in the automatic pitch correction or in quantized drawing.

You can get appropriate scale settings by selecting the tonic keynote and the scale in the
“Edit slice-object” box.

Orange line: Displays the editable pitch properties.

Gray line: Displays the original pitch properties.
Blue line: Median pitch of a slice object.

Elastic Audio – basics

Opening Elastic Audio Editor
Select the objects to be processed with Elastic Audio Editor. The objects may be located in
several tracks. Elastic Editor is launched via "Effects" or the Time Stretching section in the
object editor.

Shortcut: Ctrl + Shift + E

Interaction between Elastic Audio Editor and objects in the arranger window
First, make temporal corrections to notes by splitting and moving objects in the arranger
window.

Elastic Audio Editor is multi-object capable, which means it can edit a melody that has
been cut into individual objects as a whole.

Loading objects into the Elastic Audio Editor

Elastic Audio Editor loads all objects that were previously selected. However, you can only
ever view objects from one track and edit them simultaneously. When objects are loaded
into Elastic Audio Editor from several tracks, switch the track displayed in the editor via
"Edit VIP objects" via the track selection.
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Elastic Audio: Description of all control elements

The control elements available in each mode are available for activation/deactivation in the
lower section of Elastic Audio Editor's "View" menu.

View

Waveform: This turns the waveform display on and off.

Zoom buttons: Save the zoom depth and position for the current window here. Buttons 1-
4 or numbers 4, 5, and 6 of the number block are available for this purpose. These also
access the zoom buttons 1, 2, and 3 respectively. The fourth zoom button is not assigned
to any key in the number block.

Save Zoom Level:

Shortcut: Ctrl + number block 4

Ctrl + number block 5

Ctrl + number block 6

The numbers 4, 5, and 6 on the number block may be used for the first three zoom
buttons.

Get Zoom Level:

Shortcut: Number block 4

Number block 5

Number block 6

"Shift" + left click on the zoom button will overwrite the last zoom level.

"Ctrl" + left click opens only the horizontal position of the corresponding zoom level.

Zoom 100%: Horizontally zooms the entire material on the currently loaded track.

Note: The key combination "Ctrl + Alt" + mouse wheel enables simultaneous horizontal
and vertical zooming.
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Refresh: This refreshes the graphical display of the material. Any resulting changes to the
length are adjusted as such. In case synchronization of the arranger and Elastic Audio
Editor is active (Elastic Audio Editor -> Display -> Horizontal -> Synch. VIP editor), then the
effects will be displayed in the VIP within the arranger window.

Edit VIP object

Track selection: If objects from multiple tracks have been loaded into Elastic Audio Editor,
a track may be selected here.

Algorithm: Select between "Resample" (preset), "Monophonic Voice", "Standard",

"Smooth", and "Beat Marker Slicing" modes.

Detailed information about these algorithms is available in "Effects -> Time/Pitch ->
Resampling/Time Stretching/Pitch Shifting (view page 647)".

Smooth: This parameter smoothes the pitch curves entered across a time constant (in
ms). Peaks in pitch changes become a glissando in case of stronger smoothing.

Options: These are advanced settings that depend on the selected algorithms.

Reset: Undoes all changes to automation curves or voices of selected objects.

Options for automatic pitch correction

Edit slice object (direct mode)

Key: This option sets the basic key of the scale. In the chromatic key, this setting is not
included in calculation.
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Scale: Use this option to select the type of scale, i.e. the sound make-up/mode. Choose
from "major", "minor", "harmonic minor", "pentatonic", and "chromatic".

Pitch contour: Tune!: This button quantizes ("levels out") the pitch contour of the selected
slices.

Contour smooth: Set the strength of the quantization (lower values quantize hard). This
function removes repeated small pitch alternations in natural sound sources, e.g. vibrato
("Cher" effect).

Tone: Quantize the mid pitch of the selected slices. The corresponding sections of the
pitch contour of a slice object are moved together and adapted to the mid pitch. Pitch
fluctuations within a slice object remain the same.

Note: Automatic correction requires the slice's pitch (pitch -> detection).

The results of the calculation of mid pitches for slices featuring glissandos often do not
correspond to the pitches that human hearing assigns to them. In this case, automatic
correction of the mid pitches does not give satisfactory results. Removal of the glissando
passage by manually changing the slice borders (keyboard shortcut: Ctrl + rubber handle
tool) or the splitting of slices can help.

Reset: This command resets the selected slices. The orange curve is superimposed over
the gray curve and the slice is reset to the original mid pitch.

Harmonizer
Use the harmonizer to add additional voices to the object. Please note that the harmonizer
is only available in "Direct" mode via the "Monophonic voice" algorithm. Format correction
is required for a satisfactory result which is only possible with this algorithm.

Chord: Select the chord created by the voices if the "Harmonic adjustment" parameter has
been selected.

If "Harmonic adjustment" is deselected anyway, the voices are sent so that they are
overlaid onto the sounds set in "Edit slice object". The set chord then only serves as a
"guideline".

Humanize A "human touch" may be applied by moving the individual voices more or less
subtly away from each other.

Harmonic adjustment: Activating this field causes voices to run parallel to one another
and correspond to the set chord.

Create voices: Use this button to recreate parallel voices.

Pitch (fundamental frequency)

Detection: Use this button to start the basic frequency analysis. In this case, the absolute
pitches are displayed graphically in the Elastic Audio Editor. This function is indispensable
for additional editing steps you may wish to make in "Direct" mode. For this reason, you
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should only open the pitch recognition before executing pitch corrections or other editing
processes.

Playback control

Reset: All pitch curves for the entire material loaded into the Elastic Audio Editor are
reset.
Bypass: Plays the arrangement without editing.
Stop/play: Stops/starts the playback of the arrangement.
Play solo: Only activated objects in the editor are played.

Toolbar
Several tools are available for processing the slices and pitch envelope. Two tools can each
be assigned to one of the two mouse buttons. The tool assigned to the left mouse button
turns blue; the function assigned to the right key is marked in red. Click with the
corresponding mouse button on the desired console button. The "Zoom" tool is an
exception: both buttons are assigned automatically.

Selection tool (arrow): Use this tool to move slice objects vertically. This modifies the pitch
of slice objects as a whole. Slice objects and curve handles may also be selected, and a
slice object lasso can be dragged out. Multiple selections are possible with the "Ctrl" or
"Shift" key.

Freehand drawing function: Use the pencil tool to draw the pitch curve freely. If the
"Shift" key is pressed, a straight line is drawn from the starting position to the current
position of the mouse. When the "Ctrl" key is also pressed, the slice objects are combined
during drawing.

Pencil tool for quantized drawing: This is the tool for quantized drawing. Quantizing
means that the line is free horizontally, but snaps into semitone steps vertically in "Relative"
mode, and to the tones of the scale selected via "tune" in "Direct" mode.

Drawing a straight line using the "Shift" key and combining slice objects with the "Ctrl" key
is also possible in "Quantized draw" mode.

Rubber handle tool: This rubber band tool may be used to bend the pitch envelope
between two neighboring handles. The range between the curve handles is moved, but the
handles themselves remain unchanged. The curve is bent inwards at the handle point. In
combination with moving the curve handles on the slice object's boundaries, you can bend
the tone envelope and thereby maintain the microtonal structures (vibrato).

Cut: Use this tool to manually split the audio material into slice objects. After automatic
pitch recognition has been applied, use the "Cut" tool to split certain passages into
 EFFECTS MENU 659

individual slices. To recompile slice objects, use the pencil tool to drag along the slice while
holding down the "Ctrl" key.

Eraser: The orange curves are set back to their initial values, i.e. the pitch envelope
corresponds to its original curve again.

Navigation tool: Use the navigation tool to move the visible selection vertically and
horizontally.

Zoom tool: Click with the left mouse button to zoom into the display; zoom out with the
right mouse button. Left clicking and dragging stretches the range displayed as the zoom
area.

Controls for global display options

These buttons have a global effect for the Elastic Audio Editor.

Grid: Use this function to switch the raster on or off.

"Single object" mode: The maximum horizontal zoom level is limited to one object.

"Synchronization" mode for VIP and Editor: Horizontal zoom levels of both windows are
synchronized with each other.

"Docked view" mode: When "Docked view" is active, the arranger window is located
below the Elastic Audio Editor.

Using Elastic Audio Editor

Pitch slice objects and VIP objects
During the basic frequency analysis, the objects in the pitch slices are split, which ideally
corresponds with a note of a melody in monophonic music or monosyllabic speech. For
speech, the pitches correspond with the positions of the vocals. After analysis, all slices are
displayed in blue.

The splitting of slices can be corrected manually. Slices are split using the cut scissors tool
and glued together using the rubber handle tool while holding down the "Ctrl" key. The blue
line displays the medium pitch for every object, which is the approximate result of the
average value of the pitches in the slice.

The functions contained in "Edit slice object" may be used on selected slice objects:

 Pitch Contour Quantization

 Tone Quantization

After pressing the "Tune!" button, the changed setting will be audible. Pressing "Reset"
undoes corrections made to the selected slices.
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The functions contained in "Edit VIP object" may be used on selected VIP objects. This
involves selecting an algorithm and the smoothing magnitude for the pitch or automation
curves. Pressing "Reset" undoes corrections made to the selected slices.

Elastic Audio: Overview of keyboard commands and configuration of the mouse

wheel.
Navigating with the mouse wheel
Horizontal scrolling Mouse wheel
Vertical scrolling Ctrl + Shift + mouse wheel
Horizontal zoom "Ctrl" + mouse wheel
Vertical zoom Alt + mouse wheel
Zoom horizontally and vertically Ctrl + Alt + mouse wheel

Keyboard shortcuts

Ctrl + space bar Play solo/stop

Space bar Play/stop
Ctrl + A Select all
A Refresh view
Ctrl + Z Undo
Ctrl + 1 - 8 Select tool for the left mouse button
Ctrl + Shift + 1-8 Select tools for the left mouse button.
Shift + Alt + P Show/hide pitch curve
Ctrl + Alt + T Show/hide other loaded tracks
Ctrl + cursor up Direct mode
Ctrl + cursor down Relative mode
Cursor left Move play cursor to left
Cursor right Move play cursor to right
Ctrl + Cursor left Horizontal zoom in
Ctrl + Cursor right Horizontal zoom out
Shift + R Change scale tuning (Frequency for “A”
concert pitch).
Shift + A Show/hide "View"
Shift + O Show/hide "Edit VIP object"
Shift + F Show/hide "Pitch"
Shift + S Show/hide "Edit slice object"
Ctrl + number pad 4, 5, 6 Save zoom snapshot 1, 2, 3
Alt + number pad 4, 5, 6 Load zoom snapshot 1, 2, 3 without
vertical zoom
Number pad 4, 5, 6 Load zoom snapshot 1, 2, 3 without
vertical zoom

Selecting slice objects and VIP objects

Slice objects can be selected/deselected by clicking them with the mouse. The keyboard
shortcut "Ctrl + A" selects all slices; de-selection is made by clicking on "empty space".

VIP Objects cannot be selected directly in the Elastic Audio Editor. When a slice object is
selected, the corresponding VIP object is also selected.
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Tone pitch automation including changes to the length (resampling)

 Load objects into "Elastic Audio Editor -> Relative mode".
 Select the "Resampling" algorithm.
 Select the drawing tool.
 Draw the orange automation curve with the drawing tool.

Pitch automation without change in length

Proceed as previously explained in the resampling section. A pitch algorithm may also be
selected (standard, smooth, monophonic voice, beat marker slicing). The length of the VIP
objects remains the same here.

Pitch correction (intonation correction) with monophonic audio material

 Load the object into the Elastic Audio Editor. Mode -> "Direct"
 Perform pitch detection ("Detection" button in "Direct" mode).
 Select desired slices
 Select suitable algorithm
 Edit pitch with the mouse tools

Manual correction of the whole pitch of a pitch slice

 Select the slice with the selection tool (arrow).
 Move the orange line vertically with the mouse tool.

Automatic correction of the whole pitch of a melody slice.

 Select the slices with the selection tool (arrow). Mode -> "Direct"
 Detect pitch
 Select the scale in the "Edit slice object" group and, if necessary, discard the additional
tones that are not to be quantized via the keyboard on the left side of the editor by
clicking and deselecting.
 Click the Tone "Tune!" button

Automatic correction of the pitch characteristic with quantization

 Select the slices with the selection tool (arrow). Mode -> "Direct"
 Detect pitch
 Select the scale in the "Edit slice object" group and, if necessary, discard the additional
tones that are not to be quantized via the keyboard on the left side of the editor by
clicking and deselecting.
 Click the Tone: "Tune!" button
 Reduce level of the quantization with the parameter "Contour smooth"

Correct pitch increase or decrease

 Select the slices with the selection tool (arrow). Mode -> "Direct"
 Detect pitch
 Move the orange-colored pitch curve to the edge of the slice object by moving the
handles or click and drag the orange line
Create frequency modulations like warblers and vibrato
 Select the slices with the selection tool (arrow). Mode -> "Direct"
 Detect pitch
 Select the drawing tool
 Draw pitch modulation
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Creating second voices or harmonizing effect

 Create a duplicate of the object on the track below it in the arranger
 Selection of both objects in the VIP
 Open Elastic Audio Editor
 Select the track via "Edit VIP object -> Select track"
 Edit each track individually. Do not use the resampling algorithm to avoid different
tempos in the voices.

Alternatively, additional voices may be created easily with the "Harmonizer" in "Direct"
mode.

Distortion
Distortion
This effect allows you to distort audio material by using a non-linear transfer reference line.
The signal becomes louder and overtones are added.

By adjusting the starting point of the distortion (threshold), a soft, analog-sounding

distortion (overdrive), or a hard, digital-sounding distortion (threshold at 0 dB). The intensity
of the distortion may be set using "Level".

Amp simulation
This menu item is hidden by default. To display it again, activate it in the menu
settings via "File -> Program Preferences > Edit Keyboard Shortcuts and
Menu (view page 488)".

The Amp simulator is a realtime effect that simulates tube amp sound properties. It is
especially suitable for guitar sounds, but also for the organ or recordings of vocals.
 EFFECTS MENU 663

Presets: Here predefined amplifier simulations can be selected.

Amp: Here you can select from a range of amplifiers whose sound can be simulated.

Speakers: Here you can select from a range of speakers whose sound can be simulated.

Distortion (gain): This regulates the distortion amplification.

Speaker component: Here you can regulate the speaker component present in the
complete signal.

Equalizer: A 3-band equalizer for setting the bass, mids and highs.

Bright (impendence filter): he "Bright" button provides an especially penetrative acoustic

pattern that sounds like screeching when combined with the input gain.

Input gain: With this fader you can adjust the volume of the distortion.

Output: Here you can adjust the master volume of the amplifier module.

Vandal
Detailed information about Vandal is available in "Vandal (view page 745)".

BitMachine

Audio material can always be edited into high quality with Samplitude. 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.
664 EFFECTS MENU

Furthermore, the effect has a modulation section with which you can control individual
parameters using an oscillator (LFO) or the input signal.

We have designed a range of "typical" presets to demonstrate the time travel abilities of the
BitMachine. These can be opened at the top right of the interface

The following section describes the details of BitMachine:

"Reduction" section
Bits

This dial controls the resolution of the audio material. Turning the dial to the left results in
16-bit quantization (CD quality). The further it is turned to the right, the lesser the signal
dynamic becomes. In extreme cases (1-bit), there are only "on“ or "off“ states.

At the intermediate levels, you’ll notice an increase in the background noise and a
decrease in the dynamics. For example, 8-bit quantization will exhibit dynamics of only 48
dB. Quieter points in the material sound noisy and very quiet points sound "capped“. This
effect is amplified the more you turn the dial to the left until it starts crackling or "groaning".

Sample rate

The audio material is "down-calculated" with this dial, i.e. the internal sample rate is
reduced. A new separation ratio between old and new rates is created. In relation to this
ratio, a sample from the data stream will be "dropped“ at the various points.

Note: The two smaller dials from this section are explained under Modulation.

"Filter" section
The filter in the BitMachine is a digital model of one of the most well-known filters in music
electronics, i.e. the "Chamberlin 2-pole" filter used in old Oberheim synthesizers. These
types of filters sound exceptionally musical. They can also be used quite creatively in the
BitMachine, but should not be used exclusively to smooth out 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:
 EFFECTS MENU 665

Both of the individual filters of the connections mentioned above have the ability to
overmodulate themselves internally. With the "Drive“ dial, you can regulate the amount of
overmodulation. The more you turn this dial up, the more the signal is overmodulated. In
this case, the parameters of the internal workings of the filter interact with one another.
Increasing drive weakens the resonance, but, at the same time, the signal gets more
volume, more bass and becomes acoustically fuller.

Note: The two smaller dials from this section are explained under "Modulation".

"Modulation" section
You can automate your effects via the settings in the modulation section.

Here, you’ll find the so-called low frequency oscillator (LFO), which resonates with
adjustable speed. You can influence the speed and type of resonance.

To influence the resonance, use the two small dials in both the reduction and filter areas.
These four dials display modulation targets.

Example: You’ve left the dial for the sample rate at its default setting. 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“

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In the modulation section you’ll find a fourth button, the audio input signal. If this mode is
active, then the signal itself can be called upon to extract “modulation tension”; a so-called
"envelope follower" continuously scans the volume of the input signal.

Note: The BitMachine doesn’t recognize the type of audio signal automatically. For this
reason, you should set the input sensitivity roughly with the "gain“ dial. To do this, use the
control LED: With 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.

Restoration
In Samplitude the following restoration tools are available as standard:

 DeClipper SE
 DeClicker/DeCrackler SE
 DeHisser SE
 DeNoiser SE

Furthermore, you can remove noise from an object with the mouse mode "Spectral mode
(view page 72)". Editing can be done directly in the Arranger window.

With the optional "Cleaning/Restoration Suite" you have access to the full versions with an
enhanced range of functions.

SE dialogs header

In the presets input field you can load, save or delete presets.

On the right next to the Preset selection you will find the Bypass and Automation buttons.

Bypass: The algorithm is removed from the signal route. This enables the unedited
signal to be easily compared to the result of the algorithm.

By clicking on this button you can toggle between the selected automation
write/read mode. By right clicking you can get to the Automation context menu.

Via "?" you can call up extra help information.

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DeClipper SE
(The full version is available as an option of part of the Cleaning/Restoration Suite)

The De-clipper is a tool for removing overmodulation and distortions. Overmodulated

passages are recalculated, or interpolated, based on the material immediately surrounding
them.

The DeClipping algorithm is suitable for material with clearly audible overmodulation, e. g.
distorted piano or vocals.

DeClipper SE – Presets
Load, save, delete presets: Here you can save, load, or delete settings. The default file
extension is *.dcp.

DeClipper SE – Parameter
Clip level: Here you can enter the level at which the sample will be considered
overmodulated, and correspondingly corrected.

Activity: This LED flashes blue if the signal is altered using the effect.

Inverse: If this switch is activated, you will hear only the part of the signal that is changed
by the algorithm.
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DeClicker/DeCrackler SE
(The full version is available as an option of part of the Cleaning/Restoration Suite)

The DeClicker removes crackling and clicking noises, which are typical on scratched
records, it was also developed especially for louder individual clicking sounds on older
vinyls.

DeClicker/DeCrackler SE - Presets
Load, save, delete presets: Here you can save, load, or delete settings. The default file
extension is *.dck.

De-clicker/De-crackler SE - Parameter
Intensity: Using this parameter you can influence the intensity with which the
DeClicker/DeCrackler SE engages with the detected areas of the audio material.

Activity: This LED flashes red if the signal is altered using the DeClicker SE. The LED
flashes red if the signal is altered using the DeCrackler SE.

Inverse: If this switch is activated, you will hear only the part of the signal that is removed
by the algorithm. If the parameter is optimally tuned you will only hear the bothersome
 EFFECTS MENU 669

clicks. If the parameters are too high, parts of the music or speech signal will also be
filtered, which will lead to music discoloration.

DeHisser SE
(The full version is available as an option of part of the Cleaning/Restoration Suite)

This command opens the DeHisser SE, which helps to remove noise. The DeHisser SE
eliminates regular, low-level "white" noise, typically produced by recordings, microphones,
pre-amplifiers or transformers.

Unlike with noise reduction, a sample of the distortion is not required.

DeHisser SE – Presets
Load, save, delete presets: Here you can save, load, or delete settings. The default file
extension is *.deh.

DeHisser SE - Parameters
Noise level: With this parameter a threshold value will be set for differentiating the signal
from noise. The right setting for this parameter is crucial for good results.

Noise reduction: Set the noise damping here. The highest possible damping value is 30
dB.

In practice, extremely quiet passages, like the slow fading out of one instrument prove to
be critical – here the noise level can exceed that of the audio signal.
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Limit yourself to one low noise damping (-10, -15 dB) to avoid side effects like artifacts.

Inverse:If this switch is activated, you will hear only the part of the signal that is removed
by the algorithm. By optimally setting the "noise level" parameters, you should only hear the
noise.

DeNoiser SE
With the DeNoiser SE you can remove noises without discoloring the source material too
much. To do this, the algorithm requires a noise sample.

The DeNoiser SE function works especially well to remove even, long-lasting noise like
ventilation noise, artifacts from low-quality sound cards, tape deck noise or feedback.

DeNoiser SE – Presets
Load, save, delete presets: Here you can save, load, or delete settings. The default file
extension is *.nr2.

DeNoiser SE – Parameter
Noise Level
This parameter brings about a increase/decrease in the noise sample spectrum. Be sure
that a higher-level of noise does not automatically require a higher correction level.

Noise Reduction
Here you can set noise damping in decibels, between 0 dB and -40 dB.

In many cases it is most definitely advantageous to not completely remove noises: for
example when working with gramophone recordings, it can be desirable to leave some of
that "gramophone feeling" in. Removing background noise from on location reports is
usually not preferable. Besides, any artifacts or discolorations are reduced by the
incomplete suppression of noises. Think of the process in terms of reduction, not 100%
elimination.
 EFFECTS MENU 671

Inverse: If this switch is activated, you will hear only the part of the signal that is removed
by the algorithm. If the parameter is optimally tuned you will only hear all the noise and only
a small portion of the used signal

Noise sample file: In the selection list, you can select a group of noise tests. The noise
samples displayed in the list can be found in the "fx-preset" folder.

Wizard: Here you can open the "Noise print assistant" dialog to help you extract a noise
sample. You can find out more about this assistant below. (view page 671)

DeNoiser SE – Get noise samples from the „Effects“ menu tab.

1. Select an area in the selected Wave project or an object in a virtual project, where
only the noise is audible. As a rule, you will usually get better effects with longer noise
samples. If the length of the noise samples exceeds a minute, only marginal
improvements can be obtained.
2. Select "Effects -> Restoration -> Get noise sample".
3. Select the range of the original sample in the wave project to which de-hissing should
be applied or select the corresponding object in the VIP.
4. Open the DeNoiser SE via the "Effects menu -> Restoration -> DeNoiser SE".
5. If the sample selection list for the noise sample (under "Noise Sample -> File") is not
already set to "Noise Print", rearrange the list entry accordingly.
6. Press the "Play/Stop" button for the real-time preview function. Once you are satisfied
with the result, press "OK". Otherwise, change the parameters.

DeNoiser SE – Noise Print Assistant

Proceed as follows to generate a noise sample with the Noise Print Assistant.

1. Determine noise print length

Range length or internal standard value: If a range has been stretched, a range length
will be used. You should be careful not to select an area longer than necessary, because
each Noise Sample used in a real-time DeNoiser instance is added to the project. If
however no range is selected an internal length will be used, which normally produces a
useful result.
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Target length: Set an explicit length for the noise sample.

2. Extract noise print from the audio material

Extraction at beginning of range or play cursor: The noise sample will be extracted from
the range available, or otherwise the start position will be determined by the play cursor.

Extraction at the position of the lowest level: This search function analyzes the audio
object for soft areas. Set the search area above the search options and click the "Start
search" button. You can cancel the search by pressing "Esc".

After at least one quiet range has been found, you can select it using << and >> and listen
to it using "Play..."

Search options
Start the search in object – object type: The search area starts at object type

Start the search in object – area start or the play cursor: Search area starts at the area
start, if you have defined an area previously. Otherwise the search starts at the play cursor.

Length of search in the object – until object end: The search for soft passages
stretches until object end.

Search length in object – x minutes maximum: Enter the search length in minutes here.

3. Exit the assistant by clicking "OK".

Remove DC Offset (Offline)

This function removes the DC offset in a wave project/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.

Options: Enter a minimum DC offset threshold to indicate where DC offset removal will
engage. If you deselect the corresponding check, the stereo channels will be edited
together. This saves computing time, especially when working with long files.
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Stereo/Phase
Switch Channels
Use this function to swap the right and left channel of stereo samples in order to correct
accidentally swapped channels when recording.

This function may be reversed, e.g. if you don't re-select the range, opening it again will
restore the original material.

Multiband stereo enhancer

(Samplitude Pro)

The multiband stereo enhancer performs detailed modifications and corrections to the
stereo image in three independent frequency bands.

Thanks to the FIR complement filter technique, no discoloration of the frequency response
will be introduced.

Using multiple bands to affect the stereo image has many important advantages over
standard solutions without frequency separation. Increasing the width of the mid-range, for
example, prevents "typical" problems like muddy highs and lows that result from removal.
The reduction of mono compatibility caused by an increase of the base width is also limited
to treatment of a specific band.

Important Multiband Stereo Enhancer applications include:

 Reduction or expansion of the stereo base width.

 More powerful bass by reducing the base width in the bass range.
 Control and correction of problems in the stereo image of a completed mix.
 Moving the mono section of a stereo recording in panorama (direction mix). This way,
centered vocal recordings may be moved to the left or right of the stereo balance later.
 Damping or removing mono signals in the mid-frequency range in order to create room
in tracks or drum loops. This allows the addition of further instruments or vocals.

Overview
The preset filter settings are located in the top left of the dialog window.
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The graphic shows you the frequency response curves of the individual curves. The left
axis labeling shows the damping in -dB, while the upper axis labeling shows the
frequencies in kHz.

The parameters for stereo manipulation and the A/B/C buttons for quick switching
between the three different settings are located to the right of this.

General controls
Preset: Select from a number of presets here.

Save, load, delete: Save, load, and delete the various settings here. The preset file ending
is: *.ste

A/B/C comparison: To compare different dialog configurations, switch between three

different settings here.

Bass, mid, high: Set the three frequency ranges for stereo, panorama, and gain here (see
below).

Maximize: Use this controller to compress the sidechain signal, which also increases the
stereo transparency without influencing the mono compatibility. In "Multiband" mode, this
setting affects the middle bands.

Solo mode: In "Solo" mode, frequency bands may be monitored one at a time. This
simplifies the process of changing filter parameter settings. For example, isolate a specific
frequency range of a mix and change the aspect of the stereo image for the range.

Multiband mode: The algorithm works with three frequency bands if this option is
checked. "Multiband" mode is not automatically active when using the enhancer in the
mixer master section, which reduces the initial load on the CPU when selected in the
master section.

Direction pan mode: This switches between two panorama control modes:

If the option is checked, only the mono portion (the center signal) is included when
changing the panorama setting. The panorama control functions as a directional mix
controller. A centered vocal recording may thereby be moved to the left or right of the
stereo balance later. The difference containing the sound sources arranged outside of the
center remains unchanged.

When inactive, the panorama faders work as normal. The complete stereo signal is
changed (mono and the remaining left and right portions).

Phasecorrel. (phase correlator): This open the phase correlator. This option is very useful
when "Solo" mode is active; the base width and panorama setting for each frequency band
may be checked visually.

Reset: This button resets all settings.

Play/stop: Real-time preview function.

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OK: The algorithm is applied to the selected range of the sample or the selected object.
When using this in the master area of the mixer, the parameters of the dialog window are
applied to the entire mix.

Cancel: Click this button to close the dialog window without applying the effect. When
using this in the master area of the mixer, the parameters of the dialog window will not be
applied to the mix.

Help: Opens the "Help" file.

Parameters for stereo manipulation

The following is available for each frequency band (bass, mids, highs):

Base width controller: Set the base width between 0 and 200. 0 indicates "Mono", 100
corresponds with unchanged base width (Stereo), and a value of 200 produces the
maximum base width (difference signal).

Depending on the correlation between left and right, the level may increase when reducing
the base width. In more extreme cases, this may cause maximum correlation, which
occurs when the left and right channels are identical. When the base width is set to zero
(mono), a level increase of 3 dB will occur.

Raising the bandwidth (values over 100) diminishes the mono compatibility. If the base
width is reduced, mono compatibility will be maintained.

Panorama controller: Adjust the individual channels of the panorama here. Dampening for
left and right is displayed above the controller in dB.

If the direction pan mode is active, the controllers operate as direction mixers. In this case,
only the mono component (mid signal) will be included.

Filter setting parameters

Separation frequencies: Use these two sliders ("1" and "2") to adjust the separation
frequencies of the three filter bands. The values are displayed in kHz (these correspond
with the intersection of the neighboring frequency curves).

Band separation: This parameter influences different filter properties to increase precision.
Select between "Low", "Normal", and "High".

Increasing the band separation setting has the following effect:

 The edge steepness of the filter curves increases and the transition range between two
bands decreases.
 Dampening in the cut-off range increases (low setting: approx. 25-35 dB, normal:
approx. 35-45 dB, high approx. 55-75 dB).
 The ripple of the frequency range of the bands decreases. However, this is not a
problem, since the ripples of the individual filter bands compensate each other after
combination, thanks to the complementary filter technology. In any case, the output
signal will not contain ripples.
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The multiband stereo enhancer in the master area of the mixer:

Access the stereo enhancer in the master area of the mixer by pressing the "StE" button,
which is located above the master faders. Right click this button to open the stereo
enhancer dialog window. The knob next to this is connected to the base width controller
for the mid band.

If "Multiband" mode is not active in the dialog, the changes affect the entire signal. The
knob functions as a standard base width fader.

Stereo enhancer - tips & tricks

General info concerning base width settings and standard use of the multiband
stereo enhancer

The human ear is generally incapable of perceiving frequencies below 300 Hz. Stereo
effects in the bass range can be disruptive as different delay levels often result in
cancellation, which becomes audible in spongy and squishy playback of the basses.

The treble range may be important for directional ; however, spreading the base width
often causes annoying side effects in this case.

For these reasons, the base width is usually enlarged or the direction of a mono source is
changed in a middle band.

In the bass area, the base width is set to mono by default. Enlarging the base width is only
useful for special applications.

The treble band is maintained by the following standard applications and is not changed.

Increasing the stereo base width

For this task, set the basic width controller of the middle band to a higher value (between
101 and 200).

More powerful bass by reducing the base width in the bass range

Set the base width controller of the bass band to mono. The setting of the lower separation
frequency is also important for this task. Typical settings for this application are between
300 and 600 Hz. If the separation frequencies are higher, narrowing in the stereograph will
already be audible, depending on the properties of the audio material.

Checking and correcting a completed mix in the stereograph

To check and possibly correct the base width and the panorama setting in various
frequency ranges, proceed for all three bands as follows:
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1. Activate "Solo" mode.

2. Open the phase correlator during real-time preview.
3. The base width may be estimated according to the amplitude of the display. The
horizontal amplitude increases in relation to the vertical amplitude as the base width
increases. The panorama setting may be verified by the gradient of the display. The display
tilts to the side of the stereo channel with the higher level.
4. If necessary, correct each channel with the panorama and base width controllers.

Positioning a mono source in the panorama (mix direction)

The first step is to "filter out" the mono source (for example, vocals) so that the remaining
part of the mix remains unaffected.

1. Activate "Solo" mode in this case as well and select the solo switch for the mid band.
2. Change both separation frequencies so that they just about pick up the source.
3. Now activate "Direction pan" mode so that the panorama controller acts as a direction
mixer.
4. With the pan controller of the middle band, you may now position the mono source. The
differential signal is retained.
5. Deactivate "Solo" mode to hear the effect of this frequency-selective directional mix on
the overall signal.

Dampening or removing the mono signal from the middle frequency range

For instance, if you want to create space for adding vocals or solo instruments in the
middle range of playbacks and drum loops, cancel out or dampen the original mid signal in
the mid range by enlarging the base width.

As described above, attempt to "filter" out the mid signal well in "Solo" mode. The base
width should then be set to the highest value (200) in the mid band.

Invert Phase
This function inverts the sample data within the selected range along the amplitude axis,
i.e. the phase is inverted. Negative values are reversed to become positive values.

This way enables customization of samples with differing phase lengths. The function may
be reversed and applied using both channels, just the left, or just the right in wave projects.
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Modulation/Special
Convolution (Offline)
This menu item is hidden by default. To display it again, activate it in the menu settings via
"File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

Using the convolution function you can mix a sample/object with any other sample.

This means that the original sample will be filtered with the convolution sample: common
overtones will be amplified, anything else will be softened. FFT Analysis Filter offers a similar
method which filters a sample using a frequency sequence of another sample that has
been saved to the clipboard. Thereby however only the frequency responses of two
samples will be used. When mixed though the frequency response and the phase
response are linked - which leads to noticeably different results with long samples.

With the convolution algorithm you can create reverb, echo, filter effects, exotic morphing
effects and refined sonic fusions made up of different sounds. This function works along
the same principles as the Room Simulator function. However, convolution calculates the
exact mathematical convolution function, whereas the Room Simulator is especially
optimized for reverb calculation.

Convolution sample: Here you can select the project with the convolution signal. If the
convolution signal is longer than 1048576 samples, only the first 1048576 samples with be
used.

Original (%). This parameter allows you to enter the level (in percent) of the original audio
signal that will be mixed with the result of the convolution. A value of 0% signifies that the
edited signal will contain exclusively the result of the convolution function, and a 50% value
will mean that the convolution result will be mixed with the original signal at equal
amplitudes.

Result (dB): This parameter sets the volume of the signal resulting from the convolution
function in dB. With values exceeding -10dB, modulations can happen. For this reason,
you should first select lower values.

Convolution – problems and solutions

After pressing the preview button or the OK button, the program does not seem
to respond any more.
On slower computers with long impulse responses, the algorithm responds after a certain
amount of time with a status display message of the progress of the calculation as it works
internally on a block-by-block basis.
 EFFECTS MENU 679

The output signal is overmodulated

Reduce the value of the "Results (dB)" parameter.

The resulting signal contains a strong DC offset

If possible, the convolution sample used should not contain any DC offset. If this is present,
remove it via the corresponding "Remove DC offset (view page 672)" function.

Heavy hard disk activity or an error message concerning insufficient memory is

produced
The algorithm requires ample memory, especially in case of long impulse response
patterns. All background processes should be terminated and all RAM wave projects that
are not needed should be closed.

Vocoder

The vocoder sends a carrier signal (e.g. a string instrument or a synth chord) through a
modulator (e.g. speech or a song, or even drum loops) to make it seem as if the string
instrument is speaking or singing.

This is achieved by transmitting the modulator's frequency characteristics to the carrier.

The modulator signal is divided into a number of frequency bands and apportioned
positions at regular intervals in the respective frequency bands. These measurements
control a filter for the carrier that correspond to the same frequency bands.

Strictly speaking, a vocoder has two inputs and an output. Since Samplitude effects
normally only feature one input, the carrier signal will be extracted within the effect to make
it mixable with the white noise and any wave file. The carrier and modulator may also be
swapped in order to use the vocoder input as the carrier.

The vocoder also features a real-time FFT filter for editing the vocoder signal.
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Filter curves
The yellow line corresponds to the frequency progression of the modulator, and the light
blue line represents the carrier signal. The red line is a freely-adjustable FFT filter. The
frequency progression may be drawn to optimize the vocoder results. The dark blue line is
the resulting filter curve of the vocoder.

Reset: This resets the red filter curve to its initial state.

Carrier signal
Sample selection list: The desired carrier samples may be selected here. All open wave
projects appear in the selection list as well as some special carrier samples that are loaded
from the "Vocoder" directory. Preferred carrier samples consist of material with even
frequencies e.g. orchestral chords, broad synthesizer sweeps, sound of the wind, etc.

Sidechain: The sidechaining option is now available for the vocoder if the effect is used as
a track or master effect and the track isn't the Surround master.

Sample (dB): Use this fader to adjust the proportion of the carrier sample.

Noise (dB): This controller mixes white noise into the carrier. This is especially useful if the
carrier material can't be modulated well or sounds too uneven. Whispering voices may also
be produced in this fashion.

Volume (dB): Adjusts the vocoder output level.

Vocoder - options
Modulator <=> carrier: Swaps modulator and carrier signals. This is particularly useful if
the "stereo channel as carrier" option is used.

Stereo channel as carrier: If this option is active, the sample from the selection list will no
longer be used as a carrier signal, but an input signal channel will be used instead. The
other channel will continue as the modulator.

This results in a more accurate synchronization of the carrier and the modulation signal,
which is independent from play start.
 EFFECTS MENU 681

Bypass: The "Bypass" button plays the original signal.

Dynamic filter
Response time (release): Affects the speed of the dynamic filter adjustment to the
modulator spectrum. As the release value increases, the Vocoder follows the modulator
slower and slower, and the sound changes sound softer and feature more reverb in the
carrier. To improve the clarity of spoken words, this parameter should be set to a low
value.

Dynamic (reduction): This parameter affects the dynamics of the modulator signal for
reducing the modulation depth of the dynamic filter.

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.

Instead of using dynamic reduction within the Vocoder, you can adjust the modulator signal
dynamics (or the resulting signals) with the dynamic tools integrated in Samplitude.

Resolution (filter bands): Dynamic filter resolution (approximately dependant upon the
number of filter bands). The best results are achieved with medium to high rates.

Pitch (filter shift): The dynamic filter of the Vocoder shifts the frequency up or down to
create certain pitch effects. For the clearest speech results, it is recommended not to
change this parameter.

Formant: Stretches the dynamic filter curves to manipulate the formants. This changes the
characteristics of the Vocoder voice.

Overlapping: This internal parameter changes the overlapping of the time window for the
modulator signal spectrum calculation.

On the "low" setting, the Vocoder sounds softer and more melodic, but some of the clarity
of speech may be lost.

eFX_Chorus/Flanger
Detailed information on eFX_Chorus/Flanger can be found at "essential FX >
Chorus/Flanger (view page 685)".

eFX_Phaser
Detailed information on eFX_Phaser can be found at "essential FX > Phaser (view page
686)".
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Corvex
More information is available in "Effects -> MAGIX plug-ins (view page 698)".

Backward
With this function, the data of the sample in the wave project within the selected area/the
selected object in the virtual project along the time axis is reversed so that it can be played
from back to front.

MIDI velocity dynamics

MIDI Velocity Dynamics Settings…
Detailed information about MIDI velocity dynamics settings is available in "MIDI editors ->
Velocity dynamics MIDI functions (view page 255)".

Apply MIDI Velocity Dynamics

This command applies the current MIDI velocity dynamics settings to MIDI objects.

Set MIDI Velocity to Fixed Value

This command applies the current MIDI velocity dynamics settings next to the "Set value"
button to selected MIDI objects.

Randomize MIDI Velocity

This command applies randomly varied MIDI velocity dynamics to selected MIDI objects.

Sample manipulation
Change Sample Rate... (Offline)
Use this function to change the sample rate of a wave project.

If the sample rate is increased, the change is almost completely without loss. However, the
required memory space does increase.

If, however, you reduce the sample rate, a loss in harmonics quality occurs. When halving
the sample rate of a 44.1 kHz sample to 22.05 kHz, the frequency response of the
resulting signal is limited to 11.025 kHz. The frequency response always corresponds to
half of the sample rate.

By clicking on "OK", you may enter the file name for the new project.
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Quality
Here you can specify, what quality Anti-aliasing filtering or Reconstruction filtering should
take place when increasing or decreasing the sampling rate.

Standard: At this quality level, a faster interpolation algorithm is used, which is also applied
during real-time resampling.

High: In addition to the "standard" quality level, a filter is set to dampen the alias
frequencies or to improve the reconstruction (interpolation). When using extreme
conversion ratios, such as converting from a 48 kHz signal to a 22.05 kHz signal, this
setting may improve the results.

Very high: In this case, the linear-phase UTR – "Ultra Transparent Resampling"
algorithm is used. This is a relatively new resampling algorithm for considerably faster and
even better linear-phase, high-quality resampling. The speed increase permits use of
highest quality settings even in realtime use (object resampling) that were previously only
available for offline processing in predecessor versions. The quality of offline resampling
also benefits from the new algorithm, since calculation in higher quality stages is now even
more precise.

Extremely high 1: In addition to the "Very high" quality level, this algorithm works at a
higher filter setting. Doing this increases CPU load dramatically.

Extremely high 2: In addition to the "Very high" quality level, this algorithm works at a
considerably higher filter setting. This setting is only meant for use with 32Bit float files
because the maximum possible artifacts from aliasing are below 96 dB.

Note: You can make sample rate adjustments during recording and playback. The quality
of the resampling used here can be set in the "File > Program Preferences > Resampling
Quality Options... (view page 502)".

Sample data/2
Every second sample is removed in the wave project. Once the function has been
executed, you'll see that the highly frequent components of the audio data are missing.
These have fallen victim to halving the memory requirements. If you execute this command
at an original sample rate of 44.1 kHz, a new sample rate of 22.05 kHz will be added. The
frequency range is halved with a sample rate of 0 - 22.05 kHz changing to 0-11.025 kHz.

Sample data * 2
Use this function to insert a new sample rate between two adjacent sample rates featuring
a value average of the adjacent values. The sample rate is doubled in this case. This way,
the sample rate may be adapted to one another. Please note that despite the higher
sample rate, no new high-frequency components come about, the frequency range of the
audio data remains the same.
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Backward
With this function, the data of the sample in the wave project within the selected area/the
selected object in the virtual project along the time axis is reversed so that it can be played
from back to front.

Makes Loops (offline)

With this function you can call up a complex algorithm for loop editing in wave projects.

First, select a range that roughly shows the loop positions. If you have selected "Loop" in
the transport window and move or edit the range on playback, you'll be able to find some
good loop points. Select the "Range menu > Split range" view. Here, the sample is
displayed in three sections.

"Build Physical Loop" allows the borders of the range top be set to the precise crossover
point of the sample in order to get loops without any crackling. Moreover a crossfade of
the audio material at the loop end is performed with the audio material from the loop
beginning, to ensure a smooth transition.

If a marker is placed before the highlighted range, the range between the marker and range
start will be used for the crossfade. Therefore you can also manipulate the length of the
crossfade, like when sampling. If you move the marker close to the start of the range, you
will get short crossfades, if the marker is placed far away from the start of the range, long
crossfades will be the result.

For a crossfade you should bear in mind that the distance between the marker and the
range start cannot exceed the length of the range itself.

Plug-Ins...
Read more information about DirectX/VST plug-ins in "Mixer -> Buses and routing -> Effect
routing/plug-ins dialog -> Effects sequence/plug-ins (view page 174)".
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essentialFX
Chorus/Flanger
This plug-in offers a simple way to make signals sound more interesting, "spacier", thicker,
etc. by modulating or delaying the pitch - the classical domain of application is for guitars,
Hammond organs, electric pianos, or synths.

Chorus and flanger are two closely related effects, which are combined into a single plug-
in. They normally differentiate in terms of delay time, type of modulation, and degree of
internal feedback.

Chorus flanger parameters

mode:

- Mono chorus: In this mode, the signal is fed through a delay unit and the pitch is
modulated. Original and delay copy are mixed into a monophonic output signal.

- Stereo chorus: Compared to mono chorus, two copies of the original are created,
modulated against each other, and then fed accordingly to the set mix ratio to the left and
right output channel.

- Mono Flanger & Stereo Flanger In contrast to the Chorus Effects the lower delay
periods and a slightly changed modulation are processed.

 rate: This specifies the speed of the modulation. Lower rates provide slight hovering
effects, and high speeds produce a wobbling, typically distorted "underwater" sound.
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 depth: This parameter specifies the depth of the modulation, i. e. the maximum
deviation of the modulation and the resulting pitch bending.
 feedback: This parameter defines the portion of the delay that is sent back to the input.
Feedback causes the effects of modulation to be more drastic and cutting.

Nullification of the feedback is set at the middle of the fader. Set to the right, the feedback
is fed to the input equi-phasal; to the left, the feedback occurs. Both variants may sound
very different depending on the signal, since they prefer different frequency ranges for
dissonance.

 mix: Regulates the mix ratio of the original signal and the delayed portion.

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.
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 depth: Similar to chorus/flanger, whereby it's the filter notches that are addressed, and
not the pitch modulation.
 feedback: The feedback portion produces a more drastic effect in this case. Similarly to
the chorus/flanger, co-phasal or opposite-phase feedback is possible.
 mix: Regulates the mix ratio of the original signal and the delayed portion.

Reverb
This involves a completely algorithmic reverb plug-in. 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 das 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
 Input (in)/Output (out): In this case, the input level is positioned on the plug-in or its
output level. The metering precisely displays the level ratios.

Note: Input/output is available for all preset essentialFX plug-ins. The conditions are always
identical to the one described here.

mode: Select the desired algorithm here. You have the choice of:
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- 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.

 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.
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Stereo Delay
The stereo delay is a simple too for typical bread and butter delay effects. The stereo delay
offers the "analog algorithm", which features the sound of echo devices of yesteryear.

Stereo delay parameters

mode: This selects between the essential algorithms.

 Digital: Normal, transparent delay

 Analog: Simulation of a bucket brigade delay (BBD). These devices, which originate
from the pre-digital era, used analog building blocks for storage. The signal was held for
a short time in a relatively simple circuit and then moved on to the next. This "bucket
brigade" principle created a longer signal delay. But since each element of the chain led
to a loss of the signal and would increase the system noise with longer delays, the
devices would use a compander: At the input, the signal's dynamics are compressed,
and then they are expanded again at the output end. The simulation in the eFX_delay
mimics the loss and compander behavior to produce these typical audio characteristics,
especially at longer delay periods and higher repetition rates (feedback).
 delay L/delay R: Specify the delay period for the left and right channels here.
 tempo sync: If this button is active, the plug-in is directed at the host/sequencer tempo.
In this mode, changes are made to the delay period via the L/R delay using the musical
snap grid (e. g. 1/4 note).
 damping: This specifies the cut-off frequency at which the highs are dampened during
the delay. This useful for making the delays reverberate more naturally or for creating
special effects (reggae/dub-style effects).
 feedback: This parameter regulates the internal amplitude of the delayed signal that is
fed back to the input. In "Digital" mode, this process is completely transparent; in
"Analog", on the other hand, higher values, a very loud input signal, or the sum of these
will make the use of dynamics compression audible. In both modes, the nullification of
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the feedback parameter is in the center of the fader. To the right, the plug-in works in
"Dual delay" mode (both sides work independently), and to the left, "Ping pong" mode
will be activated (the delayed signal alternates between the left and right sides).
 mix: Regulates the mix ratio of the original signal and the delayed portion.

Compressor
This plug-in is a simple but effective tool for reducing the dynamics of a signal. Percussion
tracks may be modeled more compactly and with more pumping, vocals may be
integrated into the mix better, or the entire sum or group or signals may 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. Additionally a separate input (external sidechain signal) can be defined as the
regulation source.

Compressor Parameter
Mode: Select the input signal to be used for detection.

Internal sidechain corresponds with conventional methods; this selects the actual input
signal to control the compression process.
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If another track in the project triggers the compression, select External sidechain here.
This will use a second stereo track routed to the plug-in. Make the regular adjustments in
the arrangement to route the sidechain signals.

 sc filter: This fader determines the application/middle frequencies, that are filtered with
the control signal for level detection. In many cases evaluating the detection is a good for
optimizing the leveling process. So, 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 via mids and highs.
 Using the filter type switch the properties of the detector circle can be drastically
changed. The speaker symbol is there to preview changes.
 threshold: This sets the response threshold for regulation. For example, -20 dB
indicates that the input/sidechain 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 that a
small regularization has already taken place at -25dB. 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
another area. 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).
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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 eFX_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, 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 differently to negative displacements.
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(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 the second
stage 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 - 192kHz.

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 like pre-eq, however, this filter is placed behind the
(second) stage tube.
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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 such as rough, "flat" sounds are avoided by
digital gates. The eFX_Gate continuously scans the signal and automatically selects optimal
settings according to the current values.

Gate parameter
sc filter Works in the same way as the eFX_Compressor.

sidechain int/ext: As with eFX_Compressor an external control input can be used for
triggering.

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.

hold: This three way switch controls the time, that the gate process waits after passing
through the attack phase, before subsequently passing through the Release phase. The
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Hold Function is useful for signals that need a rather short release time, but shouldn't be
flattened out.

threshold: This fader defines the threshold beneath which the gate should be initiated.

range: Here you can set the Gating strength. Right extreme means that the signal beneath
the threshold is cut out completely. Subtly attenuating the signal can remove background
noises or breathing from vocal tracks. 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.

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".
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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.

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.

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.

The eFX_DeEsser works, in contrast to other devices 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.
 EFFECTS MENU 697

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.

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/Octaves) 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.
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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.

MAGIX Plug-Ins
Console
When opened, all MAGIX plug-ins have a global display bar at the top for managing the
presets as well as for further settings, called the "Console".

A popup menu containing the current preset is located behind the display, thus enabling
selection. Small up/down buttons for clicking through the presets are situated on the left.

Presets can be loaded and saved in so-called programs or

banks. These terms are VST-specific. Programs are individual
presets while a bank contains the entire preset memory.
For example, in accordance with the VST standard, you can change the entire memory of
the plug-in by changing individual presets, replacing them with other saved ones, or saving
the entire bank.

You can return individual presets to their initial settings by clicking the
"Reset" button.

Further Console Elements:

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 for "A" is normally activated when the interface is opened.
Because this is the default state, "B" also contains the same settings. If you want to try out
an alternative setting, simply press the "B" button: It contains the initial setting when
opened. If you want to transfer the settings of "A" to "B" while testing, simply press the
copy button between the two letters.
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"?" button: This opens the online help for the plug-in.

Parameter Smoothing
Each plug-in offers soft controlling. Pot settings are softly faded internally from the old value
to the new one. This is particularly noticeable when playing in "Live" mode. Due to
performance reasons, switches (e.g. on/off) and some settings of VariVerb Pro that change
delay times directly or indirectly are excluded from this action.

Vpot Controls
Some controllers snap to the middle setting, which may be useful for quickly returning to a
"neutral" status. It is extremely difficult to adjust the fine settings within close proximity of
this snap point. You can temporarily deactivate this snap mode by holding "Shift" before
touching the controller.

Use the mouse wheel to adjust the controllers. A combination of the mouse wheel and
"Shift" key reduces the increase/decrease by factor ten.

Apropos the controller movement, note that all plug-ins follow the host settings regarding
linear or circular mouse movement. You can usually choose whether you prefer up/down
or a circular movement to adjust the value.

Analog Modelling Suite: AM-Track

Samplitude Pro X Suite

AM-Track analogue modeling compressor & tape

simulation
"AM-Track" is a combination of an analog compressor and a tape simulator in a single
device. The plug-in was developed for specifically editing and enhancing input signals
(instruments, vocals). The audio signal may be enhanced and made more lively with a
combination of compression and tape saturation in order to assert itself in the entire mix.

An explanation of the compressor section of the AM-Track, its special advantages

compared to "conventional" software compressors, and the available parameters follows.
We will also explain the features of tape simulation.
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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":

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.
 EFFECTS MENU 701

The filtered signal then arrives at the detector. With the forward gain control, previously set
parameters apply fully and affect the adjustment settings immediately.

In contrast to this, there is a "feedback" method which provides a second compressor

mode.

VINTAGE Mode
This mode appears as a preset when AM-Track is started. It
has less parameters than the VCA mode and has audibly
less of a "surgical" quality, but more of a trimmed sound
character.
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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. This, together with constant resistance at the circuit's gate, builds a
so-called voltage splitter, i.e. this forms a resistance change at the FET (caused by a
change in voltage at its gate), which results in a damping of the input signal. 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: The set time parameters for attack and release depend slightly on the
program. In some cases, it's actually advantageous with 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" fader of the AM-Track regulates the
so-called feedback amplification. This can be so high that the detector be 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 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 Ohm
values. Once again, signal peaks pass through the entire circuit unaffected, but the
 EFFECTS MENU 703

average level may be compressed severely. From a technical point of view, the control
process appears incomplete, but sounds pleasantly open and airy depending on its
application.

The entire detection is dependent on the spectral balance in the virtual AM-Track circuit,
the highs are automatically less strongly compressed, so that even extreme settings sound
less flat and more lively.

It's the same story with deep bass. 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: the output of the compressor in the signal flow
features an emulation of a transformer-coupled matching-level amplifier. This contributes to
some subtle, non-linear distortions at high levels, but is very much frequency-dependent.

Compression Parameters
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. 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 arrangement 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 arrangement 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
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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.

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
arrangement 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.

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 arrangement 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
 EFFECTS MENU 705

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).
 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.

Tape Section
The tape simulation in AM-Track comes after the compression section and offers you the
opportunity to give your recordings an "analogue touch" by reproducing typical aspects of
a tape recording.

What also happens in this case is that the magnetic storage space of the tape becomes
exhausted and the signal more distorted when the recording level is increased. There are
other factors as well however, e.g. pre and de-emphasis. Since saving on tape happens
depending on the frequency, pre-emphasis makes sure the dynamic area is used to its full
extent, according to a normed characteristic curve (e.g. NAB, EBU). This is because the
signal cannot simply be transferred unfiltered at high levels onto the media via the recording
head. The pre-filter creates a characteristic harmonic spectrum for possibly intended
overmodulation by the user, which then changes according to the level of saturation.

With the de-emphasis circuit, the pre-filter may be undone with an inverse characteristics
curve on playback. However, distortion caused by tape saturation might shift the spectral
balance.

As a result of the enormous complexity of the process of magnetic recording, additional

factors also influence the acoustic result, like, e.g. pre-magnetization (bias). This relates to
high-frequency voltage swing (usually in sine form at 150 - 200 kHz) which is then applied
to the tape via the erase head before the same part passes by the recording head a few
centimeters later. This erasure current ensures the equal orientation of the magnetic
particles and keeps the hysterisis loop intact, which is important for the magnetization
process, and functions qualitatively. Low currents do have a brighter sound picture as a
result, but magnetization is inefficient and the maximum recording level is therefore quite
low. On the other hand, a bias current which is too high is associated with losses in highs,
but does allow for higher levels with less distortion.
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In addition, memory effects when recording tapes are responsible for a part of the
characteristic sound, since time-dependent factors play a role in the feeding of the tape
reel along the heads, e.g. mutual inductance and self-erasure.

Regarding the simulation of these processes, we have concentrated on some aspects of

the "real world" and have created a virtual "machine" in AM-Track, which permits the
following interventions by using the controllers on the interface:

 Level: Sets the input level. This determines when the "tape" is saturated and how strong
the effect of the coloring/soiling is. You simultaneously gain more loudness.
 EQ low/hi: Adjusts the frequency response (spectral balance controller). You can
choose whether you would like to have an output signal of high bass level or whether it
should have more highs. This alters the pre-emphasis at the "recording end" as well as
playback equalization. In "Expert" mode, you can vary the employed frequencies for lows
and highs for distortion and equalization. However, note that the frequency response for
the simulation will not be neutral, even if the "EQ Low/Hi" controller is neutral. There will
always be some slight frequency-selective amplification.
 Bias: Moving the operation point (bias adjust). Increasing the bias will result in a higher
"recording level", but tape saturation will occur sooner. You will also increase the above
mentioned loss effects, and the result will be a (dynamic) reduction of the highs. Turning
the bias controller to the left results in the opposite effect: the highs are not reduced, but
the signal level stays lower.
 Tape mix (in the "expert" section): Anything that applies to a parallel compression can
also be applied to the tape section. Non-edited transients in particular are responsible
for perceiving "speed", "liveliness" and "freedom", but may be lost in case of too much
saturation/overdrive. Mixing in the original slightly enables you regulate the band quite far
while still retaining the so-called attributes.
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Tips for Applying Tape Simulation

The harmonics generated during saturation can quickly cause a state of "acoustic fatigue"
for the listener, particularly for high-frequency rich material and/or a frequency shift at the
benefit of the highs. A direct 1:1 comparison with the tape section switched off reveals
slight differences. Subtle settings are generally sufficient for complex signals in order to
create a slightly "analog touch".

Use the tape simulation as a "peak stop" if you use one of the two compressors to
compress the signals: Transients that the compressor allows through (e.g. when using
longer attack times) may be gently blocked by "taping" the signal afterwards.

AM-Track also contains a soft clip circuit at the output to block overmodulation. The audio
result is certainly not the same as tape saturation. In practice, the soft clip function stays
switched on to provide an emergency brake, especially if the plug-in is in the last station of
the master slot. The soft clipper limits the signal with a soft characteristic curve at -0.1
dBFS. It's possible to switch off the function if you can predict good level responses or if
the following stages in the mixer/master chain will not have a problem with higher levels.

Analogue Modelling Suite: AM-Pulse

Samplitude Pro X Suite

AM-Pulse is a "transient modeller", a creative tool for editing envelope and sustain
processes (attack and sustain) on percussive or dynamic signals.

In particular, the input of the signal is an important factor in the acoustic perception. The
so-called transients are extremely short oscillations in the make-up of a sound which
enable the human ear to precisely differentiate sounds from one another and localize where
they come from.

Alongside transient modeling this effect also allows you to enhance the signal or even
distort it. For this to work in the am-pulse, individual steps as "virtual hardware" have been
set up and designed using elements of models and components "borrowed" from the
analogue world in order to achieve smooth, organic operation with character.

Possible instances where am-pulse can be used:

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 Drums (e. g. kick, snare, toms, subgroup signal): Increasing or decreasing the attack
leads to a harsher or softer sound respectively, while increasing or decreasing the
sustain changes the room information with overheads or ambience tracks.
 Acoustic or electric guitars and basses (accentuate or dampen the attack, e. g. for
playing with a plectrum)
 Balance volume fluctuations and explosive sounds for sound recordings
 Sinking background noises

Working Method of the Transient Section

At first glance, it seems as if AM-Pulse has a dynamic compressor working "beneath the
hood". However, this is not the case. In comparison to conventional compressors, AM-
Pulse is level-independent. For example, if you reduce the attack rate of a snare drum by 6
dB, this is independent of how loud it was played. However, you have to determine a
threshold as if for a compressor. No editing takes place below this threshold.

The possibilities mentioned for using AM-Pulse are based on the principle of "transient
recognition".

AM-Pulse continuously analyses the input signal by means of so-called "envelope

followers" that sample the time-based signal. At the attack and sustain phases, there are
multiple envelope followers working which possess different attack and drop-out times.
Attack and sustain can be safely recognized by means of continuous comparison
measurements.

Internally, the AM-Pulse uses virtual VCAs ("voltage controlled amplifiers") that generate a
control voltage from the resulting envelopes. You can use the fader to apply its value to the
attack and decay rate. This voltage may be applied via sliders. This multiplies the input
signal via the control voltage (controller in positive direction) or divides the signal by the
voltage (negative direction.

Based on the principle of transient detection, the dynamic signals described above are
especially well-suited for editing. The more percussive the audio signal, the cleaner and
more predictable the control.

Transient Section Parameters

There are three faders on the front plate for processing attack and sustain:
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 Level (left channel): An increase takes place above the line; moving the fader in the
opposite direction reduces the level. The signal remains unaffected in the centre
position.
 Level (right channel): As above. Normally, both channel faders are coupled together by
default (as are the internal "detectors"). You may edit the channels separately by
depressing the button with the padlock symbol. The control voltages for both channels
are then determined separately.
 Length: This determines how long the signal is scanned and maintained in the
respective section. A lower value results only in a short amplification or reduction which
sounds quite electronic. Longer times mostly sound more homogenous.

Note: High "length" values in the "attack" phase are especially in danger of being affected
too strongly. The more complex the initial material, the more carefully "length" should be
adjusted.

Saturation and HF Details Section

As a creative tool, AM-Pulse offers an adjustable saturation level and a "high-frequency
details" module.

Both sections are located within the circuit after transient processing. Modeled sounds can
thereby be processed additionally. There are many ways to combine these three sections
to create unique sounds. We will describe a few of these scenarios below.

For hf details, exciter circuitry may be used to add artificial

harmonics to signals at the set frequency.

The saturation section works similar to a tube pre-amp. This

features the typical "tube-like" volume compression behavior and
"drives" the signal into saturation at high levels. The "saturation"
controller mainly determines the input gain of the tube stage. When
turned fully to the left, no saturation occurs and this section remains
inactive.

For the amplification of the signal, odd and even harmonics are created. The output signal
first becomes louder and "richer". It becomes rougher and "dirtier" as the amplification
increases, and finally sounds drastically distorted at an appropriately high input level.

The saturation of the signal is frequency-selective in this case: how much has to be pre and
post filtered depends on the setting of the "saturation" fader. The more "saturation" the
higher the filtering and sound modification. The internal degree of distortion is dependent
on the setting of the level fader.
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Use the mix fader to set how much of the processed signal is in the entire signal.

Creative Tips for Working with AM-Pulse

We have added a few presets to AM-Pulse for selection from the preset menu of the
console. Several of these are ideal starting points for the following experiments:

 Attack & sustain are often contrary processes. For example, if you would like to add
more "bite" to electronic drums by accentuating the attack, experiment with reducing the
sustain level. Both sections then often require less "drive" and the sound generally has
far calmer effects than only one of the two sections, but at double the level.
 To increase loudness, sounds with a lot of attack but a low average level may only be
"tamed" with the saturation level. A few "saturation" dBs are usually sufficient.
 Try to simulate several amplifier types: combine the transients and saturation section.
With a slight reduction in attack (about 2-3 dB) and a slight saturation (maybe 6 dB), you
can achieve results featuring soft signal edges, slightly increased loudness, and a bit
more "life" in the signal. You could possibly add 1 - 2 dB "HF details". The result would
then come very close to a tube amplifier.
 If you would prefer slightly more filtering from the saturation section (the above-
mentioned "loudness") but less "crunch", move the "input" fader down slightly and
increase the "saturation" controller correspondingly. Keep an eye on the peak meter in
this case, too. Subtle changes already have a large influence on the overall impulse
behavior of the signal and slight colorations can even be heard in the A/B comparison.
 Set the attack and sustain of the left and right channels to opposite settings so that the
signal "moves" in the stereo field according to its own transient data. This "auto panning"
function even works with mono sources and is ideal for creating new and unique loops.
 Drastic changes can be smoothed with the mix fader. Among other things, entirely new
sounds can also be created. The result usually sounds different than a simply softened
setting of the fader at 100% mix. For example, you can use sustain with acoustic drums
to break out of the room, but keep the integrity of the recording with targeted mixing of
the original.
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Much like AM-Track, AM-Pulse contains a soft clip circuit at the output for making sure
overmodulation doesn't occur. The method mentioned with AM-Track also applies here.

Analog Modelling Suite: AM-Phibia

Samplitude Pro X Suite

AM-phibia is a tube amplifier/channel strip. It combines an optical compressor with a pre

and post filter unit. By selecting the filter presets the suitable setting can be chosen
depending on the input signal. While interacting with the compressor section am|phibia can
be used as a vocals pre-amp, tube guitar amp or simply for creating a warm sound when
mixing or mastering.
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Typical examples applications of am-phibia:

 an optical compressor (the classic LDR-based light sources are modeled)

 a valve pre-amp
 a sound pre-processor with corresponding EQ and compressor settings
 valve guitar modeler with pre-amp, sound processor and case simulation
 a signal processor for warm sound synthesis with all selectable valve settings
 audio "mincer"
 Audio refiner
 Valve exciter

Many application options can be selected from a comprehensive preset list.

AM-Phibia - Signal Flow and Stages

AM-Phibia – 1) Reverse phase, input pad, low-cut

AM-Phibia – 2) optical compressor

The compressor of AM-Phibia is
one of the most gentle
compressors available on the
market and is ideal for difficult
signals such as vocals. The
fundamental circuit is an emulation
of a classic opto-coupling design
featuring a so-called feedback
circuit.

For this principle a light source (LED, light bulb, or electro-luminescent panel) is supplied
the output signal. The emitted light is beamed onto a light-dependent resistor and changes
 EFFECTS MENU 713

to the resistance result in a change in the amplification factor of the entire circuit
(controllable voltage divider). The light source is fed from the output instead of the input
due to historical, practical reasons: the circuit gently oscillates to the signal and is very
stable without additional settings, and operates very musically so that in hardware reality,
this type of device can be built with a minimum amount of required components (which
improves sound quality). Due to the overall lag of the opto-coupling system, optical
compressors have a relatively sluggish release reaction. This is accompanied by the so-
called memory effect of the opto-coupler.A longer exposure to light also means longer
return times. Due to the feedback control, the control times and compression ratio also
highly depend on the control times, and the compression ratio strongly depends on the
input signal.

Specify whether you want to tap the feedback signal after the gain stage or the second
filter. Frequency-dependent compression can also be achieved in combination with the
pre-filter stage.

The compressor may also be

switched between compression and
limiter.

Note that the ratio of program regulation depends on the program.

AM-Phibia – 3) prefilter
Different types of EQ are available.
Each is treated as an independently
structured circuit.

- active A/B
This is an emulation of an analog filter module that operates via positive and negative
feedback loops. In this case, A and B differ from one another in terms of the input
frequencies of the bands. B is optimized for use with speech or singing.

- passive A/B
This circuit corresponds with the classic Baxandall network and is comparable to stereo
systems and some guitar amps. Type A and type B differ slightly; the bass and highs are
spaced out further spectrally for type A, and the mid range is more extensive for type B.
Variant A is intended for general applications, filter B is optimized for vocals. The mid range,
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which is also available in this case, is not available in a Baxandall network and has been
made possible in the existing circuitry as cascading low and high-pass sections, much like
in common passive equalizers. The interesting thing about this setup is the effect the
individual steps have on the entire phase response, which contributes to the unique sound
of this circuitry.

- guitar passive
Classic switching such as on Marshall/Fender amps. These parameters are highly
dependent on each other (more highs = less bass; mids are also influenced). Just like
general "passive" switches, complex phases are also present in this case, a result of
variable mixing of individual branches in the filter network and the typical charm of classical
design.

- guitar active
A convertible partner for a typically "American" high gain sound. The parameters do not
influence each other as much as the passive variant, although a slight amount of internal
feedback is applied to give the circuit a bit more power. Of course, this also influences the
phase response, which also provides its own character.

- bass passive
A full-tube Peavey bass pre-amp was the source of inspiration for this EQ (T. B. Raxx,
similar to Alpha), with a circuit that resembles various Marshal/Fender styles. In this case
however, the bass branch does not depend as strongly on the other settings, but a high
level of interactivity is present. If the mids are "weakened", the sound turns quite "hollow",
which is ideal for slap basses.

- bass active
Similar to "guitar active". In this case however, the corner frequencies are designed for
bass guitars.

AM-Phibia – 4) gain
The heart of AM-Phibia is the gain level, an emulation of
class A tube circuitry. Simply set the gain setting, and the
"magic" happens inside; the frequency response changes,
resulting in the right limit containing fewer highs.

A small amount of make-up gain is used to automatically compensate the relatively high
amplification factor, and typical valve-like distortions and harmonics occur at the upper end
without becoming too loud. Normally, high-gain circuit simulations feature a weak spot at
this high a degree of non-linearity, i.e. so-called "aliasing". Harmonics created by
distortions ideally exceed the audible range. At a sample rate of e.g. 44 kHz, unpleasant
artifacts can occur due to signal mirroring of the Nyquist frequency (22.5 kHz) in the
audible range (without harmonic relation). This is particularly annoying in the case of
distorted guitar sounds, e.g. if you "bend" at the 24th fret when playing solo and aliasing
becomes apparent via bending in the opposite direction. For this reason, we always leave
the internal sample rate of the gain stage between 176 and 192 kHz to minimize artifacts.
 EFFECTS MENU 715

AM-Phibia – 5) postfilter
This section only provides a low and
high parameters; the cutoff frequency
point of both may be adjusted, however
(see "Expert view" below).

- active
The same parameters as the pre-filter stage, except that the mid band is missing.

- passive cut
Baxandall (cut) network similar to the pre-filter, but without mids.

- exciter
Amplifies the low and high frequency ranges via frequency-dependent saturation. The
control elements mix the saturated part with the original, which is common with traditional
exciters. Due to the additional harmonics created during saturation, the exciter circuit can
sound very different than a conventional EQ in case important spectral ranges are not
present. The bass range may also seem fuller due to the switching applied. Despite the
immense sound possibilities, use the exciter carefully, since the ear is fatigued by listening
to this type of signal and due to the high energy density.

- cab simulations
These sound control networks are a departure from "official" EQ settings. The speaker
cabinet simulations imitate the sound of classic speaker/case combinations familiar from
conventional collections of guitarists and bass players. In line with the "analog by design
theory" of AM-Phibia, we've also focused on switch-heavy interaction in this case. AM-
Phibia works with an armada of non-linear amplifier stages, filter circuits for frequency-
response changes, and complex phase-shifting processes. To begin with, we examined
the sound of the speaker and how it becomes distorted depending on the levels, and we
also studied its characteristic frequency responses in relation to its environment.This
speaker emits direct sound from the front, while the back of the cone swings in the
opposite direction so that the waves enter the cabinet phase-inverted. More sound-altering
characteristics occur here: the sound is directed at the enclosure, partially absorbed (e.g.
by insulation material), partially reflected, and mixed with the direct sound. Resonance
effects such as bass reflex openings, static waves, return effects on the speaker, and so
on, are also apparent here. We also added properties of typical models to our speakers
such as bass reflex tubes in the signal transit time, which achieves a "typical" sound that
would not be achievable with impulse responses alone. An important aspect in this case is
the distortion created by the speaker at higher levels.
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AM-Phibia – 6) volume
Volume is compensated using a valve circuit that
adds atmosphere. This circuit ensures that the
output signal does not exceed 0 dB.

AM-Phibia - Expert View

Opening this view mode gives you even more opportunities for editing. Some decisive
sound parameters of the device are accessible directly from here:

- opto mem
This changes how the optical coupling device addresses the compressor and thus the
related memory effect. You can use the "opto-mem" controller to work directly with the
parameters for the system latency and influence the degree of program dependency.
Transients generally have less influence on controlling than longer signals. If set to
minimum, the circuit will recover relatively fast. If set higher, the release time also increases
according to the duration of a loud signal.

- clipping
This function controls the behavior of all tubes in AM-Phibia. Soft clipping (0) generates soft
sound characteristics in overdrive. Hard clipping (100) creates a more global volume,
although it may be high-pitched if handled incorrectly. If this setting is used with guitars, the
sound of the entire device may change drastically, particularly in combination with
distortion sounds.

Guitar players can set this

function correctly by using the
volume controller of the guitar to
control the distortion.
You will thereby most likely find
the optimal setting at the point
where AM-Phibia harmonizes
best with the input signal.

With different sound sources, these experiments are less difficult and are worth trying out.
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- character
This controller works together with clipping and the gain button. Sometimes, however, this
effect is very subtle, meaning that an immediate effect is not audible with all effects. If AM-
Phibia is used as a guitar amp simulator, the controller can determine most of the sound.
"Character" only works on the tube bias (control voltage for regulating the electron flow
within a tube). Capacity changes are also influenced by this reaction, since tubes feature a
memory effect. This way you can observe a slight bass increase and more constant
harmonies.

A higher "character" value with loud and high bass signals can easily add "oomph",
although there is a risk of the sound being rougher in lower ranges. Discreet use of
moderate gain settings can sound similar to "transformer-linked" devices.

- pre MF freq
This controller allows you to change the mid frequency of the pre-filter section. The
available range is dependent on the underlying model

- post LF/HF
These controls change the corner frequencies of all controls of the post-filter section
(basses and highs).
 EFFECTS MENU 719

Analog Modelling Suite: AM-Munition

Samplitude Pro X Suite

AM-Munition: compressor/limiter program

AM-Munition is a compressor/limiter for spicing up the mix and giving it more kick. This
mastering and dynamics tool makes the mix not only louder and adds definition, but can
also be used as a limiter. In the process, transients are conserved and a compact, but
nonetheless loud signal is delivered. This occurs via a relatively slow serial compression
and a soft clipping for the stray level peaks; AM-Munition is sidechain-capable and can also
be used for M/S processing.

The AM-Munition plug-in is an extremely versatile, dynamic tool for editing groups or
signal sums, especially in the area of mastering. It has separate units like compression,
filtering, sidechain, limiter, and clipper. All modules and parameters are optimized to
perform their fundamental functions without any compromises: effective enrichment of the
program material without causing bothersome artifacts, a high maximum volume, and an
"analog" behavior with an individual sound signature. This follows the maxim of allowing
volume without distorting important transients. This is especially a problem with excessive
use of the popular brickwall limiter. In fact, many digital limiters drastically increase the
average level, but only at the cost of vitality of the sound, usually resulting in a fatigued
audio effect. In drastic cases, snare hits are perceived as noise or hissing.

AM-Munition attempts to maintain the attack during increased compression of material. In

this manner, the plug-in also functions as a trick: the limiter level is slower than it would be
otherwise. Those transients which occur will be blocked in a multi-step soft clipping unit
upon output. This clipper works frequency-oriented to enable a relatively high signal level
already "solo", without sounding unpleasantly distorted. With the proper settings the
combination of limiting and clipping results in a livelier sound with more punch and
character.
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AM-Munition appears inconvenient and complex compared to other traditional dynamics

tools at first. However, with its combination of available steps, modes, and parameters, the
plug-in offers creative flexibility and provides a powerful tool in the hands of ambitious
sound engineers.

Overview of AM-Munition

AM-Munition is composed of the following sections:

Mode: The basic functionality of the plug-in is specified here. The normal mode is "stereo",
meaning the input signal is entered on 2 channels (left and right) to the sidechain and
thereby to the control circuit. In M/S mode, however, encoding the stereo signal will be
carried out in parts as "center" (left and right) and "side" (left-right, differential signal). After
this, both parts are sent to the sidechain. The functionality of M/S mode is exceptionally
well suited to compression of material from the pop and dance genres, where bass
sources are commonly positioned in the center of the stereo field. Normal compression in
stereo mode will always produce modulation or "pumping", since the bass drum or the
bass line reduces the total volume with its own energy. However, the division of the signal
into center and side information merely makes a stronger modulation in a different range of
the stereo field more noticeable.

OPTICAL COMPRESSOR: The heart of AM-Munition is made up of two compressor units

which are indicated by "1" and "2". Depending on the selected mode, you can edit the left
and right or the center and side signals. The compressors are based upon a very detail-
oriented modeling of an optoelectrical circuit. The principle in this case is very simple: the
input signal (Side Chain) is used to control a light source. The simulated light hits a photo
resistor (LDR, light dependent resistor), which produces changes in resistance depending
upon changes in brightness. These in turn directly affect the input resistance of the
compressor switching. One could say that the signal source is its own volume
potentiometer. In this case, the important factors are system capacity (light source, its
controls, and the applied photo resistance) and memory effects.Amazingly, circuits based
 EFFECTS MENU 721

on this principle sound very musical and open, and they are well suited for the compression
of program material, provided the actions are not supposed to happen too quickly.

Besides controlling the light source to achieve a specific reference line and envelope curve,
AM-Munition compressors enable the ratio of the input signal to edited signal to be mixed.
This parallel compression offers far-reaching possibilities for the subtle compression of
signals. Because a part of the control circuit is bypassed, important transients of the signal
spectral information are maintained. The compressed portion can often be output in depth
simultaneously.

Both optical compressor units offer the possibility to restrict the frequency response to a
particular output. In this case, a combination of high and low pass as well as shelving filters
come into play. For example, filtering is useful for editing the side signals of basses and
lower mids in M/S mode (keyword: vinyl cutting) or for restricting the cymbals of the
percussion to the edge of the stereo field.

SIDECHAIN: As mentioned earlier, the sidechain signal is responsible for what the
compressor sees. The sidechain value is usually a smoothed mid value of the input or a
peak. By editing the frequency response of this signal, the relationship of the entire
compressor circuit changes rapidly. For example, basses which are filtered out in the
sidechain can maintain controllers against unwanted pump artifacts, and in the ideal case
this also increases the volume in bass heavy pieces.

A mix of output signal at the plug-in and an external source offers additional possibilities for
sound production, especially during a mastering session when single groups are being
edited.

MASTER: The master section features one of the most important circuits of the plug-in for
sound compression and volume enhancement: the limiter. As is the case with the input,
this is combined at the output with a soft clip stage. This makes a fast reaction time or
even a look-ahead unnecessary. At the same time, a skilled choice of limiter thresholds
produces an airy, natural, fundamental sound, even under difficult conditions and high level
reduction. Similar to the sidechain filter of the regular compressors, the limiter also provides
the possibility to remove low frequency signals from the controllers.

The limiter switch in AM-Munition works in two stages (see switch image). The first stage
has the primary task of extracting an envelope from the input signal. This is transferred to
the second stage in place of the actual signal, which in turn forms its own envelope. Both
stages work with different parameters and provide different perceptions of the signal.
Furthermore, the first step may be switched between forwards and reverse detection. This
cooperation between the stages makes a very exact temporal image of the amplification
process possible, especially in difficult situations featuring bass-rich signals, which should
normally be compensated for, but produce disturbing inter-modulation noise with regular
limiters.

The limiter circuit connects the clipping stage, which is composed of two serial units. The
first forms a dual-band clipper together with a 2-way frequency-separating filter. The
advantage of separated clipping of basses and highs (mids, too) is a higher achievable
loudness with fewer perceivable disturbances in comparison to broadband disturbances.
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This sort of disturbing intermodulation and roughening of the complete sound image may
be reduced, especially with clearly-defined bass material.

The applied frequency filter is modeled on the Linkwitz-Riley filter (4th order, 24dB/Octave,
Butterworth characteristic), which is often found in speaker construction. This produces an
adequately sharp separation of bands and ensures an exact phase length as the bands are
combined at the output. The complete phase shift of the 2-band clipping stage amounts to
360 degrees. This should be monitored when AM-Munition is used parallel to other tracks.

Clipping at this stage and the broadband which follows at the output has an adjustable
intensity (see "Config" page below).

The second clipping stage (output end) provides the output's safeguard, and this may be
used "solo" for creative intervention.

The clipping at both stages may be set without stages from hard to soft overmodulation.
This makes a complete series of "analog" sounding combinations possible.

MONITOR section: The individual compressors (1 and 2) or those of the sidechain may be
set to the sum for selective monitoring ("solo"). This makes it possible to adjust the level of
signals being edited so that in active "match" state the volume complies with the volume of
the unedited bypass signal. This will produce a psycho-acoustic phenomenon: louder
signals sound better and can be realistically and easily checked to see if the quality of
signal being edited is still in tact apart from volume increase.

Metering: The center of this plug-in interface features several level displays. Among those
are two VUs, two peak meters, and two stereo meters.

Both of the outer VU meters display the effects of the main compressors when set to the
"reduction" position. The centrally placed displays visualize the value of the reduction
caused by the master limiter. When set to "output", all four level displays show the output;
the VU meters provide the present RMS value (root/mean/square, average level), while the
peak displays measure peaks.

A 0 dB reference value may be set for the RMS value. This is always useful if you would like
to have a clear view of the average level. For example, to produce a song or an album with
an RMS of -11 dBFS (a rather conservative value when one considers current chart
productions, but lower headroom always has a destructive effect). In this case, you would
set the "RMS 0 dB ref" controller to "-11 dbFS". If you place the metering switch of the
output level to "output" for monitoring, the VU meters will show the displacement of -11
dB. If you read -4, then the RMS level is actually at -15 dB.

Both of the stereo meters are very useful for determining the range of the finally decoded
stereo image and for comparing it to the unedited input signal in M/S mode.
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AM-Munition Parameters
MODE
M/S/stereo: Selects functionality; 2-channel stereo or middle/side encoded.

Link: At 0%, both portions of the signal will be treated discreetly by the sidechain (L/R or
M/S). 100% complies with that of a mono summation of the detector signal. Middle and
high values are sensible for complex signals, which sometimes show deflection to the side
of the stereo field.

The settings of this controller affect compressor 1 and 2 and the limiter in the master
section.

OPTICAL COMPRESSOR
Threshold: This controller defines the threshold at which compression occurs. From a
technical standpoint, you control (in contrast to the fader) the signal strength used to
activate the virtual light source with this value. The exact trigger point of the threshold is
dependent upon the selected compression reference point and internal parameters. For
more exact control of this threshold, the VU meters can be set to "reduction".

Output: This parameter is useful for gain increase at high level reduction. We recommend
setting the output so that the resulting level matches that of the disabled compressor level.

Slope: This parameter is like the "ratio" when compared to a regular compressor. This is
not, however, completely correct. In this case, the compression reference point is
influenced so that the result is a softer reference point for lower values and higher values
cause limiting or over-compression. Set at maximum, the reference point of lower
threshold/higher input level even goes a little lower, instead of remaining at a limiter plateau.
This is one of AM-Munition's specialties and is well suited for compression of percussion
subgroups, e.g. when room features are supposed to stand out.

The slope controller does not change the reference point itself, but rather the way that
transients are processed. Set to the minimum position, the compressors will operate in
"feedback" mode, i.e. the input of the detector switch will be fed from the compressor
output. This controller works fairly softly and transparently and gauges the signal gently,
since existing deflections from the envelope are also included. The resulting reference line
is therefore always quite mild.
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The more the slope fader is set to the right, the more portions of the signal will be drawn
into the compressor input. In this way, the controller combines "feed-forward" and
"feedback". The leads to a higher weighting of the transients to produce an aggressive
reference line.

We generally recommend a slope setting in the lower third of the fader for a less
conspicuous transparent compression.

Response: The switching principle employed here provides musically sensible control
times via selection of the "light source" and "photo resistance" system components. The
combination of these components determines the shortest possible tune-in and tune-out
times. With the response controller, the transient time may be extended to a wide range,
since it's as if the image processing time is extended. A variation on this parameter will
certainly have an influence on the complete functionality of the photo resistor, especially on
"memory" effects. In this case, the current energy level of the program material decides the
actual transient time of the compressor.

Comp mix: Input responsive parallel compression is possible with this controller. This is
best adjusted to produce the highest sound transparency together with high level
reduction. Any possible compression artifacts are skillfully masked to bypass portions of
the signal, and important signal peaks and tuning-in processes of instruments can occur
unhindered.

Filter (high-pass/low-pass or shelving filter): The filter switch on the output of the
compressor unit sets a higher or lower frequency spectrum limit on the signal. For instance,
this is useful in "M/S" mode, for filtering basses in the side signal, which otherwise
unnecessarily reduce signal volume and would even lead to problems with phasing of
stereo sources during vinyl mastering.

Both filters have gated characteristics (high or low-pass) on their outer ends, and these
change by altering the cut-off frequency increasingly in a shelving curve with maximum 12
dB reduction. This results in relatively soft filtering that is ideal for basic corrections to the
spectral balance.

Controls (key symbol): Connects corresponding controllers of both compressors and is

useful in "Stereo" mode. Separation in "M/S" mode should be deactivated when settings
on the filters or output controller are adjusted, e.g. to filter out bass signals from the side
signal or to set the width of the bass

SIDECHAIN
Level: This controller allows fine adjustments to be made to the external signal. An
adjacent level may be monitored with the peak meter.

Source: Adjusts the mix ratio between the program and an external signal. This mix forms
the sidechain signal evaluated by the compression circuit.

Note: To enable external sidechaining, please ensure that "Sidechain input" in the menu
bar of the plug-in window is activated and that the relevant source is routed to this
additional bus (stereo).
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Sidechain filter: Describes the functionality of both controllers for the filter switch in
relation to the filter network in the compressors. By limiting this the frequency field, the
ranges may be excluded from detection or weighted less.

MASTER
Output: AM-Munition's final output level. Make sure that the soft-clipping switch is located
at the final stage of the output. The function is to block signal peaks passed on by the
limiter.

We mentioned at the beginning that the philosophy of AM-Munition's sound signature is

based in part on the division of work between limiters and clippers. For high signal
volumes, the qualitative results are dependent on threshold and output values. A high
signal level at the output will inevitably be bound with a high portion of clipped signal
peaks. As the case may be, please use the "clip" display to monitor this. This displays the
difference between clipped and unclipped signals. The higher the display level, the more
clipping results.

Threshold: This parameter defines the threshold for the limiter on the one hand, and also
increases the output level after successful level reduction ("auto-makeup gain"). This
corresponds with the conventional operation of brickwall limiters, since only a few
parameters are needed for quick, targeted loudness.

Release: Sets the return time of the limiter until the controller achieves the output point
after falling below the threshold. Note that some kind of program automation monitors the
signal independent of the set value. For this reason, you will not find any exact controller
times (e.g. milliseconds). The value entered could be understood roughly as the circuit
direction. Lower values provide a very fast control response time and weight the program
automation quite lightly, while higher values produce increased interaction between both of
the limiter's detector stages and participating envelopes.

Sidechain filter (high-pass symbol): For difficult tasks during the compression of material,
for instance with pop or dance productions, it's often useful to reduce bass segments or
remove them completely. In this way, pumping produced by the limiters can be avoided.
The sidechain filter of the limiter can be increased in two steps for this. In this case, always
ensure that the bass range is not subject to limiting like the remaining frequency range; the
clipping stage needs to intervene and limit the signal as required.

MONITOR
Solo: By pressing buttons 1 or 2, one or both of the compressor outputs will be sent to the
monitor line. In this way, you can bypass the master section on the one hand, and watch
over the effects of the compressors on the other. This can be very important when working
in M/S mode.

The sidechain may be monitored via "SC1" or "SC2" as required.

Match bypass: A tool for increasing volume is useful for audio projects, since things
usually sound better when they are louder. In order to properly determine whether your
material has retained its own quality after these processing stages, it is important to carry
out a volume comparison with the unedited bypass portion. The "match" button is provided
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for this purpose. This works together with the corresponding controller as a signal
dampener.

Since the match function lies at the final position of the signal path, you can obviously also
use it to remove audio material with a lower level than that defined by the output clipper as
0 dbFS via the plug-in.

AM-Munition CONFIG
Click the "Config" button to access additional AM-Munition parameters.

The regular compressor view will be hidden and a separate display will appear. This
alternative view shows a series of settings on the right which have a global effect on the
plug-in (independent of the selected preset):

Peak-hold time: The displays for output/gain reduction, clipping as well as extreme
sidechain levels possess memory for top values to display the maximum values. Specify
the holding period of the top value with this controller. After this time elapses, the peak hold
display will fall, provided no higher value exists.

Mouse mode: Normally, AM-Munition is set according to the host's settings in terms of
how the mouse pointer moves and how controls are executed. You can make these
settings explicit. The list features a horizontal/vertical and circular mode.

Mouse wheel inc/dec: Use the scroll wheel of the mouse to make direct changes to
wheels and sliders. Parameters allow the intensity of the value change to be determined by
moving the wheel.

Peak/limit meter range: This setting determines the display range of the output peak
meter, or the level reduction of the limiter (depending on the position of the "GR/Output"
circuit).

The remaining area of the configuration page is reserved for preset-based options:
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Highpass filter @ input: At the plug-in's input, there is a high-pass filter with variable cut-
off frequency and edge steepness. Especially for mastering applications, this can take over
the tasks of "cleaning up" the signal before additional processing and filtering out low-
frequency sections which aren't required or could possibly cause overmodulation/reduction
of the signal's maximum loudness.

The filter applied features Butterworth characteristics (q=0.707) and may be switched from
2nd order to 4th, 6th, or 8th order.

For exact filter settings, we recommend working with subwoofers in good spatial-acoustic
conditions.

The following options involve fine settings in the master section:

Limiter
Detection (feed forward <> feed back: Limiter switching may be set without stages,
whether the signal envelopes are to be gained directly from the input signal (forward), or
whether they are drawn from existing amplitude process generated control voltage (feed
back). The latter approach often creates a calmer, more balanced sound image and
weights transients higher than slower signal sections. The resulting threshold of the limiter
will be simultaneously rounded off a little more (soft-knee). This usually causes a slightly
reduced total volume. Generally, the sound image in "forward mode" is a little more direct
and gripping. Sometimes, however, the effects are quite subtle, and in some
circumstances, these are only perceivable when levels are reduced substantially.

Attack time: Normally, a limiter should feature an extremely fast response time. For "look
ahead" circuits that work with delay in the signal path, the attack time may be relatively
long versus the delay, supplying the limiter with enough room to work correctly. With a
"zero-latency" design like ours, on the other hand, it basically has to be assumed that the
limiter does not get any time at all to adjust. Theoretically, it has to be infinitely fast.

AM-Munition utilizes the cooperation of limiting and clipping. The clipper blocks that at the
output which the limiter lets through to signal's transient response. Sometimes, the attack
time can be accordingly generous. Lower values of less than 5 ms are available if small
level changes need to be smoothed out. Larger values, for instance percussion, may be
placed at the forefront of the total signal in contrast to complete instruments or groups. For
example, with an adequately long attack time, a snare can maintain its punch in a complex
signal and the complete sound can be kept loud and compact. Conventional applications
include harder rock or metal productions (a clipper at the output is a better partner than a
brickwall limiter anyway, since a limiter tends to consume important transients). The
combination applied in AM-Munition, on the other hand, is able to transform amplitude
energy into spectral energy.

Dual-band clip stage

Crossover frequency: This parameter defines the separation frequency at which the signal
separates into a bass or higher range.

Upper-band/lower-band saturation: When this controller is set to the minimum setting, a

hard clipping sound will result as full overdrive is achieved. A high degree of additional
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overtones/harmonics will appear at the clipping threshold. Below this level, the sound
image will remain completely neutral.

Larger values of this parameter produce softer clipping or saturation of the signal. Initially,
this highlights only even numbered, lower-order harmonics (mainly so-called "k3"
harmonics). For example, a sine pattern of 1 kHz is added to an overtone of 3 kHz and
lower amplitude. At 100% saturation, the overtone spectrum is quite similar to that of
analog reel-to-reel machines, if driven via saturation of the tape as with full overdrive at the
limit.

Output clip stage

This also enables the balance between hard clipping and softer saturation to be fine tuned.

Auto gain: This function increases the total level prior to the output by 3 dB, depending on
the clipping settings. This is influenced by the softer saturation characteristic, the maximum
of which is normally already reached prior to complete overdrive, although in this case, this
value is raised by this amount to provide the maximum amount of headroom. Without "auto
gain", loudness will increase as a result of the changed overtone spectrum if the absolute
level remains the same.

If "auto gain" is active, this level increase will be avoided and consistent loudness is
achieved independent of the saturation curve. In this case, the input of the clipper is
lowered by the expected level gain at the output to reproduce a "consistent ratio". This is
especially useful for the dual-band clipper, since duplicate saturation of the signal without
damping may sound overdriven.

The "auto gain" function therefore ensures a certain degree of room in case additional
overtones are generated.
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CORVEX – chorus/flanger

When referring to the chorus and the flanger effects in CORVEX, we aren't discussing only
one of the two effects, but also the variations between them that go beyond the standard
concept.

A chorus generates the typical "floating" sound as known from guitar sounds or synthesizer
pads. You can add acoustic "depth" to an instrument to add more power to the sound or
to create the illusion that multiple instances of it are present.

The chorus sound is created via the so-called Doppler effect. You've probably noticed this
phenomenon in everyday 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. The wave length also
changes relative to the frequency. If there were a second siren at your location, an
oscillation would develop between both sounds (just like when two instruments are out of
tune).

Chorus also splits the signal into at least two components: a direct sound and an effects
portion, and there are multiple effects components in CORVEX.

The Doppler effect is created by a short signal delay from the effect. For most equipment,
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 duplicated a
guitar track, for instance. A short delay in the mix already sounds "duplicated", but this 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.

The "Flange" effect is similar to that of the chorus, but does have a different technical and
historical background. It resulted by chance: someone (various sources say John Lennon)
slowed down one of two running interconnected tape machines in a studio with his hand.
The result was a rather brief delay of the second signal compared to the first, brought
about cancellations within the frequency spectrum, leading to a so-called comb filter effect
(the sum of both signals creates "peaks" and "dips" in the spectrum that look familiar to the
teeth of a comb).

Flanging is basically a chorus effect with a low delay time (less than 10 ms). "Release" or
doubling of signals is not the main focus in this case; more creative deformation of the
frequency response is what we are interested in.
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A complete flange effect will definitely require feedback: the flange portion is returned to the
input to increase the effect. People often refer to this as the "jet effect" since it resembles a
jet on take-off.

CORVEX Parameters
Delay/Modulation Section
Time: Specify the delay time to set
whether you want a chorus or flanger
sound. For the flanger, delay times are
usually between 1 – 10 ms, since in this
case, the typical comb filter artifacts
usually lie within the audible frequency
area (frequency = 1/delay in ms). For the
chorus effect, values of 20 - 40 ms are
normal.

It is debatable what the actual correct delay times are. However, we don't advise you to
conform to any strict standards. Just let your ear decide.

Voices: Use this to set how many internal voices the effect should contain. Two to max.
eight delay units can be activated here. With more than two voices, the sound becomes
fuller and fatter. Uneven voices (1, 3, 5, 7) are assigned to the left channel, even voices (2,
4, 6, 8) to the right. Subsequent elements such as the filter and diffusion units also count
as part of these voices/delay units. Note that an increase in the number of voices will cause
increased processor load.

Span: The time of each delay unit activated per "voices" may be changed with this
controller. Example: the "time" controller is used to set 10 ms and select four voices.
"Span" set to 50% would mean that voice 2 would be delayed by 15 ms, voice 3 by 20 ms
and voice 4 by 25 ms. . For example, you can break up the resonance by increasing the
"span" value at high feedback rates or break apart the sound field at large stereo width.

The modulation depth. The depth or intensity may be adjusted here using the small fader
below "time". You should notice one of the most important properties of these three effects
here: the small faders on the lower row on the front plate features the same value. These
are basically modulation targets. If the modulation target of the LFO is applied as the "time"
fader, this sets the depth of the pitch shift.

At max, the amplitude is at its largest; in the minimum position, the effect remains static.
 EFFECTS MENU 731

Modulation speed: The rate of

modulation. Slow times create a quiet
beat; high speeds sound like vibrato or,
in extreme cases, like it's under water.
The type of modulation may be selected
using the buttons.

Waveform selection: sine, square (sqre) and random (rand) are available. The sine wave is
suitable for rhythmic, quiet sounds. A square wave sounds quite drastic and very rhythmic.
Random mode is useful for ambient sounds or sound landscapes, since the progressions
are not foreseeable and can add an interesting accent to the sound.

The sync button snaps the speed to the song tempo. Alternately, you can set the
modulation tempo manually in Hz.

Tone/Filter Section

The low and high-pass filters limit the signal for each voice/delay unit.

Feedback: Set how strongly the signal in each unit is fed back to itself here. High values
produce a typical, cutting flanger sound. What makes CORVEX stand out from many other
digital devices is that high feedback rates will not create overmodulation. For each delay
unit, the signal is fed at a saturation level to create a soft, analog-sounding threshold.

Diffusion: This is one of the most interesting parameters of CORVEX, and it's rather
unusual for this type of effect. Normally, larger delays are audible as discreet echoes. Using
"diffusion" softens the signal in each voice, scattering its shape. In extreme cases and with
sufficiently high "time" values, even reverb-like sounds are produced. This enables a small
room to be replicated using "time", "voices" & "span", and "diffusion" can be applied to
simulate the natural properties of scattering signals over surfaces. With high feedback
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values, simply modulate the pitch a little (the small controller below "time") to break up the
creation of comb artifacts resulting from static repetitions.

Complex: Usually each voice pairing functions in "PingPong" mode, i.e. the left channel is
reflected to the right and vice-versa. In "Complex" mode, the feedback & diffusion
parameters are combined, which produces a quite chaotic sound. In "Complex" mode,
each one of the eight possible voices affects every other one, i.e. echo repetitions ensure
that diffusion is even faster. In this case, the maximum number of voices make drastic
spatial sounds possible. For this reason, CORVEX even manages to eclipse some
specialized reverb effects...

After this overview of the main parameters, we still need to explain the other small
controllers on the lower row.

As mentioned above, this involves an intensity setting for the modulation depth: each of
these faders specifies how much LFO affects the relevant parameter above it.

The following applies:

 The envelope of the LFO affects the "time" parameter directly, meaning that activation of
the round LED in the modulation section results in increased delay times.
 The LFO also affects all other parameters to the right directly. To the left, the inverse
value of the modulation envelope is taken. For example, if you have selected "sine" as
the waveform, the inverse curve shape will correspond to a sine wave which is mirrored
along the X-axis. In practice, this results in a temporal modulation shift of exactly half of
one period length.

Basically, the modulation values combine with the settings of the main controller. For
example, to get a rhythmic stereo width introduction, set the stereo width control to 0%.
Switch on "sync", adjust the "speed" to "1/4", and set the small fader for the modulation
target (stereo width) to the right. This opens the stereo picture to maximum every fourth
note. Now turn the small controller below "stereo width" to the left: the stereo picture now
plays on the off beats. This is where the inverse envelope is effective and the mentioned
temporal shift is kept intact.

Use the exact same method to modify the other modulation targets and get sounds out of
CORVEX that a normal chorus or flanger wouldn't be capable of. We've created a few
presets that use heavy modulation to quickly get things cooking...
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ECOX – Echo/Delay
This delay provides a creative playing style that's different from common delay effects.

On playback, change the delay times without creating scratchy digital artifacts. Instead, the
times are faded out softly, similar to the old tape echo machines or bucket-brigade circuits
that used the tape speed to change the delay and when the system was also slightly
sluggish.

ECOX can reproduce this type of sound relatively easily, and includes tracking fluctuations
and loss of highs during each feedback in tape echoes, since these are essentially always
present.

Like the CORVEX, the internal feedback features a dual-band filter (low and high-cut) for
creating dark, light, or mid repetitions (depending on the settings).

A particular characteristic of ECOX is that the delay cannot be distorted "digitally". Even in
a "looped" repetition, the signal cannot be distorted indefinitely, but it may be compressed
by an increasingly slight degree and distorted like a tape.
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ECOX - Delay Time

left + right: The delay times can be
adjusted separately for left and
right. Use the "synced" settings to
select the note value which the
controller should snap to. The
same note values may be selected
as in CORVEX. You can also leave
out "sync" and specify free delay
times in milliseconds.

Link button (lock symbol): Press

this button to change both
channels simultaneously with a
delay knob. The link function also
affects the two modulation depth
faders in this section.

The "sync" button beneath it affects the display of the delay time of the left and right
channel in the bar grid.

ECOX - Modulation Section

The same features may be
selected as with CORVEX. The
same conditions apply as those
mentioned above to change the
pitch modulation.
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ECOX - Feedback Path

Filter section, feedback, diffusion, stereo width: see CORVEX

ECOX also includes some pretty wacky presets in addition to the regular ones, just to
prove how much this echo device is capable of - be creative...

FILTOX – Multimode Filter

Much like CORVEX and ECOX, FILTOX is also a "modulation effect". In this case,
everything relates to frequency response deflection: a modulation source controls two filter
units. Possible areas of application are synthesizer sounds (filter sweeps on pads) or
creative distortions in drum loops (e.g. for variations, fills, etc). With guitars, you can create
typical "wah" effects: either by tempo modulation or in a special mode, i.e. modulation via
the signal envelope curve.

The "core" of FILTOX is a stereo multimode filter based on an analog model (Chamberlin 2-
pole filter), which is also known as an "Oberheim" filter. With FILTOX, two of these modules
were cascaded per channel to achieve a switchable 24 dB slew rate.

Our digital model of the filter is designed so that it delivers the typical "analog" sound
character, but it's also useful if you want to apply internal overmodulation. In this case,
interaction occurs between the cut-off frequency and resonance, which makes the sound
seem "undigital".

FILTOX – Parameters
The following filter types are available:
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 Low-pass
 Band-pass
 Notch
 High-pass

Usually, these filter types are designed so that they are able to
be toggled. However, a "state-variable" network is used with
the Chamberlin filter, which means that all filter types can be
taken from "taps" simultaneously. So why leave these taps
static when they can be processed dynamically...?
The actual filter circuit provides the following parameters:

 Cut-off frequency (freq)

 Resonance (reso)
 Internal saturation (drive)

The filter can be set up separately or together with the link

button.

You can set up the cut-off frequency or the resonance for each channel as modulation
targets. Just like with CORVEX and ECOX, the small knobs on the lower row specify the
modulation level.

For the modulation source, in general the same applies as with the previously mentioned
effects. In addition, FILTOX provides the modulation of the filter section via an envelope
follower. In this case, the input signal itself serves as the modulator. This makes it possible
to produce well-known "auto wah" sounds.

To use this envelope follower mode,

proceed as follows:

 In the modulation section, press

the "env" button.
 The two small "gain" controllers on
the bottom help customize the
input level for setting the envelope.
The LEDs at the top no longer
show the LFO speed, but rather
indicate the set sensitivity visually.

 Usually, the sensitivity is controlled so that signal peaks activate the LEDs more brightly.
If gain is set too low, you'd have to set the knobs unnecessarily high for the modulation
targets. If input levels are too high, the behavior will not be noticeable. Additionally, the
problem of overmodulation arises when the detector circuitry of the envelope follower
leads to inaccurate tracking as a result of saturation. This tracking is also influenced by
the following parameters:
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 "Speed left & right" controller: These set the LFO speed. In "Envelope" mode, these
may be used to set the attack & release of the envelope for each channel. This means
that minimum speed settings can cause a quick increase of the envelope to produce
quick modulation access. Since attack & release are coupled settings, quick attacks
correspond to short release values. This way, the control voltage for the filter drops more
quickly than at middle or slower settings.
 You should adapt the speed as precisely as possible to the signal. Times that are too
short can cause errors in tracking and fluctuations, while times that are too long will miss
short signal peaks. Internally, however, the detector works semi-automatically for release
time, so that the setting is less critical than with a purely manual method.
 The lock symbol in the modulation section has a special meaning in envelope mode:
once active, both channels are linked together for detection so that panning effects may
be based on different controller settings, and not because of a stereophonic input signal.

VariVerb Pro
With VariVerb Pro (VARIable reVERB) Samplitude offers you a virtual effect device with
high quality hall algorithms to lend your recordings depth and space. Unlike the Samplitude
room simulator the created reverb is not based on impulse responses but is calculated in
"traditional" manner based on a complex reflection pattern and different software models.

The benefit of an algorithmic reverb such as VariVerb Pro is that you can influence different
parameters and design the room impression as you like. Furthermore, many effects such
as modulation or nonlinear amplification, cannot be realized with convolution, and this
proves the value of algorithmic processes. The sound coloring of this conventional reverb
generation in particular are an interesting aspect with regard to the aesthetic of sound.
738 EFFECTS MENU

VariVerb - Algorithms
The algorithms in VariVerb Pro specialize in a
specific type of room creation that may be
selected from the list of "models" in the display:

 Room A: Small to medium-sized room,

dampening of the low frequencies, immediate
response, high density/diffusion.
 Room B: Room similar to A, less dampening,
slightly different reflection pattern, response is
slightly slower.
 Hall A: Larger hall, slower reverb buildup, less
density than the "rooms".
 Hall B: Similar to Hall A, but features later
response of the reflection, slightly "colder"
sound, and less diffusion.
 Retro room: Classic room effect in the style
of well-known hardware reverb devices from
the 80s/90s. More artificial algorithms than
the previous methods. The vintage/retro
character takes center stage here, definitely
an "effect" sound.

 Retro hall: Type of creation similar to retro room, but a classic reverb effect with the
corresponding reflection pattern. Thick, cloud-like reverberation tail.
 Plate A: Classic reverb plate, high diffusion, quite "dark" and "heavy", slight panorama
effects.
 Plate B: Reverb plate similar to A but with lighter character, faster response, more
resonance, increased vintage character.
 NonLin gate: Non-linear reverb, no sustain, but abrupt end instead (classic "gated"
reverb effect).
 NonLin reverse: Reverb with reversed amplitude, sound impression played such as
"backwards".
 Spring A: Model of a reverb spiral featuring two linked spring systems, typical echo
effects and excitation noise.
 Spring B: Similar to spring A, but the vibration is more balanced.
 HQ room A/B & hall A/B: Extremely high-quality and very complex simulation, but
subject to high processor strain. Nevertheless, or maybe because of this, it's the
definitive main reverb algorithm. Very sculpted, tangible room impression featuring free
positioning of the sound source and the listening location. In this case, the A and B
models differ slightly from one another like in the regular room and hall algorithms, i.e.
HQ room A provides somewhat different dimensions and different composition than B.
With the HQ halls, hall B communicates with A later and sounds slightly more complex.

The individual models and available parameters are described further below.
 EFFECTS MENU 739

VariVerb - Overview of Details

When you open VariVerb for the first time, the device will open in a kind of "Easy" mode.

The Display is the core of VariVerb, since this visualizes the available parameters, their
current values, and a graphical visualization of the reverberated envelope.

The preset list is located above the device interface in the console, where you will find the
typical settings for various everyday studio work tasks.

For general AUX routing, there is a

separate category featuring all
models available in a "default"
setting. This section can be used to
design reverb (if you want to start
from scratch). The mixing ratio is
preset to 100%.

The controller for the mix ratio is

located on the right of the main
interface (direct signal and reverb
portion).

To the left, the "test" section and a "mute" button are provided.

You can use these to temporarily switch off the input

signal during longer reverb decay periods, i.e. if you want
to judge the resonating reverb precisely.
On the other hand, a muted input can be useful for more
complex room design using the test samples: these allow
acoustic evaluation and fine tuning of the reverb effect
using three samples: stick (sidestick), snap (finger snap),
and vocal (short vocal sample).
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A "Zoom" controller is located at the top left corner. You

can use it to evaluate the initial reverb phase. Larger
zoom steps represent the first milliseconds, and for room
and hall models, these also indicate the most important
initial reflections.
The controllers for the actual reverb parameters are
located below the display. Only the most important ones
are accessible first, such as room size and reverb sustain.

You can perform more drastic manipulation by clicking the "Expert" button above the
preset list.

If you hold the "Expert" setting, VariVerb Pro presents all

accessible parameters for the model it is based on.

In "Expert" mode, the distances for the room & hall

models of the first eight reflections are displayed. The set
"size" and pre-delay are already included. These are
combined left-right values for a better overview.

Individual parameters of a model are displayed as a "tooltip" if you hover the mouse pointer
over a controller. You can deactivate these tips with the same button in the display, globally
if desired.

This state will be saved and is independent of the preset or the current audio project.

The following concentrates on the available algorithmic models and focuses on the
individual parameters. Some apply to several models, in which case they are only referred
to once.

Room & Hall

The four available room models (room A/B & hall A/B) are quite complex. Unlike the simple
digital process, reverberation created by VariVerb Pro is not simply produced by adding the
echoes. Simple systems do not consider that real rooms compress echoes with increasing
reverb duration. VariVerb Pro uses a network of reflections that very closely resemble
natural processes.

The most important settings have already been set without opening "Expert" mode. To
make things complete, we will list all available parameters here:
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 EQ low/high: Allows you to "pre-filter" the signal before adding reverb. The filters have
shelving characteristics. The trigger frequencies vary according to the model type.
 Predelay: Determines the delay time for the actual reverb process. This parameter is
ideal for fine tuning in order to convey a feeling of "distance" or "isolation".
 Size: Determines the room size. Moving the slider to the left means the smallest size,
moving it to the right extends the reflection times. Smaller "Size" settings also reduce the
distance between the individual reflections. Resonance may also develop due to the
short temporal distance between them. Increasing the size of the room creates more
space,but this also means that the so-called "modal density" decreases, i.e. more time
will pass before the impression of a confined room develops.
 Diffusion: With this parameter, you can simulate diffusion on irregular walls and objects.
The higher the value, the softer and fuller the reverb sounds.
 ER absorption: VariVerb calculates 16 initial reflections (compiled to 8 in the display).
This controller lets you specify how broadly the last ones are weighted. A lower value
results in a more "lively" sound impression, although this may also have a more intrusive
or unsettled effect. A higher degree of absorption indicates a smaller amplitude as well
as damping of highs.
 ER tail: The mixing ratio for the early reflections and subsequent reverberation. These
reverberations are decisive for perception of the room size. Mixing them into the actual
reverb improves the possibility of locating voices or instruments. Missing reflections at
the start often result in "spongy" sound characteristics without orientation in "room" and
"depth".
 Decay: The reverberation time. Use this controller to define how fast the reverb tail will
be absorbed, i.e. the time for the reverb to ring out. Turning this knob to the left
minimizes the time, you might only hear the first reflections. Turning the knob to the right
minimizes damping and results in long, sustained reverberation.
 High freq: The threshold where the "high damp" effect starts.
 High damp: Allows you to influence the frequency-dependent absorption of the reverb.
A higher value dampens the highs and upper mids similar to the absorption effect of the
air and in particular the material composition of walls.
 Width: Specifies the width of the stereo effect. If set to left, the reverb is monaural.

Plate
A real plate reverb consists of a large metal plate (often 0.5 to 1 m² or more), that is
activated by a magnet and coil system (similar to a loudspeaker). The plate is normally
hung on springs so that it is able to oscillate freely. Various types of damping are possible
to reduce the reverb time. The reverb plate features so-called "taps" at various locations.
These are sound pickups similar to those on a guitar. Several of these taps are combined
to produce a full signal. Reverb plates are usually mono, i.e. a stereo signal is added to the
plate as a sum. A (pseudo-)stereophonic signal is created by combining taps and their
position on the plate.

Real reverb plates are only rarely used today and have been almost entirely replaced by
software simulation. The sound continues to be very popular due to the very dense sound
(high diffusion) and inaudible discreet echoes. They are therefore ideal for percussive
material. In case of vocals, a plate reverb generates a smooth, warm effect. The slightly
"metallic" resonance of a plate can also be used to generate a vintage effect.
742 EFFECTS MENU

Parameter:

 EQ low/high: See room/hall

 Pre-delay: See room/hall
 Size: Size of the virtual reverb plate
 Buildup: Low values result in a fast reverb increase. If the value is greater, the activation
phase also increases.
 Decay: Reverberation time, see room/hall
 Damp freq/damping: See room/hall
 Width: See room/hall
 Modulation: Slightly alters the pitch by automatically varying the internal delay times,
comparable to a chorus effect. This can reduce possible resonance; however,
depending on the material (e.g. vocals or piano) it can have a negative effect on pitch
modulation.

Retro
As already indicated above, VariVerb Pro also features vintage-like algorithms in addition to
realistic synthesis, which is used by many well-known manufacturers until today. The used
processes already have the highest-possible "dispersion" at the start of the reverb phase
and generate a dense, wide sound. This is anything but realistic, since discreet reflections
are mainly perceived as flat echoes. This sound is usually ideal for breakthrough power and
foreground effects. In the past, various manufacturers have attempted to tackle very brief
repeat loops and static patterns resulting from insufficient memory. An interference occurs
in this case that also adds charm to this algorithm.

NonLin
These (non-linear) models are the only ones without a real counterpart in VariVerb Pro.
Non-linear reverb is based on a sequence of individual delay blocks (so-called bursts). By
weighting these blocks, you can create envelopes. Two of these typical envelopes are
"nonlin gate" and "nonlin reverse". These may be set as follows:

 EQ low/high: See room/hall

 Pre-delay: See room/hall
 Size: The size of the individual "bursts" i.e. the length of the total reverb in the sum.
 Diffusion: Reverb smoothing effect. The greater the value, the more echo blocks are
blurred and the more reverb occurs.
 Width: See room/hall

Please note that no decay parameter exists for these models, i.e. there is no "decay".
 EFFECTS MENU 743

Spring
You may be familiar with reverb spirals from guitar and keyboard amplifiers. At the bottom
of these amps, a unit consisting of two to four spirals is mounted on a vibration-free
carriage. Like the reverb plate, this uses systems for transforming the electric signal into a
mechanical one and the other way around. 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
limited due to the losses in the spirals and used pick-up/transmitter. Nevertheless, or
maybe for this reason, the sound is special. Some music styles such as dub & reggae
would hardly be possible without reverb.

The spring reverb is implemented in VariVerb Pro as a digital effect based on so-called
"physical modeling" algorithms. Based on a mass-spring system, the effect operates similar
to the physical model of a swinging string.

Parameter:

 EQ low/high: See room/hall

 Pre-delay: See room/hall
 Size: Size of the spring system, i.e. length of the springs. A smaller value results in a very
short response time and short echoes, greater values slightly spread the typical
"oscillation" of the spring. The length of echoes is increased.
 Decay: Decay length. Please note that unlike the room/reverb and plate models, an
echo effect remains if the decay times are longer. This corresponds with the natural
characteristic of a spring, since these continue move during the release phase.
 Saturation: The spring models also include the processes when "outputting" the signal
and "receiving" it via the magnet/coil system. The transfer of electrical energy into
mechanical power and vice versa is non-linear so that (harmonic) distortions may occur if
the input level is quite high. The saturation parameter more or less increases the output
volume and switches the system into "saturation". Depending on the material, a very
interesting organic effect occurs which highlights the vintage character.

HQ (high-quality) models (Room A/B & Hall A/B)

The above-described room and reverb algorithms are of high quality, very versatile and
require particularly low CPU power. If you want even more realistic and higher quality
spaces and the load on your CPU less important, take a look at the HQ modules. These
simulate a room with rare plasticity and naturalness, almost as if impulse responses were
the basis. But they are not; VariVerb Pro features an armada of delays and filter stages that
may require extra processing time, but they are still very useful.

In comparison to other modules these algorithms cast a far closer meshed net over the
virtual room. The results are natural, fast diffusion of the signal, a high complexity of the
reverb signal without echo pattern, and the possibility to freely position the two virtual
microphones.

If the HQ rooms are opened in "Expert" mode, you will notice that editing for the first
reflections is missing. The reason: in normal modules, the artistic and sound manipulating
effect is in the foreground. A natural room, however, does not differentiate between early
744 EFFECTS MENU

and late reflections. These migrate in time. The proportion of first reflections depends on
the position of the audience.

In "HQ" mode, a reflection pattern and entire sound impression including stereo positioning
may be edited via a top view of the selected room. In "Expert" view, the usual section with
the reverb sustain moves to the right and makes room for viewing from above.

This includes freely positionable

handles for sound sources ("L" and
"R") as well as two microphones ("L
mic" and "R mic"). For instance, if
you increase the distance between
the source and the microphone
("near/far"), you will hear the signal
move away from you; as the delays
increase, the sound characteristics
become more "diffused" and more
complex in total. At the sime time,
the previously harsher early
reflections will disappear. This tool
contains a lot of potential, and it
may also be automated.

Plus, in "HQ" mode, you can also

influence the dampening of highs
as well as the reverberation time of
the bass section.

When interacting with the high band, realistic simulations are possible, e.g. wall surfaces.
For instance, the wooden panels on the walls always reflect bass less than concrete walls
(also due to possible gaps), which may also resonate and absorb the force of long-wave
bass frequencies. The same also applies to the furnishings of a room. Furniture, shelves,
etc. are traps for bass.

Parameters of the HQ room/reverb models: Generally identical to those of regular

rooms/halls.

Exception: "ER absoptn" and "ER:tail" are not available (see explanation above).

Also available are:

 Low damp: Dampening level of the bass range.

 Low freq: Start frequency of bass dampening.
 EFFECTS MENU 745

MIDI cc setup:
The MIDI CC setup is a relatively simple routing matrix, whereby
8 of the available freely configurable MIDI controllers can be used
to control 8 internal parameters.

Every "Controller" field corresponds with a "Destination" field. Next, select a MIDI controller
directly from one of the lists or use the learn function.

If you activate one of the buttons to learn it, any following external controller movements
will be used to get the MIDI CC number. This enables one source destination pair to be
learned after the other.

If all parameters have been set, save the setup by pressing the
"Save setup" button. If you leave the MIDI CC view before doing
this, the previous settings will be restored.
This controller setup may be regarded as global, i.e. the settings are independent of the
selected presets and the current project.
746 EFFECTS MENU

Vandal
(Vandal in Samplitude Pro X Suite/Vandal SE in Samplitude Pro X)

Virtual guitar & bass amplifier

Vandal is a complete simulation suite for guitarists and bassists. This plug-in is capable of
simulating the entire signal chain, from input to stomp boxes, amplifiers, microphoned
loudspeakers and post-processing studio effects, all in top quality.

We focused on several aspects while designing this program, which make Vandal a very
special plug-in in terms of its amp modeling.

Version limits of Vandal SE versus Vandal:

1. The SE version of Vandal only includes the following stomp boxes (floor effects):

 La Crema Overdrive
 Hellfire Distortion
 Chorus
 PhaseShifter / Tremolo

2.MIDI scenes & MIDI controls are not included.

3.Guitar and bass amp, detailed microphone settings, and pre and power amps cannot be
selected manually, rather only via "Presets & templates".

4. The SE version does not feature "Scene memory"; in this case, a preset only includes
one individual scene. If a preset was created using the full version, then only the first scene
will be used.

Special Features of Vandal

 High-fidelity analog modeling featuring accurate models of tube amplification stages,
genuine real-world positive characteristics like distortion, dynamics, and audio
complexity.
 No use of impulse responses during speaker simulation (usually the case), but instead
genuine physical modeling that calculates components such as speaker, cabinet,
recording space, and microphone based on individual physical situations, since this
offers enormous freedom of sound design and real-time control.
 Easy-to-learn interface combined with efficient, easy to understand workflows.
 The focus is on the important components of a guitar or bass setup.
 Not a copy of a famous amplifier, but rather true "Custom Amplification Design" that
features a sound of its own and versatility in terms of audio variety.
 Completely latency-free processing. Vandal does not create any signal delay (primarily
by omitting impulse responses). Only the audio interface and its driver may be
responsible for any in and out-going latency during live playing.
 Control over all component parameters via MIDI
 4-times oversampling (below 44/48 kHz) for components that create distortion. This
avoids typically digital artifacts (aliasing)
 EFFECTS MENU 747

 Comparably low CPU load. Playing live requires the highest-possible drop-out
prevention and as much "head room" as possible. In the studio, you may require multiple
instances of the same plug-ins in one song. For example, for one specific metal riff you
may require 10 guitars instead of two for that real "punch in the gut"; simply let Vandal
rise to the occasion in 10 separate instances...

VANDAL Quick Start

VANDAL Overview

We consciously designed the VANDAL interface to feature a realistic look. As bassists and
guitarists ourselves, it seemed important to us to feel right "at home" here. The only
unusual detail is that the floor pedals (and the gray carpet) are viewed from above, while
the other effects are presented from the front. We admit, there was no way around this...

Also, no one in real life would place an insanely heavy amp on a 19-inch rack. But in this
case, it seemed logical because the signal path flows just like how you are read these lines
– from left to right, and from the top down.

The area at the top of the plug-in is called the "console". This is the so-called
"switchboard" of VANDAL. The second half of this document (view page 770) will explore
these areas in more detail.
748 EFFECTS MENU

Input level: VANDAL and the real world

Independent of the preferred software, amp modeling has to feature impeccable integration
with audio hardware and ASIO drivers. Please ensure stable and latency-free operation and
the largest possible signal-to-noise ratio of the converter or the complete analog section
when selecting appropriate equipment. If in doubt, ask your audio equipment dealer for
advice and consider your entire computer system. On-board sound systems are not
recommended due to their rudimentary or unsuitable driver sets and the often below-
average signal quality.

Before making any "serious" endeavors in VANDAL, please make sure that your audio
interface is supplied with a sufficiently controllable signal level from your instrument. The
input signal at the audio interface should be "saturated", but it should not be
overmodulated. Compared to the possibly desired distortions created within the plug-in, an
AD converter distortion will sound abrupt and horribly digital, and the the worst part is that
you will never be able to remove it.

If very loud velocities sometimes reach the upper modulation limits and the average level
stays at -12 or even -20 dB, everything is normal. The less noise your audio hardware has
in the process, the better. We recommend working with devices that feature a resolution of
at least 20 or 24 bits. A simple 16-bit sound card will stop being fun to use at the very
latest when high-gain sounds come into play.

If possible, use an interface with a high-resistance instrument input (often labeled "HiZ").
Line or microphone inputs are not very well-suited for this; due to the relatively high
impedance values of (passive) guitars or basses, this sort of input has a dampening effect
on the instrument. The sound will seem dull and "dead" as a result...

If the interface does not feature an instrument input, insert a separate guitar pre-amp, a DI
box, or even a simple pedal (not switched to "true bypass).

Instruments with active pickups or electronic components are less affected by this
adjustment problem.

Please take this opportunity to also check the latency or the buffer size used by your audio
system. A good ASIO driver should let you play with a latency of only a few milliseconds
between the stroke and the calculated sound output from the software. Values under 5 ms
are considered good. You may have to experiment to find the lowest limit at which your
system functions stably. If you notice ugly crackling or even long drop-outs, then try a
higher latency.

Input level reloaded: VANDAL's input level

After you have made sure that the external levels are clean, you should take a closer look
at the input level; this controller is located at the top left of the console. Just like with a
genuine guitar or bass setup, it's important to ensure the highest possible input level in
order to be able to work optimally. This is even more important for distorted sounds and
 EFFECTS MENU 749

natural high-gain playing styles. You should make use of metering for this as well (the LED
indicator next to the input control). If needed, activate the noise gate and adjust it so that it
lightly suppresses the input signal during pauses in playing. VANDAL does not cut the input
as hard as classic gates do, but instead regulates them finely via the signal energy,
beginning with the highs, at the point where noise is most audible.

Vandal preset and scene selection

Would you like to know about everything that VANDAL can do as quickly as possible? Just
start strumming away and listen or flip through some of the included presets. These are
available via the list in the upper edge of the console.

A preset includes all settings for the main elements of VANDAL, i.e. stomps, amp settings,
cabinet simulation, studio effects, and a series of control parameters.

All settings for the main elements (such as the amp) are subdivided into "scenes" within a
preset. This "scene memory" is located to the right of the preset list. You may create up to
four variations of a preset using scenes. Numerous included presets make regular use of
the scene concept. We will examine this working method (view page 771) more concretely
later on.

Presets may be switched by clicking on the list or using the arrow symbols. You can also
use the left and right cursor keys.

Scenes may be switched by clicking on the adjoining number (1 to 4) or on the name field
of a scene. Alternatively, you can use the up/down arrow keys.

Of course, presets and scenes in VANDAL may also be controlled via MIDI (view page
773).

Presets are located in a subfolder within the VANDAL folder on the hard drive. These may
be changed however you like, sounds may be exchanged with peers using VANDAL, and
your preset library may be expanded without limits.
750 EFFECTS MENU

Components
Stomp Boxes (pedals)
The real world has produced a series of effect devices popular with guitarists and bassists
in the "stomp box" format. We've also included a rich palette of these devices.

Vandal includes four "stomp slots" for use with effects equipped from the list. The signal
flow within this chain runs from left to right. Stomps can be moved around freely, by
dragging an unused area on a pedal's surface.

When a stomp is assigned to a slot that's already occupied, the two change their places.
Dragging while holding the [CTRL] key creates a copy of the pedal at the new location.

Each stomp box may be detached from the signal path using the "foot switch" or the blue
button next to the selection list. An inactive device does not utilize the CPU.

Some stomps may be familiar to you; we reproduced some real prototypes with regard to
functionality or sound, or simply got some inspiration from others. Some, in contrast, were
created from the ground up and offer original sound ideas.

We're constantly developing the selection of existing stomps that are available. With each
plug-in update, it is our intention to constantly supply you with fresh "food for thought" in
addition to technical improvements. Look for updates to Vandal at
http://www.vandalamps.com.

The following stomps were available at the time this manual was printed (each in its own
category):
 EFFECTS MENU 751

Overdrive/Distortion
La Crema: Inspired by the world's most famous
distortion pedal: the Ibanez Tube Screamer. La
Crema offers soft musical overdrive sounds for solo
parts, or simply serves to provide the amp with a
prepped, contoured signal. The available gain is
comparatively moderate; this is a typical pedal for
classic rock and blues.

Halvar: The name may sound a bit clumsy and

coarse. In reality, however, this blue Scandinavian is
a real softie and is a homage to Yngwie J.
Malmsteen and his preference for DOD distortion
pedals. Halvar tidies up nicely in the bass range,
and it's outstanding for shredding and styles of play
where crystal-clear response without any bassy
noise is important. The gain factor is comparable to
La Crema, but Halvar distorts "harder" and has less
accentuated mids.

Hellfire: Welcome to guitar hell! This pedal will roast

everything, deliver gain until the cows come home,
basses from the pit, cutting highs, and it easily
creates the typical "scooped" sound of popular
metal bands.
752 EFFECTS MENU

Fuzz: I can't get no Satisfaction, Foxy Lady. That

basically says it all...

The Fuzz effect is famous for its singing-saw sound.

Where overdrive and distortion effect the signal in a
comparatively mild way to let it "breathe" within
limits, Fuzz attempts to rebuild the sound from the
ground up according to its own principles.

Bass Distortion: This pedal is of great service for

bass players in search of juicy & meaty tones. For
massive, chunky overdrive sounds, it is important to
reduce low-frequency content from a distortion
device. With classic fuzz tones, it's quite the
contrary.

This distortion device delivers both, and many

facets in between. It is equipped with a dual filter
network, located before & after the distortion
process. Simply tweak your favourite sound texture
to taste.

Modulation effects
Chorus: The application and sound remind us of
our personal favorites: those good old Boss pedals.
Our Chorus offers modulation that's soft as butter
but still crunchy and always assertive.
 EFFECTS MENU 753

PhaseShifter/Tremolo: A phaser alone is already

quite spacy, and a tremolo can sound a bit
psychotic, but both together... Whether soft or
choppy modulation (->Wave), slightly out of tune, or
with sharp resonance effects... (-> Shift Q), it can
sound as if it's up in the clouds or totally sick!

Flanger: Although technically related to the Chorus

function, the Flanger uses shorter delay times and
internal signal feedback to produce slightly edgier
modulation effects. This Flanger pedal certainly
sounds soft and wide in the same way that analog
flanger pedals sound.

Bass Chorus: The essential sound of this pedal is

very similar to the "normal" Chorus. Frequency
response, delay times, and modulation curves are
certainly optimized for use with bass. The Bass
Chorus produces enormous width, but it never
becomes muddy, no matter how deep it gets.
754 EFFECTS MENU

Delay / Reverb
Digital Delay: A simple delay pedal without too
many frills that features maximum sound
transparency. Simply set the time (via the delay
controller), the feedback, and the damp level, mix it
in, and that's it. As required, the delay time may be
snapped in to the host software's currently active
tempo via the sync switch.

TimeTunnel: Compared to the DigitalDelay, this

pedal is a real vintage item. The (virtual) switching
corresponds to that of the built-in "bucket brigade
delay" in other stomps. Properties such as loss of
highs in case of long delays or the "compander"
switch for noise suppression of "breathing" sounds
created by high feedback settings are clearly
audible.
The BBD memory's virtual sampling rate may be
modulated via the "Mod" controller similar to the
Chorus effect, which enables very lively delay
textures.

TwängBäng Spring Reverb: This is truly an

authentic recreation of a spring-reverb system,
incorporating all those lovely boingy, springy &
slinky noises admired for decades. TwängBäng lets
you select from a spring system using two seperate
springs, or from one consisting of three springs.
Both have similar delay times as of certain well-
known US spring devices, but each one does have
a distinct colour and reverb pattern on its own.

The 2-spring system sounds quite "vintage" while

the 3-spring mode is a bit more balanced and
open. Using the "tension" knob, the "springiness"
and therefore the delay and attack structure can
be altered. "Tone" & "damping" decide over the
overall color and reverb time. Using a fair amount of
„drive" makes the simulated transducers sweat a
bit, creating a thick "glue" to the reverb sound.
 EFFECTS MENU 755

SpaceCake Echo Reverb: This pedal is a perhaps

unusual amalgam of a muti-tap delay and a reverb
systems known from the late 1970s. Using proper
BBD (bucket-brigade delay) emulation techniques
borrowed from "TimeTunnel", the signal feeds two
seperate delay lines here. Each delay has 4 taps on
the output, which have user-adjustable weighting.
This alone already lets you dial quite unusual
reflection textures.

In "reverb" mode, things can go more wild. Now,

the feedback signal of a delay line is derived from
the sum of all 4 taps, and the two feedback paths
are cross-coupled. Depending on the actual delay-
time ratio of the two delay lines, very complex
echoic and reverberant tails can be created. Just
keep in mind that by summing the taps in "reverb"
mode, the system is prone to instability. Luckily,
you have the "mod" parameter at hand, slowly
varying the delay times and keeping feedback
under control. And it greatly enhances that
"spaced-out" feeling.

Volume/Dynamics
Volume Pedal: No explanation needed. Step on
it, give it some gas. You are, after all, driving with
tube equipment! If the amp is set correctly, you
can control distortion levels precisely just by
varying the volume. Common swelling sounds are
also no problem when using MIDI controls.
756 EFFECTS MENU

Compressor: The heart of this pedal is the

modeling of a simple floor-board effect's typical
control circuit, which is based on an FET (field
effect transistor). FET compressors are famous for
their speed, high degree of sustain, and above all
for their character at comparably low switching
complexity. Of course, the guitar signal may also
be compressed subtly or only the attacks may be
enhanced specifically.

Bass Compressor: The basic circuitry of this

Stomp Box is comparable to the "normal" (guitar)
compressor. Under the hood, adjusted
specifications control at decisive positions to
provide bassists with consistently solid sounds.
The Bass Compressor works frequency
selectively, i.e. very deep frequencies trigger the
process less intensely than mids or highs. This
enables the Drive controller to be used to produce
a good foundation and thrust.

Twin-C: This compressor pedal divides the

instrument's frequency range into two ranges (low
& high) and sends these to separate compressor
stages. This separation helps to avoid pumping
artifacts or other typical problems caused by
broadband compressors. The stomp selects
control times automatically. Basically, very short
attack times are applied to the upper band, while
longer times are applied to the lower band. Twin-C
enables slap bass sounds with extreme punch to
be created easily, which offers a very sturdy
foundation and a sound that "goes straight at
you".
 EFFECTS MENU 757

Tube Compressor: This stomp box uses virtual

tube circuitry. Although in this case, it doesn't
neccessarily mean the process is about distortion.
It's more the fact that the gain-reduction process
is a function of tube operation: like the "variable-
mu" concept used in popular concepts from the
1950s onward, a tube can be externally controlled
to change its amplification factor.

Of course, such a circuit can be driven hard by

purpose and produce typical tube-like saturation
textures.

In order to keep things well-balanced and

controllable, a (symmetric) push-pull circuit is used
in this design.

Using low to moderate "drive" settings, this pedal

is a very smooth & gentle dynamics compressor.

Filter/EQ
CheWahWah: This little red rebel will prick up
your ears. It can scream out your solos and fills
loudly and clearly while keeping its cool and
staying smooth. This is one of the few digital wah
pedals that doesn't sound digital. On the normal
setting, the pedal acts like a regular wah pedal; in
auto mode, the filter circuit reacts directly to the
incoming signal's amplitude. In this case, the
pedal varies the sensitivity of the auto wah effect.

EQ: This pedal enables the guitar signal to be set

precisely in seven frequency bands. This is not
only suitable for corrective adjustments, it's also
great for supplying any subsequent overdrive or
distortion stages with perfectly prepared sound. It
also performs well in solo passages, e.g. in case
the mid range needs to be highlighted.
The heart of this EQ pedal is a circuit based on an
analog model which features parallel filter stages.
In this case, the typical disadvantages of serial
filters such as phase problems and sound
degradation are avoided. This EQ features the
desired properties of real circuits, including added
harmonics to the input or individual filter stages.
758 EFFECTS MENU

TrebleBooster: This effects pedal is ideal for that

"British" sound or any kind of crunchy style. It
effortlessly provides crystal clear highs to the amp
or to other connected stages. Rhythm guitars
come to life, while leads sparkle out of the
speakers.
The underlying circuit remains unique in spite of a
certain likeness to vintage treble boosters. The
adjustable corner frequency ("freq" controller) is
the key player: depending on the setting, dramatic
changes to the frequency and phase responses
may also be heard, which makes the booster
extremely versatile.

FunkFrog: The ideal companion for sixties & funky

styles, but also great for a lot more. In principle,
this pedal is an auto wah; however, the frequency
band is not only controlled by the input signal via
an envelope follower ("env" controller). The "mix"
controller allows an LFO (Low Frequency
Oscillator) to be mixed in as the controlling signal.
This creates a kind of rhythmically croaking auto
wah, or maybe an oscillating, whirring filter thingy..

Others
Octaver: This effect uses classical frequency
division switching to produce to sub-harmonics
from the (mono) end signal. The controller "oct1"
defines the portion of the first sub-octave (-12
semitones), and "oct2" defines the portion of the
second one (-24 semitones). The direct portion of
the signal may be mixed into this.
Both filter controllers enable the sharpness to be
removed from the waveform that is produced, e.g.
in order to thicken it up just for the bass range.
As usual with octavers, clean tracking requires
single tones; chords should not be played. In
general, the selection of the neck pickup is also
important, since this is where the basic sound is
transferred most clearly.
 EFFECTS MENU 759

Amplifier
VANDAL essentially offers 2 different amplifiers; a guitar amp and a bass amp. These may
be selected from the list in the "amplifier panel" below the stomp view.

As we mentioned, in VANDAL we found our own way and avoided modeling specific
amplifier brands and models. The amplifiers are setup variably, allowing you to get a
number of different sound characteristics out of your VANDAL amp. Internally, these circuit
designs work exactly the same as the real versions. We improvised at some musically
decisive points by just relying on our ears.

Amplifier Concept
VANDAL essentially offers 2 different amplifiers; a guitar amp and a bass amp. These may
be selected from the list in the "amplifier panel" below the stomp view.

As we mentioned, in VANDAL we found our own way and avoided modeling specific
amplifier brands and models. The amplifiers are setup variably, allowing you to get a
number of different sound characteristics out of your VANDAL amp. Internally, these circuit
designs work exactly the same as the real versions. We improvised at some musically
decisive points by just relying on our ears.

Amp/Cabinet Template
The extremely variable concept for amps and cabinets within VANDAL is great for
individualists, but it would take a bit of time to imitate a band mate's 40-year old Marshall
with speakers of the same vintage. If you want to use a combination like this often, then it's
nice to have a library for it, which is exactly what the templates are for.

Our team of experienced musicians has compiled a multitude of settings for the amp and
speakers. These templates may be changed at any time, or you may create your own if a
particular combination of amp and box is especially appealing.
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Guitar Amp

Circuit Philosophy
The VANDAL guitar amp offers three different pre-amp modes and two switchable
end stage models. This basic configuration may be changed via the wrench
symbol on the right side of the amp.

The pre-amp has three modes of operation:

 Classic (think Fender, early Marshalls, or the first Mesa/Boogie amps)

 British (oriented on Marshall Super Lead / "Plexi")
 Modern High Gain (design similar to "souped-up" amps like Rectifier, Soldano or Peavey
6505)

More about pre-amp modes and their properties resulting from channel selection can be
found in the chapter "Pre-amp Channels" (view page 761).

The last stage has two modes:

 Class A, low power: A simple, low-performance, but musically pleasant distortion. In

"A" mode, only a half-wave of the signal is amplified. To do this, the signal is brought to
approximately half of the amplification range of the end tube(s) through bias voltage,
because tubes always amplify only a half-wave of an alternating circuit. A class-A circuit
may be put together using only a few components and sounds very "warm" because of
its constantly asymmetrical characteristic curve shape (some even harmonics appear).
This amplifier, however has the disadvantage of low efficiency or low output performance
 EFFECTS MENU 761

and a comparatively high liability of erosion. The latter has been left out of the modeling,
of course...
 Class A/B, high power: In this case, each half-wave has its own tube, which (almost)
doubles the efficiency. Class A/B router amps are more complicated to implement (and
calibrate). Compared to Class A, the sound characteristics include descriptions such as
"sovereign" and "powerful", but somewhat "colder", because they result in almost
exclusively odd harmonics. Using positive and negative feedback via the output
transformer, an additional "sound design" is often added here. For this reason,
VANDAL's A/B power amp features more juice in its lows and more bite in its highs.
 Presence: On many amplifiers, this pot is located next to the EQ section, although a
presence boost actually takes place inside the power amp circuit. Most push-pull amps
use negative feedback (from the output transformer back to the power amp's input) to
linearize the amplification process. Lowpass-filtering this feedback signal and mixing it
(anti-phased) with the input results in boosting the mid and treble region. Using
presence, the sound takes on a livelier and more up-front character.
 SAG control: Many older tube amps use rectifier tubes to transform AC current to DC
(instead of conventional semiconductor diodes used today). However, a tube is a high-
resistance component, and can't produce an even current flow during steep load
changes. This "sagging" feature of a cranked-up tube amp is the acoustical result of
these short-lived interruptions. Moderate sagging is initially perceived in the attack; it
sounds somewhat compressed, but in a "lively" way. If the effect is even stronger, it
changes the entire signal. Besides the dynamics, the harmonics spectrum also changes,
because operating point of the tubes is shifted.
 Sagging occurs in this form only in push-pull end phases; in principle, Class A amps
always draw constant (maximum) current from the mains.
 Intensive sagging will result in creating less "presence", as the overall signal gain in the
power amplifier decreases, thereby generating only small voltage excursions to feed
back on the power amp's input.

Preamp Channels
The guitar amp is set up with three channels in all preamp
configurations (Classic, British, Modern High Gain).

 Clean: This channel should create no distortions. If the incoming channel is "hot
enough", then it will be distorted in a typical tube fashion. The model will use only half of
a double triode; in principle, a simple amplification takes place at the "working level".
 Crunch: Amplification stage number, circuit and, last but not least, the resulting sound
all vary:
- Two amplification stages are used in the "Classic" preamp setting. This model
uses a long-established design that is similar to the classic Fender amps or the
first Marshalls. The "classic" preamp delivers saturated lows that are only slightly
dampened by the second stage. As a result, this circuit delivers the typical
"brown" sounds of older vintage amps.
- The "British" switch is inspired by dual input stages, such as Marshall "Plexi"
variants (JTM, "Super Lead", etc.). The signal is sent to half of each triode circuit,
and these favor different frequency ranges ("warm", "bright", etc). The "British"
circuit in the VANDAL amp uses a set mixing ratio for both tube portions. In
762 EFFECTS MENU

contrast to the "Classic" version, this preamp setting sounds more "alive" and
reacts much more sensitively to dynamics, pick-up selection, and gain
settings/guitar volume.
- "Modern High Gain" delivers the typical fat sound that is rich in highs, similar to
American amps like the Mesa/Boogie & Co. in 3 cascading amplification stages.
Before the second and the third stages, the proportion of lows and highs is
regulated, so that low tunings and quick passages are amplified without any
"mud" and the signal always remains clear and assertive.
 Lead: In all preamp modes, the lead channel consists of an additionally cascaded tube
circuit. In the "Classic" and "British" preamp setting, the lead channel may be viewed as
more of a modification of "tuning" of vintage aspects. The "Modern High Gain" variant
really gets going here. In this setting, VANDAL playfully takes on even drop-C or -D
tunings.

Tip: Even if you don't want to use up all your gain in the crunch & lead channels, you can
still try to go "a level higher" and take the (pre) gain level down a little for a slightly distorted
sound. This increases the sound's complexity, and it will also seem more lively.

Pre & Post Gain

You can set up the desired amplification factor with the pre
and post gain controllers. The pre-gain controller corresponds
to the normal "gain" controller on most amps.

Using the post-gain controller, the currently active channel's overall volume may be
adjusted to another channel, or a certain channel may be raised (e.g. for a solo).

Don't worry about switching settings around in the middle of things; the amplifier will
remember the gain settings when channels are changed.

Voicing
There are a number of more or less open secrets with regard
to the different signature sounds of guitar amps. This one
might sound "bluesy", but doesn't sound so great with more
gain, and the other is contoured for grindcore metal and fat
sounds, but maybe it's a little anemic otherwise... How does
this work?

Most amps in the real world use more or less the same or similar circuitry designs. The
important thing is the number of amplification stages involved. Each new stage not only
increases the level of audio complexity, it also has a large influence on how the way the
signal is treated before and after that stage. Filtering is the key:

In addition to preset filtering circuits between the amplification stages, we gave VANDAL a
little something we call "curve EQ". Assuming that you are using an EQ pedal before the
amp, you can change the distorted sound drastically, because instead on the overall
sound, you can favor certain frequencies. Curve EQ does something similar: it's located (in
some cases in multiple instances) at strategic points between individual amplifier stages,
 EFFECTS MENU 763

and it filters the signal before it is distorted by the next stage. This is known as "voicing".
For fun, turn a curve in both directions and move around a bit with the frequency controller
in the spectrum. This will give the amp a completely different character. By combining
channels, pre-amp modes and voicing, you can create a completely individual amp sound
and even imitate other amps.

Equalization
The actual sound control (the "tone stack")
functions rather conventionally: VANDAL offers low,
mid & high settings.

Everything functions like the passive sound regulation network in genuine amps so that the
controllers influence each other to produce numerous variations. Depending on the preamp
mode, the activation frequencies are slightly different.

Reverb
Genuine studio reverb devices are great, and VANDAL has two of them
included in both multi-effect units. However, styles such as surf, twang,
sixties, and others require a spring reverb. We've drawn on famous reverb
spirals for our modelling.

Everything sounds natural with complete authenticity. This means that it has an old-school
style rattle and typical rippling on the attack.

Master
The master control may be used to determine more than just the total amp
volume. Since this is located before the end tubes in real amps, you can also
use it to control the end stage distortion level.

This is very easily perceived in the class A mode; it doesn't just get louder, it also becomes
more compressed and distorted.

If you are used to amps without a master volume, simply leave this at the maximum setting
and control gain via a pre-stage and the final volume and the cabinet simulation or at the
console output.
764 EFFECTS MENU

Bass Amplifier

During development of the VANDAL bass amp, it was our main goal to create a recipe
consisting of the best amp designs in a single amp featuring an all-tube design that would
be simple and easy to use.

The core features of the VANDAL bass amp are:

 Multi-stage tube preamp (with extra distortion stage)

 Contour control for extra-fat bass and glittering highs
 Controllable optical-electrical compressor
 4-band sound control
 Class A/B tube end stage

Gain Control
The input level of the first amplification stage is set in the bass amp via the
gain controller. Low to medium values leave the signal relatively neutral, and
high values softly increase saturation.

Contour
The contour circuit is a filter stage that works similarly to the "Loudness"
function. This control lets you give the bass sound an underlying character
without additional EQ measures.

Turned all the way left, no effect will be present. However, the more the control is turned to
the right, the more the mids will be thinned out and lows and highs raised. It's sort of like
an "instant slap".

Comp (Opto Compressor)

After the contour circuit, the signal passes through the compressor stage
(Comp). This is a simple but extremely musical "optical-electrical" design:
the bass triggers a light source (e.g. an LED or a luminescent film) that is
coupled with a photo resistor.
 EFFECTS MENU 765

The louder you play, the more light falls on the photo resistor, which in turn dampens the
signal. This may already be familiar to you from the most famous studio compressor for
bassists, i.e. Urei LA2A, which functions according to the same principle.

There aren't that many settings to change in such a simple compressor. The control times
are mostly determined by the sluggishness of the photo resistors. The comp control only
sets the signal strength, which is routed to the light source.

Drive
After any possible compression, "Drive" provides the option to take the bass
sound to the next level. The drive circuit is an additional amplification stage,
which is proportionally mixed to the main signal. Signal distortion takes
place depending on the frequency:

In spite of a level of distortion, the basses remain relatively clean and contoured. This
guarantees complete "traction" of the signal when the controller is set all the way to the
right.

Equalization
The following equalization stage
offers 4 frequency ranges, in
which case the two mid bands
are variable.

Some bass amps allow their EQ circuits to have a drastic effect on the signal. We decided
on a softer filtering with an edge slope of 6 dB/octave to avoid fully counterfeiting the
essential character of the instrument in spite of the four bands.

Master
The final master volume controller sets the volume at the final stage. Similar
to the guitar amp, the end tubes are also engaged in this case as much as
remains sensible.

Through the interaction of gain, drive & master, countless saturations and distortion
textures may be modeled as needed.

Cabinet Simulation

As was mentioned at the start, we went our own way in simulating the speakers and
cabinets. In place of impulse responses from microphoned cabinets, we've calculated the
individual components of this sort system:
766 EFFECTS MENU

 Loud speakers
 Housing
 Recording space
 Microphone

True to our "custom amplification" philosophy, this process provides total freedom and a
certain measure of personal dynamics, which is the final deciding factor at the end
concerning whether the system feels "lively". VANDAL also takes subtle effects into
account, such as the reaction of the speaker's housing, the effect of this on the end stage
that is applied, and so on.

Speaker Selection

The speaker selection list allows you to choose from a selection of speakers of various
sizes and sound characteristics. These are organized according to guitar and bass types:

Guitar
 10“ UK Vintage 12“ UK Vintage 12“ UK Modern 12“ UK Blue 10“ US Alnico 15“ US
Alnico 15“ US Fat

Bass
 10“ Custom Rock 10“ Custom Alu 15“ Custom Rock 15“ Custom Alu

Housing Selection

Various housing types may be combined with the available speakers in the housing list.
This selection list is also organized according to guitar and bass types.

Guitar
 1x12“ US Combo Open 1x12“ US Combo Closed 2x12“ UK 4x12“ UK 4x10“ US Tweed

Bass
 4x10“ Ported (Bassreflex) 1x15“ Ported (Bassreflex)

The housing has a significant effect on the resulting sound with a selected speaker. In
general, open housing types are somewhat weaker on the lows, but go lower and sound
somewhat more neutral than closed types. Larger housings also sound "bigger" and
maybe "fatter". However, this is not always desired; for a guitar solo or for certain styles like
blues, a small combo housing may be much more assertive or simply more "charming".

It's up to your creativity whether you would like model the cabinets on realistic role models
(e.g. 12" vintage speakers in a 4 x 12 housing) or place a 10-inch design in a 15-inch box.
Refer to the "Advanced settings" a little further on for all other variations to help you create
your own "personalised" speaker.
 EFFECTS MENU 767

Microphones

Cabinet simulation offers two separate microphones for the recording of the virtual speaker
in a modeled recording space (MIC 1 & MIC 2). Similar to a real-life situation, you may
position a virtual microphone stand in a space to achieve interesting mixing ratios and
stereo effects.

For each of the two available microphones, you may select from a list which includes
several popular studio types featuring characteristic sound models:

 Condenser, Dynamic 1, Dynamic 2

For each selected microphone, a range of sound design parameters is available:

 Axis: The "on axis" (controller to the left) setting corresponds

positioning of the microphone directly in the middle of the speaker
cone. In this position, the sound will have many highs, but may
sound piercing. For this reason, the microphone will often be
positioned a bit "off axis" in order to achieve a softer sound.
 Distance: This control allows you to remove the microphone from
the speaker and position it further away in the recording studio.
This way you can make the sound more alive and loosen it up
acoustically. Using two microphones with different panoramas (see
below) enables you to create extremely realistic stereo images
(note that the axis parameter has a decreasing effect in relation to
the increasing distance).
 Pan: This parameter distributes the microphone signal in the
stereo sum at the output of the cabinet simulation.

 Level: This adjusts the microphone volume.

Advanced Settings
Clicking the wrench symbol accesses additional cabinet simulation
parameters:

Speaker Distortion: As discussed at the start of this manual, we

have also modeled the non-linear aspects of a speaker. These
dramatically change the sound, depending on how hard it is
working. Under heavy loads, not only more distortion is created,
but the dynamics and the frequency spectrum also change. This
control allows you to set the effect of the non-linear behavior within
certain limits. Please note that the acoustic effect of this parameter
also depends on the amp's end stage.
768 EFFECTS MENU

Cabinet Balance: We have already explained that the housing is

an important part of the overall sound. This parameter allows you
to set just how much effect this has. Turned all the way to the left,
the speaker exists almost "free in space", turned to the right, you
are picking up sound directly "in the box".

Enclosure Damping: This parameter sets the level of housing

resonance. The normal value is in the middle of the control range.
When turned all the way left, the housing sounds "emptier"
(increased resonance). Turned all the way right, the speaker
sounds as if it were covered in insulating material, and typical
resonance features are reduced.

Room Size: This adjusts the size of the recording space being
modeled. The more the controller is turned to the right, the bigger
the recording studio's dimensions become.

Room Damping: Similar to enclosure damping, the materials

involved and the room's capacity to absorb may also be changed.
When turned to the right, the room is dampened to the maximum.

MIC 1 / 2 Delay: Turning either knob (or both) delays the

corresponding mic signal to up to 30 milliseconds. This can
be handy in creating spatial effects (thereby taking advantage
of the "Haas effect", allowing localisation through time delay).
Interesting new tonal textures are also possible by using just
very small amounts of delay on either mic.

Phase Flip: These switches regulate the phase length ("in-

phase"/"out-of-phase") of both microphones. This is helpful
in case the signal from Vandal needs to be mixed with others
or in order to create interesting sounds by changing the
positions of the virtual microphones.

Rack effects (FX1/FX2)

There are effects that don't always work well when placed before the amp, e.g. reverb or
delay, especially when they are distorted. Normally, these effects are better placed at the
end of the signal chain.

For final processing and enrichment or whatever else you need, we offer two separate
studio-quality effects units that behave just like real 19" rack devices.

Many of these algorithms create a stereo signal. As required, make sure that the channel
strip is being calculated as stereo in the audio sequencer track.
 EFFECTS MENU 769

Effects units may be selectively operated one behind the other (serial)
or parallel. Switching may be changed via the mode switch.

The following algorithms & effects are available:

 Mono Delay (msec & tempo sync): Selectable as a simple delay with freely adjustable
delay time or synched to the sequencer tempo with a musical raster. In case of higher
feedback values, a reduction of the damping frequency is required to provide natural
echo sound.
 Stereo Delay (msec & tempo sync): Features two models, just like mono delay.
Repetitions may take place on separate channels (feedback controller to the right: dual
delay) or in ping-pong mode (controller to the left), in which case the signal alternates
between the sides.
 Chorus: Produces a typical "floating/shimmering sound" via modulated detuning of a
signal to "thicken" the sound or spread it across the stereo field. Detuning is achieved
via a short delay, the length of which may be varied via the modulation. This produces
the so-called "Doppler" effect and broadens the signal.
 Flanger: Similar in terms of the algorithm that is applied to chorus, but different in that
the delay time is significantly lower and delay works via repetitions (feedback). The
flanger sounds more cutting and up-front than chorus.
 Phaser: A modulation effect just like chorus & flanger, but in this case no detuning takes
place. Filter components periodically alter the signal's "phase response" (principle of the
"phase shifter"). When mixed into the original, characteristic notches are produced in the
frequency spectrum response (comb filter effects).
 Room Reverb/Hall Reverb: Reverb offers realistic simulation of realistic reverberation.
Room creates the impression of a small to mid-sized recording room, while reverb
produces the impression of a concert hall. A particular is that both effects algorithms
provide a modulation parameter, which may remove possible resonance at low dosages
and can produce a soft chorus effect at higher values.
 Vintage Plate Reverb: The algorithms used in this type of reverb are quite similar to the
ones that popular hardware effects units back in the 80s used to emulate that certain
dense space of reverb plates. The resulting sound is correspondingly "wide", spacial and
responds very directly, with immediate dispersion and no single echoes. Modulation of
the reverb tail is also possible here, to minimize the typical ringing of the underlying
metal-plate model.
 LoFi: Depending on its setting, this algorithm adds grit to the sound or a certain
measure of signal destruction. Turn down the internal sample rate as much as you like to
steal a few bits from the sound's resolution. Definitely an unconventional method...
 Vintage Compressor: Ideal for thickening up the signal a little. The algorithm emulates
an older popular circuit design that is similar to studio legends like the Urei 1176 or
simple compressor pedals. A so-called "FET building block" simply, effectively, and quite
musically controls the volume via the input level, the set compression level, the
compression ratio, and the response responses (attack and release).
 3-Band EQ: This sound controller works like a conventional mixer with a controller for
the bass, the highs, and two controllers for the variable mids. This adds the final polish
to your sound.
770 EFFECTS MENU

Console

In the quick start (view page 747) chapter, we mentioned that the console is the central
switchboard for all of VANDAL's software. This interface is divided into various sections:

 Controllers for input and output levels, noise gate & limiter
 Management of all underlying components as a preset file
 Management of 5 remote controls for steering any parameters
 Chromatic tuner
 Advanced settings (MIDI, global)

Preset Menu

Presets are files within the VANDAL folder that consist of four scenes (but not all four must
me used).

The default presets are organized in (sub)folders on the hard drive and may be located via
the navigation structure in the presets menu.

An altered, but not yet saved preset is marked with an asterisk (*) in front of its name.

To save a preset, click on the diskette symbol and enter a descriptive name in the dialog
that opens. Navigate to a subfolder or create a new one as required.

The number of possible presets available within VANDAL is unlimited. The same applies to
variations to settings saved as new files. For the sake of preserving a clear overview, we
recommend saving your own preset files in specific subfolders. The depth of the folder tree
is unlimited.

Remote Parameters

The five controllers provide an elegant option for adjusting any desired parameter in
currently activated components. These may be controlled via MIDI and via VST automation
in the sequencer program. The remote control is also the interface between Vandal and the
outside world. The controls may be assigned via the advanced settings (view page 771).
 EFFECTS MENU 771

Scene memory
Imagine you have to put together a set list for a gig.
A good idea might be to create a list in Vandal in the
form of presets.

It might be an idea to create a new folder and enter the location and date of the gig as a
title. Then save the individual presets for each song in it.

As a guitarist, you will probably want more than a single setting for each of your songs. If
more gain or volume is needed in a particular solo section, it wouldn't be very productive to
create an entire preset for this.

The solution Vandal offers is a range of four variations for each preset, these are so-called
"scenes". These may be switched using keys 1 - 4 beside the preset list or by clicking the
names. All presets which are made from now on will only affect to the currently active
scene. Scenes can be changed around at any time without discarding settings.

Settings may be transferred easily to other scenes simply by pressing the copy button for
the source scene, and then switching to the target scene and pressing paste.

Copy & paste also works for presets, i. e. the clip board is not cleared when you change
the presets, this enables settings to be saved easily into a new preset.

Scenes may be switched externally via MIDI (view page 773).

Chromatic Tuner
The chromatic tuner in the console has an automatic
circuit which analyzes the recently played sound and
shows the note and deviation from the idea (in cents)
on the display. Simultaneously, the point moves up (too
high) or down (too low) along the scale or stops in the
center when the tuning is exact.

The arrows indicate the direction of the tuning (up or down).

The mute button switches the output signal from VANDAL to mute for as long as the
chromatic tuner is activated (tuning fork symbol).

Advanced Settings
Clicking on the wrench symbol below the tuner opens a separate display.
772 EFFECTS MENU

On its right hand side, there is a sub menu for acessing in-depth adjustments of the
software:

 remote ctrl (Control): Remote parameters for external control, either from the sequencer
or via MIDI, can be assigned here.
 patch list: The underlying sub page serves for mapping MIDI or VST programs to actual
presets. Because the preset library is a dynamic collection of arbitrary files on the hard
drive, but the MIDI program scheme is tied to 128 possible programs, a proper mapping
regime is needed. A "patch list" is used for that exact matter.
 preferences: Here, global settings can be made, affecting all instances of Vandal,
regardless of the current preset.
 about: Shows the current installed plugin version and provides clickable links for the
product web site and additional downloads.

Remote Control

You can use a standard MIDI controller in conjunction with Vandal to externally control any
of the program's parameters. For example, preset changes present no problem either
using program change commands, or using the wah-wah pedal via MIDI control change. A
MIDI configuration may be set for each preset and each scene saved in Vandal.

A maximum of ten different control commands may be assigned at the same time
(assignable in two rows of five). The source for controlling may be external MIDI, but the
five remote controllers below the preset display are also available. An individual remote-
controller/MIDI controller can control up to four parameters.

For each target parameter, a selection may be entered for the type and level of the control.
For example, "Add to param" indicates that the value of the external controller or remote
controller should be added to the parameter that is being controlled.

Let's assume that the controller, which is sending MIDI CC 7 (Volume), should also control
the guitar amp's gain in the lead channel from zero up to the current control setting.
Simultaneously, the master volume should be reduced to compensate for the volume.
Proceed as follows:

 In the Remote 1 view click on MIDI learn in the MIDI controller range or select CC 7
volume from the list By doing this you have specified that you want to control the remote
memory with your pedal.
 In the first target list, select "Guitar amp -> PreGain lead" as the target.
 In the list next to this, select "Multiply" as the control method.
 Move the fader right to the 100% mark. This indicates to the control that the depressed
pedal should match the current controller maximum. If for example the gain fader is at
12 o'clock (i.e vertically) then a half-pushed pedal would give you a gain of 25%.
 In the second list, select "Guitar amp -> Master volume".
 Select Subtract as the method this time.
 EFFECTS MENU 773

 Try setting the fader to 10-15%. Of course, the level of compensation depends on the
concrete sound; if any at all... This is, after all just an example.
 Enter a sensible name for "Remote 1" by double clicking it, e .g. "Pedal gain".

The MIDI/Remote configuration may be left again by clicking the wrench symbol. The main
display will now feature "Pedal gain" in the first remote storage section and the assigned
MIDI controller (volume).

Patch List

Because the preset library is a dynamic thing and can hold huge numbers of files (sheer
unlimited), they can't simply be accessed by MIDI program change messages from
outside. MIDI knows only about 128 programs, and it doesn't have a notion about the
plugin's file organisation, for instance sub folders, or even multiples of those. For that
reason, a "connection" between these two worlds is needed. That's where the patch list
comes in.

This list is shown as pages of 16 programs / program slots. Each represents a MIDI/VST
program.
Using the "edit" menu, the current page to edit is brought up. Alternatively, an external MIDI
or VST program can be sent; the underlying page is automatically picked and the selected
program is highlighted in the display. Presets can be simply assigned to programs by
choosing an existing file from the corresponding menu.

A patch list can be saved using the disk icon. Just like the presets regime, multiple patch
lists can be created and you can set up a library of different lists, each serving a particular
purpose.
This can be handy for musicians gigging a lot, and changing their set very often. Using
seperate patch lists makes programming an external controller much easier, as it only
needs to be fed with the programs you really need for a show.

A selected / saved list can be stored as your preference, by hitting the "as default" icon.
This is a global setting, affecting all Vandal instances. You'll find this setting again on the
"preferences" page, labelled "startup patch list".

Preferences
774 EFFECTS MENU

On this page, numerous in-depth settings to the software can be accessed. These act as
"global" modifiers, which means they affect all (following) instances of Vandal, and they
work regardless of the current chosen preset.

 startup preset: Here, the default preset is specified, which will be loaded at plugin
instanciation. Keep in mind that your sequencer program can freely override this
preference, by sending a MIDI/VST program change command as last in the boot-up
sequence, which might trigger a preset from a "patch list". So, this setting should
probably be considered a fallback, in case no default patch is found.
 startup patch list: As mentioned earlier, this is the default list of preset files that get
assigned to MIDI/VST program numbers.
 direct switch scene ← midi: The 4 scenes of a presets can be switched independently
via MIDI. You can specify here, which scene is accessed by which command. Possible
data types are either MIDI note number, or program change messages.
 scene skip -/+: for external controllers having up/down switching capability, proper
control commands for skipping scenes can be chosen here.
 skip mode: You can specify, whether skipping should stop at either end, or whether
further commands should result in a round-robin fashion (e.g. from scene 4 to scene 1).
 preset skip & skip mode: Just like with scenes.
 default preset scene: This menu specifies whether the first scene is activated upon
preset load, or whether the preset should recall the one that was last selected by the
time it got saved.
 input & gate level: Typically, the knob settings for the console's gate and input level are
read directly from the current preset. Choosing "use current for all", you can specify
global values as the reference. The values stored are taken directly from the current
knob readouts.
 window resize: Normally, the two little buttons on the console's left side (below the "V"
symbol) switch the stomp and the amp/cabinet/fx section on or off. This manual mode
can be changed to automatic. Then, presets containing stomps and an amp will
automatically maximize the window, while the view will collapse as soon as either the
stomp or amp component slot isn't occupied.
The window can also be forced to stay always maximised (so that the above mentioned
console buttons have no function). The maximised mode might be helpful with some
host programs that show dynamic window resize issues.
 mouse mode: Choose your favourite method here for handling knob movements. Knobs
can either be turned in a linear fashion (up/down), or as a circular movement.
 tuner reference frequency: In case your music asks for a tuning other than standard
440Hz, the tuner can be recalibrated here.
 carpet / guitar amp overlay image: You can "skin" Vandal's stomp background (the
"carpet" as well as the guitar amp's front cover (cloth) to your personal liking, by
specifying own images.
A "custom image" has to be in PNG format and reside inside the "_custom" folder (found
inside the Vandal installation branch).
 image opacity: "Custom" images with transparency/alpha information are supported.
Likewise, an image can be softly blended in or replace the background completely.
 EFFECTS MENU 775

Waveform Generator
This dialog contains a powerful generator for test tones.

Select RAM or HD as the type in mono or stereo at a resolution of 16-bit or 32-bit float.
The following sample rates are available: 22050, 32000, 44100, 48000, 88200, 96000,
176400, 192000, and 384000.

As a waveform, you choose between rectangle, triangle, sine, sawtooth (upwards),

sawtooth (downwards), white noise, pink noise, and brownian noise.

You can specify the length in samples, milliseconds, or SMPTE code.

The frequency (Hz) and volume (dB) are the final two waveform parameters at your
disposal. The signal created may then be used as a wave project/virtual project.

SMPTE Generator

If you don't have an external MTC to SMPTE converter for synchronization with analog
equipment, this dialog allows you to create audio files containing SMPTE audio signals.
Place the generated SMPTE signal onto an empty track and route the output to the
SMPTE synch input of the analog recording device.

You can choose from the following specifications as SMPTE frames per second: 24, 25,
29.97, 29.97 drop frame, 30, 30 drop frame.

The SMPTE start value may be entered in hours, minutes, seconds, and frames.

Specify the length in samples, milliseconds, or SMPTE code.

You can choose from the following sample rates: 44.1 kHz, 48 kHz, and 96 kHz.
776 EFFECTS MENU

Process Only Left/Right Stereo Channel

Choose whether you wish to edit the left or right channel here. Of course, this is only useful
if the signal you wish to edit is a stereo signal. Clicking again deselects everything.

Process Effects Offline

All effects opened using this menu are calculated destructively, provided the option "Apply
effects offline" is active. The option to work with a copy is available in order to preserve
the original audio material. The "Create copy" option is already selected in the
corresponding dialog.
 CD/DVD MENU 777

CD/DVD Menu
This menu contains special functions for the CD/DVD mastering process like setting CD
tracks, sub-indices and dialogs for creating CDs or Audio DVDs.

Samplitude allows you to directly burn CDs from any project virtual project or any stereo
HD wave project. A sample rate of 44.1 kHz is required. 24 bit objects are converted into
16 bit objects in the CD burning/CD trackbouncing process.

"CD arrangement" mode is especially useful if existing wave files or wave projects are going
to be used to burn a CD. Wave projects are arranged behind one another on one track in
the VIP when loaded. The distance is set according to the CD pause time ("CD/DVD menu
-> Set pause time (view page 792)").

Tip: If you want a finished virtual project to be burned as a track onto CD, use the
command "CD/DVD -> Create CD -> Generate completely new file (view page 781)"
beforehand to convert this multi-track project into a single wave project. Don't put any
CD's into the drive and end the burning process after bouncing. The newly created Wave
file can then be placed into the new CD VIP as a track object.

Import Audio CD Track(s)…

This function allows the import of audio data from CD/DVD drives. The data is imported
digitally to eliminate loss in sound quality. During import, the CD tracks are created as wave
files and integrated into the virtual project.

If you want to import audio CD tracks into a virtual project, follow these steps:

1. Open the "CD/DVD" menu or via the "File -> Load/import -> Import audio CD track(s)
(view page 448)" dialog.
2. If you have more than one drive installed, click the button "CD drive options" to open the
drive list dialog. Select the desired CD-ROM drive and then close the dialog by clicking on
OK.

Note: The name of the currently selected CD-ROM drive is displayed above the button "CD
drive options" along with read speed and copy mode displays.

If the drive letter of the CD burner has changed in the meantime, you will have to reset the
drive list in order to guarantee correct allocation.
778 CD/DVD MENU

3. Select the desired track(s) using the keyboard combination "Shift" or "Alt" and the cursor
keys.
4. Click on "Copy selected CD tracks..."
5. Select a file name for the created wave file or HD wave project and click OK.
6. The audio material is now copied onto your hard drive from the CD. A progress bar
indicates the status.
7. Close the track list and the drive list. New objects will appear in your VIP containing the
audio material of you CD.

The Track List Dialog

Copy selected CD tracks: This button begins the audio copying process. All selected
tracks are copied into a wave file or into an HD wave project. A new object is created in the
active virtual project for every track.

Volume controller: Control the playback volume for the digital preview function of the CD
tracks here.

Reverse: Jumps to the previous track.

Play: Starts audio playback of the first selected track in the list.
Pause: Stops playback; start again later at the same position by pressing "Resume".
Stop: Stops playback.
Forward: Jumps to the next track.

Read start/end: This defines the read start and read end of the CD track. Isolate the start
and end points in the CD track progress display by dragging with the mouse.

Select all tracks: Select all tracks in order to copy the entire CD. Track selection is
possible by pressing the "Shift" key and arrow keys. "Ctrl + mouse click" allows multiple
tracks to be selected.

freeDB title info: Click this button to access the freeDB database, which displays title
information regarding the selected track.

CD drive options (view page 779): Configure the system's drive list here.
 CD/DVD MENU 779

Read ISRC: This option reads the ISRC (International Standard Recording Code) for the
inserted CD. This is a 12-digit ID number that provides specific information like the
originating country of the label, the label's company number, the year, and a sequential title
number. The ISRC code is entered into the subcode when the CD is pre-mastered.

Text file: Exports all of the information listed as a text file.

Auto-crossfade mode: Activates "Auto-crossfade" mode when importing audio tracks.

This adds crossfades automatically between the tracks.

Import CD marker: If this option is activated, track markers will be placed at the beginning
of the imported tracks automatically.

CD Drive Options

Configuration: This button opens the configuration dialog (view page 779) for special
settings. Specify the drive name, host adapter number, SCSI ID, SCSI LUN, alias, copy
mode, sectors per cycle, and sync sectors.

Reset: Restores the default settings for the drive.

Add drive: Creates a new drive in the list that requires special settings.

Delete drive: Deletes a selected drive from the list.

Load setup: Loads the current drive list and all configuration data from a *.cfg file.

Save setup: Saves the current drive list and all configuration data in a *.cfg file.

CD-ROM Configuration Dialog

780 CD/DVD MENU

Drive name: Enter the name of the drive.

Host adapter number: Enter the name of the SCSI host adapter. Normally, this value is 0.

SCSI ID: Enter your CD-ROM drive's SCSI-ID.

SCSI-LUN: Select the SCSI LUN parameter; this is normally 0.

Alias: Select your CD drive's manufacturer.

Copy mode "normal": Copies the audio data without any software correction.

Copy mode "sector synchronization": Copies the audio data using a software correction
algorithm.

Copy mode "burst"" Optimizes the speed of the copying process. No software correction
is applied.

Sectors per cycle: View and change the defined number of audio sectors that are read in
one read cycle from the audio CD. The greater the number, the faster the copying process
will be. Numerous SCSI systems have problems with more than 27 sectors.

Sync sectors: This field shows the number audio sectors used for the software correction.
A higher number provides improved synchronization, but this also slows the copying
process.

Import Audio DVD…

This function allows the import of audio data from DVD drives. The DVD tracks are created
as wave files and integrated into the virtual project during importing.

To import audio DVD tracks into a virtual project, proceed as follows:

 CD/DVD MENU 781

1. Open the dialog via "CD/DVD" or via "File -> Load/import -> Import audio DVD (view
page 448)".
2. If more than one drive is installed, click the "DVD drive" list to open the drive list dialog.
Select the desired DVD drive.
3. Select the desired track(s) using the keyboard combination "Shift" or "Alt" and the cursor
keys.
4. Click "Copy tracks"
5. Enter a file name for the resulting wave file and click "OK".
6. The audio material will be copied onto the hard drive from the DVD. A progress bar
indicates the status.
7. Close the track list. New objects will appear in your virtual project containing the
selected audio material from the DVD.

Note: Importing the audio track(s) from a video DVD is not possible!

Make CD...
This dialog starts the CD writing process. Samplitude contains high-quality and constantly
updated CD burn routines which are licensed from "Point Software & Systems".

Samplitude creates a so-called "TOC file" (Table of Contents) before the CD burning
process starts, and this features the name of the current project and the file extension TCX.
This file is saved via the same path as the project itself.

On the fly: Use this mode if you want to write a CD directly from the project. All necessary
calculations are made in real time during the burning process. This mainly involves:

 Object effects, volume, and panorama settings

 Fades/crossfades
 Mixing tracks
 Mixer track effects
 Effects from the mixer master section
782 CD/DVD MENU

 Plug-ins used in the mixer

 32-bit float -> 16-bit conversion and dithering

Generate a completely new file for the whole CD: Use this function to create the CD in
case the computer is not fast enough to burn on-the-fly. This mode calculates your project
including all effects and creates a new file. Make sure there is enough space on your hard
disk for this file (approx. 700 MB for a complete CD).

Burn MP3 CD/DVD: All tracks are exported as individual MP3 files according to the
selected format options and then loaded into the MXCDR tool. This provides the
opportunity to load more files or begin burning a data CD.

Detailed information about dithering options is available in "Dithering options (view page
498)".

freeDB title info: This function causes Samplitude to search the freeDB.org database for
information that corresponds to the track and displays it if found.

Print Studio: This button starts the external "Print Studio" program. Use this tool to easily
print the content file of the current CD. Choose between a text style format to print the
production documentation and a formatted printout for the CD jewel case.

Show TOC: This button opens a text window with the details of the current table of
contents. You can also open these current CD details in an external editor.
 CD/DVD MENU 783

Show TOC...
This button leads to the TOC (table of contents) dialog.

Under "Display" you can select what extra information should be displayed.

 Pause
 Track Flags / ISRC (view page 778)
 Sub-index position in the Track

Under "Length calculation" you can select the "CD track length includes pauses"
checkbox. This means that the time span between CD pause index and CD track index is
factored into the length of the track. The following measurement units are available: "CD
MSF", "Hours/Min/Sec" and "Min/Sec/Millisec".

Using the "External editor" button you can call up a text editor of your choice, in which the
TOC information should be opened.

"Sonic Style" displays the TOC information in another layout. You can enter a working
advice for the pressing plant in "Client/Label" field as well as the "Working order" field. With
the "Adopt" button, this information will be included in the CD contents.
784 CD/DVD MENU

TOC - Export
Pressing the "TOC export" button saves the information on the CD's contents as a *.toc
file.

Burn CD

CDR write settings -> Simulate write process: Use this option to test the various write
speeds.

Test and compare CD after burning: This writes a temporary wave file to the hard disk
while burning a CD.

Note: This function requires increased performance when burning CDs, especially at higher
burn speeds. The burned CD is then exported digitally and compared with the temporary
file which is then deleted.

Prepare CDR for subsequent data sessions: The audio CD is not finalized and data may
be added to it by an external burn program.
 CD/DVD MENU 785

Note: The non-final audio CD should not be used as a multi-session disc. Use it as a blank
disc with less capacity.

Activate burn proof: This option activates a quantization check after the burning process.

Burn CD Text: CD text information is saved in the CD audio format for export via the "Load
audio CD track(s)" function.

CD-Text settings: This opens the CD-Text/MP3 ID (view page 792) editor.

Note: Windows Media Player (up to version 10) cannot analyze CD-Text information.

Create DVD-Audio...
Samplitude enables you to burn DVD audio discs with any DVD burner. +R/-R/+RW/-RW
formats may be processed.

Note: DVD audio discs can only be played on players with DVD audio capabilities! These
players can be identified by a visible DVD audio logo somewhere on the device.

For Surround sound playback your DVD audio player has to have several analog outputs.

Samplitude burns so-called "black discs", i.e. DVD audio without graphic menus. You can
create video DVDs with menus, videos and slideshows using the video editing and DVD
authoring program "MAGIX Movie Edit Pro".

Audio may be recorded on a DVD audio disc in 16 and 24-bit rates at sample rates of 44.1
and 48 kHz, and double and quadruple these rates are also possible. Up to 6 discreet
audio channels are supported in 5.1 Surround, stereo, or 4.0.

The only limitation is that the maximum guaranteed data rate of approx. 10 Mbit/s for
hardware players may not be exceeded. For example, for 5.1 Surround 24-bit sound, a
sample rate of only up to 48 kHz is possible, since at 96 kHz, the 10 Mbit threshold would
be exceeded.

The following playback times are approximations for the available space on a single layer
DVD-R (44.1 kHz sample rate):

Stereo 16-bit approx. 7 h

Stereo 24-bit approx. 4.5 h
5.1 Surround and 24-bit approx. 1.5 h

Create Audio DVD

First place CD track markers in your VIP. Audio CDs and DVDs can be subsequently
burned from the same project.
786 CD/DVD MENU

When creating an audio DVD, the "trackbouncing" dialog will open. Select either "Create
DVD audio" or "DVD video with stereo PCM".

Note: Note that the creating a "DVD video with stereo PCM" does not provide authoring
or image information. For extensive authoring options we recommend "MAGIX Movie Edit
Pro".

Format:

You can choose between 16 and 24-bit audio. If "Create DVD audio" has been selected,
then the sample rate may also be defined.

An external program will open if "Path" is pressed. The path for this program is set but can
be changed.

Optionen:

Calculate 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.

Dithering: Every trackbouncing process may feature its own dithering process,
independent of the global settings. This enables dithering to be bypassed or to apply the
standard dithering (dithering featuring triangular noise).

Use this dialog to apply dithering according to the system options or to access the
dithering options in the system settings. The button value in brackets (e. g. Triang. or
POW-r 1) indicates the currently set dithering algorithm.
 CD/DVD MENU 787

Detailed information on this can be found in the menu reference under "File" -> "Program
Preferences" -> "Dithering Options (view page 498)".

DVD-Info:

Learn details about project length, maximum DVD length, and select either PAL DVD or
NTSC DVD.

Source:

Selected range only: In this case, trackbouncing is only applied to the length of the
selected range in the arranger. This function does not work track-selectively, i. e. all tracks
of the selected range, except for muted tracks, are used in bouncing.

From the project start to the last object: In this case, the bounce process includes all
objects from the project start to the end of the last object, plus the time it takes for the
sound to dissipate.

Complete project: If this option is selected, the entire virtual project is bounced.

Surround trackbouncing:

Save the individual tracks in the Surround project as mono tracks or stereo tracks.

Note: Double the storage space of a DVD is required on the hard drive, since the project is
bounced first and the DVD image is then created from the complete audio data that is
burned.

The burn dialog provides burner selection and speed. The red "Start" button creates a DVD
image first, and the writing process starts after this is completed.

Indices (Track markers)

Set CD track index
Use this function to set a track marker at the position of the play cursor (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 789)" 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
790)".

Shortcut: Ctrl + Alt + I

788 CD/DVD MENU

Set CD Sub Index

Choose this option to place a sub-index marker at the current play cursor position. The
numbers of the subsequent sub-index markers are customized automatically.

Sub-index markers are not required for CD creation, but they allow CD players to cue to
specific points within an audio track.

Set CD pause index

The CD pause index is a special Sub index (Index 0). Choose this option to place a pause
marker at the current play cursor position.

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 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.
 CD/DVD MENU 789

Delete all markers: Deletes all project markers.

Set Track Indices on Object Edges

Choose this option to place a track marker at the beginning of every object in the VIP.

Set Track Indices on Object Edges - Options

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

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

790 CD/DVD MENU

CD-Title-/ Index-Manager

This dialog displays all the CD tracks and sub-indices in the current project in a list. If you
select the markers, you can change their numerical position in the list via the corresponding
time input field and name or rename them.
 CD/DVD MENU 791

CD Index Settings: Here you can set several options for the individual CD tracks, including
Copy protection (SCMS) ,Pre-emphasis, Second generation protection, as well as
ISRC code (view page 778):These settings can be transferred to all indices.
Pre-emphasis means that high frequencies are accentuated before A/D conversion when
creating a CD's. Even during A/D conversion high frequency quantization noises will
emerge. Now the Audio signal with high accentuation will be written to the CD. 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.

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.
792 CD/DVD MENU

CD-Text/MP3-ID-Editor
Here you can enter text information for the CD you are going to burn. The CD track names
are adopted from the CD track marker's labeling in the VIP. All information is also
contained in the project, but in this dialog window you also have the possibility to save all
entries in a separate file. (*.cdt)

Note: The number of maximum available characters for the entire CD is 2824.

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.

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 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.
 CD/DVD MENU 793

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.

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.
794 CD/DVD MENU

Clear freeDB Cache

With this function you can delete the cached data from freeDB.

Search CD Online and Set Track Indices

Search for a CD online by entering the CD name or artist. The track markers are requested
from the online database. If the search was successful, click "Disc ID" for the desired CD.
You'll now see a text page with the track data.

If you copy the link from your browser into the text field in the dialog, you'll be able to apply
the CD track markers of the located CD to your arrangement.

Show CDR Drive Information…

Choose this option to display information about the burner.

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).
 CD/DVD MENU 795

audioid
audioid is part of the MPEG-7 standard and for identifying audio material. In this case,
audio data is recognized automatically and associated information, e. g. track or artist
name, is provided in real time.

Here are the options from which you can choose:

 Analyze audio at the playback position

 Analyze selected object
 Analyze all objects
796 VIEW MENU

View Menu
This menu contains tools for changing the screen view of Samplitude.

Mixer
Use this menu item to open the mixer.

Detailed information about the mixer is available in the chapter "Mixer (view page 158)".

Shortcut: M

Transport Console

Shortcut: Ctrl + Shift + T

Detailed information about the transport control is provided in "Screen elements ->
Program interface -> Overview -> Transport console (view page 52)".

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.
 VIEW MENU 797

Double clicking lets you select and edit most sizes.

Time display – current field

Position/start of range: Displays the current position/current play cursor or the beginning
of the range. When moving the objects, you can see the starting position of the object
here. Enter a negative number into the range when editing and the play cursor will be set to
the end of the range.

Range length/object length: Specify the range length/object length here. If a negative
amount is entered, the range end will be displayed instead of the range start.

Range end: Set the range end/object end here. If a negative amount is entered, the range
start will be displayed instead of the range end.

CD position: This displays the following current positions:

 Position from CD start

 Position to CD end
 Position from current CD track
 Position to CD track end

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.

Remaining recording time: This value indicates how long recording may continue until the
hard disk is full.
798 VIEW MENU

Visualization
Shortcut: Ctrl + Alt + Shift + V

The visualization screen displays the audio material graphically. The interface allows you to
design multi-visualizations individually. You can integrate the visualization interface into the
Docking Bay (view page 51) or open it in its own window.

The visualization is, as standard, sub-divided into five display windows. Choose from the
following display options for every window: Peak meter (control display), Loudness meter
(only Sequoia), Oscilloscope, Bit meter, Correlation meter, L/R oscilloscope (phase
correlation), Surround meter, Direction meter, Spectroscope, Spectrogram and Tuner.

The visualization display can be adapted easily to your personal presets. Right click on
one of the visualization windows to open up a context menu, in which you can change
the window's settings. The size of the window can be changed by dragging its edges in
the desired direction.
 VIEW MENU 799

Device: Here you can set which output the visualizations should refer to. With this option
you can determine which device should be displayed if multiple audio devices available. If
you, for example, mix more than four submix busses that are each routed to a different
device, you can display each bus individually.

Visualization layout: Here you can load preset layouts, save individualized layouts or
modify layouts by adding or removing columns and rows.

Reset (All): This resets all the displays of the opened visualization.

Settings...: Select this menu entry to open the visualization settings dialog.

Now, in the "Instrument" field look for the desired display instrument. According to the
selection a range of presets is available in the preset list. Confirm your selection with
"Apply".

Furthermore you can load or delete the settings using the corresponding buttons.

Load/Save settings

If you have saved your own presets in the available "fx-presets" directory, these will be
available here under "Load setup / Save settings". Various presets are also provided, for
example the K-metering settings K-12, K-14, and K-20 (view page 803).

Activate docking for visualizations: With this option you can turn on docking for
visualizations.
800 VIEW MENU

Peak meter

The (Multi-) peakmeter (Instrument multimeter) displays the volume during playback in dB.
The thinner, outer bars show the Program Peak Meter (PPM Meter) whilst the thicker,
inner bars display the VU meter, as you may still know from your analog equipment.

If you only want to see either the PPM display or VU display, select the corresponding
display instrument.

You can also determine the display configuration for Multimeter.

 VIEW MENU 801

PPM-Meter

Headroom (dB): With this you can initiate a level offset which will be globally added before
measuring. This is the reason why different systems are calibrated differently. A value of 9.0
(IRT) e.g. ensures that the level with + 9 dB is calculated in such a way that the extra 9 dB
has got more headroom at its disposal, provided your player is accordingly calibrated.

Integration time - PPM (Mms): This constant ensures that the peakmeter's reaction time
is delayed by the set value, so the display doesn't appear quite as fast for individual level
peaks. The created lag is modeled on the analog behavior of old, traditional peak meters.

Release time (dB/s): The smaller you select this value, the slower the display bar of the
peak meter move when returning. A typical value would be e. g. 13,3, which corresponds
to a release time of 1,5 seconds at 20 dB.

Peakhold (ms): With this value you can specify how long the level peaks shou´ld remain.

Cut-off frequency (Hz): With this highpass filter you can filter out the DC component so
that it doesn't enter the peakmeter measuring.
802 VIEW MENU

Overmodulation threshold (dB): This values indicates from which dB value clipping is
displayed, i .e. when the display hits the red.

Minimum number of overmodulated samples: This value represents the number of

consecutive samples that are allowed to exceed the overmodulation threshold before the
display hits red.

Activate True Peak Measuring: In True Peak mode you can measure the peak meter with
fourfold oversampling.

PPM-Meter Scale

You can choose different display options on this page.

Scale: Select from a range or different scale display settings.

Reference level (Scale offset): Enter the value for the reference level here.

Minimum/Maximum: Here you can set the min/max value. You can restrict or expand the
scale's range value.
 VIEW MENU 803

Color settings: Enter the colors and thresholds for the overmodulated, critical, optimal and
undermodulated ranges.

Note: If you define a threshold for the optimal range which is higher than the reference level
minimum, a defined color will be displayed for the undermodulated range, should it fall
below the set threshold level.

VU-Meter

On this page, just as with the PPM meter, the parameters Headroom, Integration time,
Peak hold DC-Filter andCut-off frequency are available.

VU-Meter Scale

On this page you can, just as with the PPM-meter scale, select the display options and
change the color codes for the bar graph, which employs the same scale representation as
the external meter.

K-Metering
In the visualization area of the peak meter, there are a number of presets for the K-
metering system. Load the supplied presets via the "Settings..." dialog of the context
menu, to implement metering according to K-12, K-14 and K-20 norms. The
corresponding presets can be found in the "fx-preset > K-12.vis/K-14.vis/K-20.vis"
folder. Uniform reference volumes on different media can be achieved especially when
mastering under normalized listening conditions. The peakhold display continues to show
signal peaks and can be used to avoid clipping.

The "K-system" refers to the metering system developed by Bob Katz, and it has become
the standard for monitoring audio signals during mastering. K-System Metering enables
uniform calibration and monitoring. You can use it to easily exchange audio material
between different studios and have matching monitoring results. With K-System Metering
804 VIEW MENU

it's not so much the loudness, but rather the musical dynamics that take center stage.
Setting the level to 0 dB sets the reference volume which no longer matches the maximum
level, as often used to be the case.

According to the program and audio material, three different meter scales can be used:

K-20 = 0dB reference (83dBSPL) at -20dBFS

K-20 is especially recommended when using audio with large dynamics like classical
music or film sound.
K-14 = 0dB-Reference (83dBSPL) at -14dBFS
K-14 is especially recommended for rock and pop productions or for Surround Sound.
K-12 = 0 dB reference (83 dBSPL) at -12 dBFS
K-12 is especially recommended for radio and television networks.

The corresponding scale for setting up the monitoring volume is calibrated with pink noise.
If you set pink noise to 0dB, you get a level of 83dB SPL, a volume reference that
originated in the film world.

Oscilloscope:

The oscilloscope displays the signal amplitude over the time curve.

Bit Meter
 VIEW MENU 805

The bit meter shows you the rate at which the signal is being calculated at and which
maximum editing rate is possible.

Correlation meter

With the correlation meter you can read phase offsets between the two stereo channels,
and examine how much has been deleted. A value of +1 corresponds with 0° phase
shifting. The value -1 corresponds with 180° phase shifting. If the signal display is in the
left, red area between 90° and 180° the signal will no longer be reproduced properly over a
mono receiver.

In the settings dialog you can select the colors for Mono and Stereo and mono compatible
ranges, threshold values can be set too.
806 VIEW MENU

Surround meter
The surround meter displays the signal using the surround settings that are set as global. It
shows each speaker's level in a polygon on a sound representative area.

L/R Oscilloscope (phase correlation):

Phase correlation provides information on the distribution of the stereo image in your
recording. A mono recording would be displayed as a vertical bar in this view. A song
produced in stereo is by contrast shown as "diffuse ball," because multiple instruments
were assigned to the mix in different panoramic positions.

The wider the display, the wider the stereo field of the recording. Please note, that a
broadening of the display implies more deletions, and in turn that the signal is not as mono
compatible.
 VIEW MENU 807

If the signal display tends to be diagonal the stereo mix is not balanced. A channel would
be accordingly louder than the other.

In the settings dialog you can access the various grid settings. You can choose between
Mid/Side, L/R, Hybrid and a mode for measuring signals.

The image is correspondingly increased in pre-amplification mode, to ensure readability.

You can also switch off this mode and set a constant amplification factor instead.

Using the "Speed" function you can set the rewind speed at which the curve is dimmed.

Finally you can set the display color.

Direction meter

The direction meter displays the signal's detection direction. The width corresponds to the
correlation measurement.
808 VIEW MENU

In the settings dialog you can select the colors for Mono and Stereo and mono compatible
ranges, threshold values can be set too.

Spectroscope

In the Spectroscope the signal is divided up into individual frequency ranges. The level
amplitude of each frequency band displays volume of the relevant frequency range. This is
a way of telling whether certain frequency bands are being strained.

Spectrogram

In the Spectrogram the signal is displayed as frequency proportions in a time curve. 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.

In Samplitude you can remove unwanted noise with the help of Spectral cleaning (view
page 72).

Tuner
 VIEW MENU 809

The tuner displays the corresponding pitch levels featured by the signal. Use the
visualization to tune a guitar or other instruments.

Video Window
This function opens the video window, e.g. to apply a media link.

Track Editor
This menu item opens the track editor on the left edge of the arrangement window. This
enables access to all important track parameters for the selected track.

Detailed information about the track editor is provided in "Screen elements -> Track editor"

Shortcut: Ctrl + Alt + Shift + E

Manager/Docker
You can open the Manager/Docker here. In addition to the Manager windows (view page
138) 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
The manager features the following sub-windows:

 File browser (Ctrl + Shift + B)

 Object manager (Ctrl + Shift + O)
 Track manager (Ctrl + Shift + S)
 Marker manager (Ctrl + Shift + Alt + M)
 Range manager (Ctrl + Shift + Alt + B)
 Take manager (Ctrl + Shift + Alt + T)
 VST instruments manager (Ctrl + Shift I)

Detailed information on the individual manager sub-windows is provided in the "Manager

(view page 138)" chapter.

New Manager...
Use this function to open a new manager window.

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.
810 VIEW MENU

Main Toolbar 2
Use this command to hide or show the second toolbar. A check behind the menu item
indicates that the second toolbar is visible.

Positionbar
Use this command to hide or show the position bar using positioning and zoom buttons. A
check after this menu point indicates that the status bar is visible.

Positionbar 2
Use this command to hide or show the second position bar and the positioning and zoom
buttons. A check after this menu point indicates that the status bar is visible.

Punch/Playbar
Use this command to hide or show the punch/playback bar using the button for various
playback functions and punch recordings. A tick after this menu point shows that the
status bar is visible.

Mouse Mode Toolbar

Use this command to hide or show the mouse mode bar to select the individual mouse
modes. A check behind the menu item indicates that the mouse mode bar is visible.

Rangebar
Use this command to hide or show the range bar for selecting ranges. A check behind the
menu item indicates that the range bar is visible.

Snap bar
Use this command to hide or show the grid bar.

Workspacebar
Use this command to hide or show the workspace bar; this provides various tools for
button assignment according to application. A check behind the menu item indicates that
the workspace bar is visible.

Buttonbar
Use this command to hide or show the button bar featuring the track editor, object editor,
MIDI editor, visualization, transport control, mixer, and manager. A check behind the menu
item indicates that the button bar 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.
 VIEW MENU 811

Autoscroll
Switches autoscroll on/off.

See "Playback -> Playback parameters (view page 578)".

Keyboard shortcut: Scroll lock

Autoscroll Soft
Toggles between page and soft autoscrolling.

See "Playback -> Playback parameters (view page 578)".

Keyboard shortcut: Shift + Scroll lock

Rebuild Graphic Data

The graphical display of a project is recalculated in this case. This is usually unnecessary,
but does help with errors or inaccuracies in the display after offline editing.

Clips
These Menu items allow you to take advantage of Samplitude's ability to simultaneously
display one two or three different "views" of the same project.

If you select the option "2 (clips)", 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.
812 VIEW MENU

The "3 (clips)" mode can be especially helpful when searching for loop points in the wave
window. In the top large window the entire sample can be viewed, in the bottom left
window area the beginning can be viewed and in the bottom right window area the
end of the loop is displayed. This view can also bee seen by using the shortcut "B". The
corner values of the three windows can be independently adjusted.

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.

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

The menu commands "Activate previous clip" and "Activate next clip" switch the active
segment.

Activate destination
This command activates the previous/upper clip.

Shortcut: Page up

Activate source
This command activates the next/lower section.

Shortcut: Page down

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
Show Grid
This command activates the coordinate grid for the project window.

Shortcut: #
 VIEW MENU 813

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 play cursor (position
line).

Snap Active
This functions turns the grid on or off.

Shortcut: Ctrl + #

Grid
Here you can set the grid type. To choose from:

 Object grid
 Grid range
 Beat grid
 Beat grid (relative)
 Frame grid

Detailed information on snap and grid settings can be found under "File -> Project
Properties -> Snap and Grid Setup (view page 467)...".

Snap and Grid Setup

Detailed information on snap and grid settings can be found under "File -> Project
Properties -> Snap and Grid Setup (view page 467)".

Show 2nd Grid Line

This command displays a second grid.

Exchange Grids
This command exchanges the upper and lower grids.
814 VIEW MENU

VIP Display Mode

 Definition...
 Mode 1
 Mode 2
 Toggle between mode

Detailed information on display options can be found via "File > Program Preferences >
Definition > View Options (view page 491)".

Overview Mode
"Overview" mode displays all objects in the project clearly arranged below the arranger
tracks. The mouse pointer becomes a magnifying glass in this area. The section selected in
"Overview" mode specifies the size of the display and position section displayed in the
arranger. You can position the section in the overview by clicking the desired location. On
the other hand, the scroll bar in the arranger allows the selected section to be controlled in
the overview.

To select the desired section, right click (or left click + "Shift") and drag out a lasso across
the overview as required in the overview. If another position in the overview is required or a
new lasso is drawn by left clicking, then the horizontal (i.e. temporal) position in your
arrangement will change; the vertical range of the section (i.e. the display of the selected
track) remains preserved.

In single-track virtual projects (VIP) and wave projects, the waveform will be shown in
"Overview" mode.

Fix vertically
This menu item is hidden by default. To display it again, activate it in the menu settings via
"File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".

If this function is inactive, i. e. the check to the left of the menu item is not set, then ranges
in Samplitude's wave editor may be moved horizontally and vertically. In this mode,
additional functions such as amplitude measurement for the De-clipper and the dynamics
processors are available. Get level from area height: This function sets the DeClipping level
 VIEW MENU 815

according to the height of the selected area in the wave project. This is useful when an
overmodulated area has been previously selected exactly, and now has to be repaired.

If you have set "Vertical lock", the range display will include the complete wave editing
window, like normal.

Store Position and Zoom Level

Save the current position and zoom level here. These may be retrieved via the menu item
"Get position and zoom level" in the "View" menu and on the number pad of your
keyboard.

The first three numbers on the keypad may be used to save presets. These configure the
setup buttons 1, 2, and 3 in the arranger window.

Shortcut: Ctrl + Num 1

Ctrl + Num 2

Ctrl + Num 3

Get Position And Zoom Level

Load the saved position and zoom level here. This may be retrieved via the number pad on
the keyboard.

The first three numbers on the number pad can be used to save presets.

Shortcut: Num 1

Num 2

Num 3

Store Zoom Level

Save the current position and zoom level here. These may be accessed via the menu item
"Get position and zoom level" in the "View" menu and via the number pad.

The numbers 4, 5, 6 on the keypad may be used to save presets. These configure the
zoom buttons 1, 2, and 3 in the arranger window.

Shortcut: Ctrl + Num 4

Ctrl + Num 5

Ctrl + Num 6
816 VIEW MENU

Get Zoom Level

Load the zoom level here. This may be retrieved via the the number pad on the keyboard.

The numbers 4, 5, and 6 on the keypad may be used to save presets.

Shortcut: Num 4

Num 5

Num 6

Horizontal
This menu contain horizontal functions for clip control, which are also partially represented
in the bottom position bar as buttons.
 VIEW MENU 817

Shortcuts:

Half section left Ctrl + Alt + Left arrow

Half section right Ctrl + Alt + Right arrow
Cut to play cursor Ctrl + Alt + ,
Clip to the start of field Ctrl + Alt + B
Clip to end of field Ctrl + Alt + N
Zoom in Ctrl + Left arrow, Up arrow
Zoom out Ctrl + Right arrow, Down arrow
Show all Ctrl + Alt + Up arrow
Zoom to range Ctrl + Alt + Down arrow

If you can't see the play cursor in the current VIP's image section, then the command
"Section to play cursor/Last stop position" moves the visible section to the current play
cursor position. In a stopped state the picture section jumps to the previous playback
position.

Vertical
This menu contains vertical functions for clip control, which are also partially represented in
the bottom position bar as buttons.
818 VIEW MENU

Shortcuts:

Half section up Shift + Page down

Half section down Shift + Page down
Zoom into waveform Ctrl + Page up
Zoom out of waveform Ctrl + Page down
Zoom Out Volume Automation Ctrl + Shift + Page up
Zoom Out Volume Automation Ctrl + Shift + Page down
Cascade
This function arranges all open windows one behind the other.

Tile
This function arranges all open windows one one top of the other.

Shortcut: Enter

Untile
This function arranges widows in the same way as they were prior to "tile vertically".

Shortcut: Shift + Enter

Window
Arrange Icons
Arranges the project icons along the lower edge of the monitor.

Close All Windows

This closes the currently opened project. A confirmation will ask if you want to save the
project.

Shortcut: Ctrl + H

Wave Projects to Icons

Samplitude will display the wave projects as icons along the lower edge of the arranger
window.

Hide All Wave Projects

Use this function to hide the wave project's icons and windows.

Half Height
This command displays only half of the Samplitude screen.
 VIEW MENU 819

System information
Use this function to open a new window with the system information.

Display the date/time, number of open files, the free memory on all connected hard drives,
the configuration of Windows resources, and the amount of memory used by Samplitude.

FTP Download...
This menu item opens an FTP download window. Enter your FTP access data and click on
"Connect..." to establish an FTP connection immediately. Files may be downloaded, but
not uploaded.

1, 2, ...
Samplitude shows a list of the currently opened projects in the last section of the "Window"
menu. A check shows which project is active. Select a project from this list to activate it in
the project window.
820 HELP MENU

Help Menu
Help Menu
This command displays the overview page of the help file. You can jump to specific
commands or read instructions on this page.

Help Index…
Choose this option to display a list of available help contents.

Context Help…
This command turns the mouse cursor into an arrow with a question mark. Click any menu
item or button in one of the toolbars to receive more information.

Shortcut: Shift + F1

Open Manual…
Use this command to open a PDF version of the Samplitude manual.

About Samplitude...
This displays copyright information and the version number of Samplitude. At the very
bottom, you can see the serial number required for support purposes.

Start Wizard / Tip of the Day

This command opens Samplitude's start selection. This command may also be used to
display the demo project, most recently opened projects, the "tip of the day", or the intro
video.

The start selection may be used to add a new multi-track project, load an existing multi-
track project, load a wave project, and access the recording options for a wave project.

Clicking the corresponding check box ensures that the start dialog will always open when
the program is launched.

Dongle Activation...
Detailed information about activation is provided in "Installation"
 INDEX 821

Index

1 Mono -> LR Wave ...................................................................................453

1, 2, ... .......................................................................................................819

2 Mono -> LR Wave ...................................................................................452

2 Mono -> Stereo Wave..............................................................................452
2-Channel Surround Mode..........................................................................235

32-bit float as 16-bit / 20-bit / 24-bit ...........................................................454

64

64 Bit Version ...............................................................................................36

64-Bit Version. Should I switch?....................................................................16

AAC... ........................................................................................................451
About Samplitude... ....................................................................................820
Accessing Surround effects ........................................................................239
Activate destination.....................................................................................812
Activate Previous/Next Track ......................................................................544
Activate source ...........................................................................................812
Activate SysEx input .....................................................................................33
Activating Samplitude ...................................................................................20
Active section .......................................................................................97, 426
Adapt tempo ..............................................................................................569
Add a VIP to a VIP ......................................................................................504
Add One Track ...........................................................................................531
Add Several Tracks.....................................................................................531
Add Wave Project to a Wave Project...........................................................504
Adding a new project with a Surround mixer ...............................................224
Additional Punch End Marker ......................................................................590
Additional Punch Start Marker.....................................................................590
Adjusting and optimizing the score..............................................................286
Advanced Buffer Settings… ................................................................478, 500
Advanced Docking-/Manager concept ..........................................................37
Advanced Dynamics ...................................................................................609
Advanced essentialFX Suite ..........................................................................38
Advanced options for offline effect calculation .............................................601
822 INDEX

Advanced ruler/time display........................................................................ 106

AIFF File with QuickTime............................................................................. 452
AIFF... ........................................................................................................ 451
Algorithms for Time Stretching/Pitch Shifting .............................................. 572
Alternative mixer skins ................................................................................ 158
AM-Munition compressor/limiter program ................................................... 719
Amp simulation .......................................................................................... 662
Amp/Cabinet Template............................................................................... 759
AM-Phibia .................................................................................................. 712
Amplifier ..................................................................................................... 759
Amplifier Concept....................................................................................... 759
Amplitude................................................................................................... 603
Analog Modelling Suite
AM-Munition ........................................................................................... 719
AM-Phibia............................................................................................... 711
AM-Track ............................................................................................... 699
AM-Pulse................................................................................................ 707
Angle mode (Surround)............................................................................... 233
Append Project .......................................................................................... 504
Apply arrangement tempo to object tempo ................................................. 569
Apply MIDI Velocity Dynamics..................................................................... 682
Apply plug-ins at wave level........................................................................ 314
Apply to all tracks....................................................................................... 333
Arrange Icons............................................................................................. 818
Arrange Objects ......................................................................................... 560
Artist Control .............................................................................................. 377
Artist Mix.................................................................................................... 374
Artist Transport .......................................................................................... 379
ASIO positioning protocol (APP) input ......................................................... 349
ASIO settings ............................................................................................... 26
Atmos ........................................................................................................ 189
Attack recognition threshold ....................................................................... 650
Audio ................................................................................................... 59, 538
Audio and MIDI ............................................................................................ 91
Audio Device .............................................................................................. 474
Audio device settings via load/save............................................................. 226
Audio devices............................................................................................... 31
Audio marker manager ............................................................................... 589
Audio markers............................................................................................ 426
Audio metronome......................................................................................... 84
Audio Quantization – Tutorial ...................................................................... 555
Audio Quantization Wizard.......................................................................... 550
Audio Setup ......................................................................................... 25, 474
Audio/MIDI synchronization .......................................................................... 32
audioid ............................................................................................... 571, 795
Auto Crossfade Active ................................................................................ 526
Auto JamSession ....................................................................................... 592
Automate existing curves only .................................................................... 333
Automatic correction of the pitch characteristic with quantization................ 661
Automatic correction of the whole pitch of a melody slice. .......................... 661
 INDEX 823

Automatic volume fader mode for MIDI tracks ...............................................33

Automating the Surround panorama module ...............................................238
Automation .................................................................................118, 327, 426
Automation – context menu ........................................................................335
Automation Draw Mode ........................................................................71, 511
Automation Menu .......................................................................................598
Automation Modes .....................................................................................330
Automation recording in the Surround sound dialog ....................................240
Automation/MIDI controller settings.............................................................343
Autoscroll ...................................................................................................811
Autoscroll Soft ............................................................................................811
AUX Bus.....................................................................................172, 426, 535
AUX Routing ...............................................................................................173
AUX Sends .................................................................................................537

Backward ...........................................................................................682, 684

Bass Amplifier.............................................................................................764
Batch Processing... ....................................................................................526
Beat marker slicing .....................................................................................648
Beat marker stretching................................................................................649
Beat marker stretching (smoothed) .............................................................648
Beat Markers ..............................................................................................572
Beat signature ............................................................................................295
BeatBox 2 ..................................................................................................190
Beginning of Range <- 0 .............................................................................521
Beginning of Range -> 0 .............................................................................520
Bit Meter.....................................................................................................804
BitMachine .................................................................................................663
BPM Value..................................................................................................572
Brilliance Enhancer .....................................................................................639
Broadcast Wave Manager… .......................................................................471
Buffer Settings ............................................................................................474
Burn CD ...............................................................................................95, 784
Burn Project Backup on CD/DVD................................................................465
Buses and Routing .....................................................................................172
Buttonbar ...................................................................................................810

Cabinet Simulation......................................................................................765
Calculate mono ..........................................................................................642
Carrier Signal ..............................................................................................680
Cascade.....................................................................................................818
CD Arrange Mode...............................................................................473, 792
CD Disc Options .........................................................................................791
CD Drive Options ........................................................................................779
CD Mastering ...............................................................................................95
824 INDEX

CD/DVD Menu ................................................................................... 419, 777

CD-ROM Configuration Dialog .................................................................... 779
CD-Text/MP3-ID-Editor .............................................................................. 792
CD-Title-/ Index-Manager ........................................................................... 790
Cell Edit Mode............................................................................................ 265
Change Bit Resolution ................................................................................ 453
Change Play Direction ................................................................................ 576
Change range borders................................................................................ 104
Change Sample Rate... (Offline) .................................................................. 682
Change waveform view .............................................................................. 128
Changing the length and start time of an object .......................................... 127
Channel configuration................................................................................. 226
Chase lock sync - adapt speed by resampling ............................................ 350
Chorus flanger parameters ......................................................................... 685
Chorus/Flanger .......................................................................................... 685
Chromatic Tuner ........................................................................................ 771
Clean up .................................................................................................... 464
Cleaning/Restoration Suite (optional) .......................................................... 186
Clear .......................................................................................................... 518
Clear freeDB Cache.................................................................................... 794
Clef ............................................................................................................ 295
Clip for audio files (Wave projects) .............................................................. 427
Clips .......................................................................................... 419, 427, 811
Close All Windows...................................................................................... 818
Close Project.............................................................................................. 466
CodeMeter Control Center ........................................................................... 24
Collect project files ..................................................................................... 464
Color mode .......................................................................................... 74, 512
Color Settings ............................................................................................ 497
Colors ........................................................................................................ 482
Comp (Opto Compressor) .......................................................................... 764
Comparisonics Audio Search… .................................................................. 571
Comping .................................................................................................... 154
Compression Expert Settings ..................................................................... 704
Compressor ............................................................................................... 690
Compressor Section................................................................................... 700
Console ............................................................................................. 698, 770
Consolidate Transients ............................................................................... 551
Contact........................................................................................................ 17
Content (Object Editor) ............................................................................... 120
Content Packs ............................................................................................. 39
Context Help… .......................................................................................... 820
Context Menu ............................................................................................ 427
Contour...................................................................................................... 764
Control bars ............................................................................................... 809
Controller Artist Series support ..................................................................... 41
Controller Editor ......................................................................................... 273
Controller elements .................................................................................... 368
Controls for global display options .............................................................. 659
Convert impulse response to mono ............................................................ 642
 INDEX 825

Converting an existing stereo VIP into a VIP with mixer in surround format...225
Convolution – problems and solutions .........................................................678
Convolution (Offline) ....................................................................................678
Copy ..................................................................................................285, 513
Copy + Clear ..............................................................................................514
Copy as… (Wave-Project) ...........................................................................514
Copy Audio Marker to VIP Marker ...............................................................589
Copy Objects..............................................................................................546
Copy Track Effect Settings..........................................................................537
Copy tracks ................................................................................................532
Copy VIP Marker to Audio Marker ...............................................................589
Copy, Paste, Delete ....................................................................................598
Correct pitch increase or decrease..............................................................661
Correlation meter ........................................................................................805
CORVEX – chorus/flanger ...........................................................................729
Create ........................................................................................................598
Create a Surround project via......................................................................224
Create Audio DVD ......................................................................................785
Create click track........................................................................................519
Create DVD-Audio... ...................................................................................785
Create frequency modulations like warblers and vibrato...............................661
Create Groove ............................................................................................551
Create Groove Template from Transients ....................................................552
Create MIDI trigger from transients..............................................................551
Create remix objects...................................................................................568
Create remix objects – audio quantization ...................................................568
Create remix objects – set arrangement tempo to the object tempo ............568
Creating a VIP...............................................................................................81
Creating effects send and effects return tracks............................................183
Creating looped objects ..............................................................................547
Creating second voices or harmonizing effect..............................................662
Creating submix/aux buses.........................................................................172
Crossfade...........................................................................................427, 523
Crossfade editor .........................................................................................523
Crossfade with Clip.....................................................................................516
Crossfading with the crossfade editor .........................................................524
Cue Mode ..................................................................................................576
Curve Color... .............................................................................................598
Curve generator..................................................................................336, 338
Curve Mode..........................................................................................70, 507
Customizing controllers...............................................................................365
Cut .............................................................................................................514
Cut Mode .............................................................................................71, 510
Cut Objects ................................................................................................546
Cut tracks...................................................................................................541
Cut with Time/Ripple...................................................................................514
Cutting and editing .......................................................................................91
Cutting objects ...........................................................................................415
826 INDEX

Deactivate all MIDI functions ......................................................................... 33

DeClicker/DeCrackler SE ............................................................................ 668
DeClipper SE.............................................................................................. 667
DeEsser ..................................................................................................... 696
Define transients......................................................................................... 550
Defining and searching for ranges............................................................... 149
DeHisser SE ............................................................................................... 669
Delay.......................................................................................................... 639
Delay / Reverb.................................................................................... 639, 754
Delete ........................................................................................................ 516
Delete Additional Punch Markers ................................................................ 591
Delete All Curves ................................................................................ 338, 598
Delete All Markers ...................................................................................... 588
Delete Freeze Data ..................................................................................... 466
Delete Hotspot ........................................................................................... 563
Delete Marker............................................................................................. 588
Delete Markers in Range ............................................................................ 588
Delete notation symbol ............................................................................... 286
Delete notes............................................................................................... 285
Delete Objects............................................................................................ 546
Delete Punch Markers ................................................................................ 590
Delete Undo History ................................................................................... 513
Delete Unused Samples ............................................................................. 465
Delete Virtual Project (VIP) .......................................................................... 464
Delete Wave Project(s)................................................................................ 465
Delete with Time/Ripple .............................................................................. 517
Delete, rename and edit objects. ................................................................ 145
Deletes Track(s).......................................................................................... 533
Deleting markers, changing a marker's name, position, and type ................ 148
Demix MIDI Objects by MIDI Channels........................................................ 550
DeNoiser SE............................................................................................... 670
Deselect Objects ........................................................................................ 559
Designs...................................................................................................... 481
Destination Files ......................................................................................... 529
Destructive Editing ............................................................................. 109, 427
Destructive Effect Calculation in Wave Projects........................................... 601
Destructive Effect Calculation….......................................................... 483, 504
Destructive Wave Edit Mode....................................................................... 473
Device Address/Driver Communication ....................................................... 474
Device Setup (Track Assignment, Routing).................................................. 469
Direction meter........................................................................................... 807
DirectX and VST effects.............................................................................. 186
Display automation curves options ............................................................. 338
Display object automation .......................................................................... 338
Display quantization ................................................................................... 292
Display selected curves only ....................................................................... 338
Display Subtracks ...................................................................................... 534
Display track automation (default setting) .................................................... 338
 INDEX 827

Distortion....................................................................................................662
Dithering.....................................................................................................483
Dithering Options... .....................................................................................498
Docking ........................................................................................................51
Dongle Activation........................................................................................820
Draw mode in the Surround panning dialog.................................................240
Draw Wave .................................................................................................510
Draw waveform in the wave window .............................................................72
Drawing automation curves in the VIP track.................................................240
Drawing Surround automation curves..........................................................239
Drawing waveforms with the pencil tool.......................................................111
Driver System .............................................................................................474
Drum Editor ................................................................................................269
Drum Map Editor ........................................................................................272
Drum Maps.................................................................................................271
Duplicate Objects .......................................................................................546
Duplicate Objects (in Place).........................................................................573
Duplicating, copying, and inserting objects..................................................127
Dynamic filter ..............................................................................................681
Dynamics (Compressor/Expander/Gate/Limiter) ..........................................607
Dynamics Effects ........................................................................................606

Economy Track.............................................................................................29
ECOX – Echo/Delay ....................................................................................733
Edit.............................................................................................................546
Edit audio file ..............................................................................................545
Edit automation curves ...............................................................................342
Edit curve – copy, paste, delete ..................................................................337
Edit fades in the object editor or by using the handles .................................128
Edit in the Tempo Track (only BPM Mode)...................................................307
Edit List (*.EDL)...........................................................................................442
Edit Menu ...........................................................................................413, 505
Edit Object Freeze ......................................................................................564
Edit object parameters................................................................................145
Edit range parameters.................................................................................149
Edit Root VIP ..............................................................................................549
Edit selected curve .............................................................................337, 598
Edit time display .........................................................................................530
Edit Toolbars ..............................................................................................490
Edit Track Freeze........................................................................................535
Editing an object destructively.....................................................................131
Editing curves .............................................................................................337
Editing MIDI data in the score sheet ............................................................285
Editing MIDI objects ....................................................................................244
Editing Surround sound automation ............................................................240
Effect as AUX .............................................................................................183
Effect as insert............................................................................................183
Effect as pre-master bus.............................................................................184
828 INDEX

Effect routing.............................................................................................. 181

Effect routing/plug-ins dialog ...................................................................... 174
Effect routing/plug-ins dialog parameters.................................................... 175
Effects – organization and workflow............................................................ 178
Effects - Signal flow...................................................................................... 93
Effects and Plug-ins in an Overview ............................................................ 185
Effects in audio objects ................................................................................ 93
Effects in Surround projects........................................................................ 239
Effects in tracks............................................................................................ 93
Effects Menu .............................................................................................. 600
Effects Sequence/Plug-ins.......................................................................... 174
eFX_Chorus/Flanger ................................................................................... 681
efx_Compressor ......................................................................................... 620
eFX_Phaser................................................................................................ 681
eFX_Reverb................................................................................................ 646
eFX_StereoDelay ........................................................................................ 646
Elastic Audio
Description of all control elements........................................................... 655
Overview of keyboard commands and configuration of the mouse wheel. 660
Elastic Audio .............................................................................................. 652
End of Range <- 0...................................................................................... 521
End of Range -> 0...................................................................................... 521
Envelope, EQ ............................................................................................. 642
EQ116 ....................................................................................................... 622
Equalization........................................................................................ 763, 765
essentialFX......................................................................................... 219, 685
Event list .................................................................................................... 278
Exchange Grids.......................................................................................... 813
Export as Dump ......................................................................................... 454
Export Audio .............................................................................................. 449
Export MIDI File... ....................................................................................... 456
Export project as AAF/OMF ........................................................................ 462
Export Video Sound... ................................................................................ 455
Extended file search ................................................................................... 143
Extended MIDI Quantize ............................................................................. 556
External effects........................................................................................... 469
External hardware effect integration ............................................................ 181
Extract ............................................................................................... 517, 573

Fade .......................................................................................................... 428

Fade In/Fade Out ....................................................................................... 119
Fade In/Out… ............................................................................................ 605
FFT - Filter.................................................................................................. 634
FFT Filter/Sound Cloner.............................................................................. 626
FFT Filter/Spectral Analysis (Offline) ............................................................ 629
FFT-Analysis filter ....................................................................................... 630
File browser ............................................................................................... 139
 INDEX 829

File manager options...................................................................................142

File Menu............................................................................................412, 439
Filter curves ................................................................................................680
Filter setting parameters..............................................................................675
Filter/EQ .....................................................................................................757
FILTOX – Multimode Filter ...........................................................................735
Find zero crossings.....................................................................................520
Fix vertically ................................................................................................814
FLAC... .......................................................................................................451
Flip Range Left ...........................................................................................520
Flip Range Right .........................................................................................520
Folder tracks.................................................................................................61
Font for Manager….....................................................................................491
Font for Time Display…...............................................................................491
Font Selection… .........................................................................................491
freeDB ........................................................................................................793
Freeze Objects ...........................................................................................563
Freeze Track...............................................................................................534
Freezing VST instruments ...........................................................................325
Frontier AlphaTrack.....................................................................................380
Frontier TranzPort .......................................................................................383
Frozen Submix/AUX Bus.............................................................................535
FTP Download... .........................................................................................819

Gain and AUX sends...................................................................................116

Gain Control ...............................................................................................764
Gate ...........................................................................................................694
General Functions in the Project Window ......................................................97
General system requirements........................................................................16
Get zoom level...........................................................................................420
Get freeDB Title Info....................................................................................793
Get position and zoom level ........................................................................420
Get Position And Zoom Level......................................................................815
Get Range ..................................................................................................523
Get Range Length ......................................................................................523
Get Zoom Level ..........................................................................................816
Global buttons ............................................................................................167
Global MIDI devices ......................................................................................32
Global solo modes......................................................................................171
Glue Objects.......................................................................................136, 548
Graphic display...........................................................................................641
Grid ............................................................................................................813
Grid Lines ...................................................................................................813
Grid Position Marker ...................................................................................305
Grid Tapping...............................................................................................305
Grid toolbar/snap buttons .............................................................................66
Grid view ....................................................................................................812
Grid/marker bar ..........................................................................................428
830 INDEX

Groove template......................................................................................... 260

Group Objects............................................................................................ 559
Group track controls .................................................................................. 533
Group/ungroup objects .............................................................................. 133
Grouping mechanism for Surround FX, Surround control group .................. 239
Groups....................................................................................................... 559
Guitar Amp................................................................................................. 760

Half Height ................................................................................................. 818

Handles ..................................................................................................... 428
Hard disk ..................................................................................................... 16
Hardware Controller ........................................................................... 360, 475
Hardware Monitoring .................................................................................. 424
Harmonizer ................................................................................................ 657
HD Wave (*.HDP) ....................................................................................... 440
Heal/Unsplit Objects........................................................................... 515, 548
Help Index… .............................................................................................. 820
Help Menu ......................................................................................... 420, 820
Hide All Wave Projects ............................................................................... 818
Hide Automation ........................................................................................ 599
Hide Submix/AUX Busses .......................................................................... 812
Hide Track ................................................................................................. 534
Hiding and displaying tracks ....................................................................... 147
Horizontal movement of a range ................................................................. 104
Hotspot...................................................................................................... 562
Housing Selection ...................................................................................... 766
HQ (high-quality) models (Room A/B & Hall A/B) ......................................... 743
Humanize................................................................................................... 262
Hybrid Audio Engine..................................................................................... 28
Hybrid Engine and economy tracks ............................................................ 428

Ignore All Tempo Markers / Use Project Tempo .................................. 519, 591
Import AAF/OMF ........................................................................................ 441
Import as Dump ......................................................................................... 446
Import Audio .............................................................................................. 446
Import Audio CD Track(s)… ................................................................ 448, 777
Import Audio DVD .............................................................................. 448, 780
Import, record, edit..................................................................................... 242
Importing MIDI data.................................................................................... 242
Impulse response ....................................................................................... 641
Impulse response resolution ....................................................................... 645
Independence .............................................................................................. 39
Indices (Track markers)............................................................................... 787
Initial navigation in the virtual project (VIP) ..................................................... 80
Input .......................................................................................................... 533
 INDEX 831

Input level – VANDAL and the real world .....................................................748

Insert ..........................................................................................................515
Insert Grid Position Marker..........................................................................519
Insert New Notes ........................................................................................285
Insert New Tracks.......................................................................................531
Insert Notation Symbols..............................................................................286
Insert Objects .............................................................................................546
Insert Several Tracks… ...............................................................................531
Insert Silence ..............................................................................................517
Insert Tempo Change .................................................................................518
Insert Time Signature Change .....................................................................518
Insert Track Effect Settings .........................................................................537
Insert Track(s) .............................................................................................531
Installation ....................................................................................................18
Installing VST plug-ins.................................................................................312
Instruments with multi-channel outputs .......................................................319
Integrating CD tracks as objects into VIP.....................................................124
Integrating external synthesizers..................................................................184
Integrating sections from wave projects as objects......................................123
Integrating wave files as objects in the VIP ..................................................123
Internal block length....................................................................................644
Invert ..........................................................................................................598
Invert Phase................................................................................................677

JLCooper MCS-3800..................................................................................385
Jumping to and playing from marker positions ............................................148

Keep Current Number (Tracks, AUX and Submix Buses) .............................469

Keyboard, Menu & Mouse...........................................................................481
K-Metering .................................................................................................803

L/R Oscilloscope (phase correlation): ..........................................................806

Latch mode ................................................................................................331
Latency ......................................................................................................429
Latency comparison ...................................................................................429
Launch Remix Agent...................................................................................565
Learn controller for plug-in/mixer elements ..................................................372
Leaving a range ..........................................................................................103
Left / Right mode........................................................................................510
Left/Right Move in Page/Scroll Mode ..........................................................585
Length of the impulse response ..................................................................645
Length Q ....................................................................................................556
Level fader..................................................................................................430
832 INDEX

LFE settings ............................................................................................... 227

Link curves with objects ............................................................................... 77
Link objects on active track .......................................................................... 78
Link objects on all tracks .............................................................................. 78
Link objects until pause ................................................................................ 77
Link VIP Q and MIDI editor Q ........................................................................ 33
Linking objects ........................................................................................... 134
List Export.................................................................................................. 456
LiViD - Little Virtual Drummer ...................................................................... 204
Load Audio File .......................................................................................... 444
Load files from the file manager into projects .............................................. 141
Load MIDI File ............................................................................................ 447
Load plug-ins at master level ...................................................................... 314
Load plug-ins at object level ....................................................................... 314
Load plug-ins at track level ......................................................................... 314
Load software instruments ......................................................................... 313
Load Track Effect Settings.......................................................................... 537
Load Video File........................................................................................... 447
Load/Import ............................................................................................... 444
Loading routing settings with software instruments ..................................... 314
Lock .......................................................................................................... 430
Lock all audio in time.................................................................................... 77
Lock channel position................................................................................. 227
Lock Objects.............................................................................. 131, 480, 549
Logic Control ............................................................................................. 389
Logic Control XT ........................................................................................ 394
Loop .......................................................................................................... 122
Loop Designer............................................................................................ 202
Loop Mode ................................................................................................ 576
Loop recordings ........................................................................................... 86
Looping objects ......................................................................................... 136
Loudness Adaption .................................................................................... 605
LR Wave -> 1 Mono ................................................................................... 452
LR Wave -> 2 Mono ................................................................................... 452

Mackie Control ........................................................................................... 395

Mackie Control XT ...................................................................................... 400
MAGIX Plug-ins ................................................................................... 187,698
MAGIX Synths ............................................................................................ 205
Main Toolbar .............................................................................................. 809
Main Toolbar 2 ........................................................................................... 810
Make CD.............................................................................................. 95, 781
Manager..................................................................................... 138, 419, 809
Manager/Docker .................................................................................. 50, 809
Manipulate Range .............................................................................. 414, 519
Manipulating the Tempo Marker in Timestretch Mouse Mode ...................... 310
Marker Manager ................................................................................. 147, 591
Marker on Range Borders .......................................................................... 587
 INDEX 833

Marker view and selection...........................................................................148

Markers ......................................................................................105, 430, 587
Master automation......................................................................................335
Master Effects ..............................................................................................94
Master Routing ...........................................................................................468
Master Section ...........................................................................................165
Matrix Editor (Piano Roll Editor) ...................................................................266
Matrix Mode ...............................................................................................234
Maximize Track...........................................................................................534
Media link ...................................................................................................470
Media link/video setup ................................................................................358
Menu reference...........................................................................................438
Methods for Working with Objects ..............................................................123
Metronome ...................................................................................................44
Metronome Active.......................................................................................519
Metronome Options… ................................................................475, 491, 519
Metronome Settings .....................................................................................84
Microphones...............................................................................................767
MIDI Bouncing ............................................................................................461
MIDI cc setup: ............................................................................................745
MIDI Clock..................................................................................................348
MIDI Controller Automation .................................................................339, 599
MIDI Controllers ..........................................................................................338
MIDI Editor Shortcut Keys ...........................................................................298
MIDI Editor... ......................................................................................247, 545
MIDI Functions............................................................................................253
MIDI Humanize Q........................................................................................555
MIDI in Samplitude......................................................................................242
MIDI Input Q (global) ...................................................................................557
MIDI Machine Control (MMC) ......................................................................352
MIDI Metronome ...........................................................................................85
MIDI Note Quantize (Standard) ....................................................................555
MIDI Object ................................................................................................430
MIDI Object Editor ......................................................................................244
MIDI Options... ...........................................................................................487
MIDI Panic – All Notes Off ...........................................................................597
MIDI Quantize Settings................................................................................556
MIDI Record Mode......................................................................................596
MIDI Recording.............................................................................................88
MIDI score settings .....................................................................................291
MIDI setup ............................................................................................31, 242
MIDI Velocity Dynamics… ...........................................................................682
MIDI-Editor – Move events ..........................................................................249
Minimize None ............................................................................................534
Mix to file while recording............................................................................166
Mix with Clip ...............................................................................................516
Mixer .................................................................................... 92, 112, 158, 796
Mixer effects .................................................................................................94
Mixer keyboard shortcuts............................................................................159
Mixer operation with mouse and keyboard ..................................................159
834 INDEX

Mixer overview ........................................................................................... 158

Mixer setup ................................................................................................ 468
MMC Modes .............................................................................................. 352
MMC Setup................................................................................................ 487
Mode 1/Mode 2/Switch Modes .................................................................. 491
Mode switching ............................................................................................ 30
Modulation effects ...................................................................................... 752
Modulation/Special..................................................................................... 678
Monitoring.................................................................................. 323, 430, 585
Monitoring Settings .............................................................................. 27, 474
Mono / Stereo Convert ............................................................................... 452
Mono Effect Processing.............................................................................. 538
Monophonic voice ...................................................................................... 650
Mouse mode .............................................................................. 270, 431, 505
Mouse mode bar .......................................................................................... 69
Mouse Mode Samplitude 4.0........................................................................ 70
Mouse Mode Toolbar ................................................................................. 810
Move and transpose................................................................................... 285
Move automation curve with audio/MIDI data.............................................. 343
Move objects ............................................................................................. 560
Move play cursor........................................................................................ 418
Move Play Cursor ....................................................................................... 585
Move Range End Left ................................................................................. 520
Move Range End Right............................................................................... 520
Move Range Start Left................................................................................ 519
Move Range Start Right ............................................................................. 520
Move/edit objects/crossfade....................................................................... 416
Moving audio material below the object ...................................................... 137
Moving objects................................................................................... 126, 560
Moving to a defined position....................................................................... 133
MP3 with external encoder ......................................................................... 450
MP3........................................................................................................... 450
MPEG... ..................................................................................................... 450
MS-Processing........................................................................................... 223
MTC (MIDI Timecode)................................................................................. 349
Multi object editing (MO-Editing) ................................................................. 280
Multiband Dynamics ................................................................................... 613
Multiband stereo enhancer ......................................................................... 673
Multifunction input field with help-function............................................... 40, 78
Multi-language version – one EXE for all languages ....................................... 44
Multiple Object Selection ............................................................................ 604
Multi-track recording .................................................................................... 87
Multi-track selection ..................................................................................... 43
Multi-voice notation .................................................................................... 289
Mute Objects ..................................................................................... 128, 549

Navigation/Favorites ................................................................................... 139

Network installation – configuring the CodeMeter stick.................................. 23
 INDEX 835

Network installation - Program installation .....................................................23

New AUX Bus .............................................................................................531
New Folder Track .......................................................................................531
New MIDI Object ........................................................................................545
New MIDI object in the range ......................................................................546
New MIDI Track ..........................................................................................531
New Object ................................................................................................573
New Submix Bus ........................................................................................531
New Surround AUX Bus..............................................................................532
New Surround Bus .....................................................................................531
New Synth Object.......................................................................................546
New Virtual Project (VIP) .............................................................................439
New wave project via drag & drop...............................................................110
No automatic record stop in MTC input mode .............................................349
No effect (Track) .........................................................................................598
No indices on Object Crossfades ................................................................789
Non-destructive wave editing ......................................................................110
NonLin........................................................................................................742
Normal Object Mode.....................................................................................77
Normalize ...................................................................................................603
Normalize (Quick Access)............................................................................605
Notation symbol .........................................................................................295
Note allocation in multiple systems..............................................................287
Note display ...............................................................................................266
Note editor modes - Linear view..................................................................282
Note On Chasing ..........................................................................................33
Note parameters.........................................................................................285
Note system settings ..................................................................................291
Notes concerning offline effects editing .......................................................600

Object (*.OBJ).............................................................................................442
Object Automation......................................................................................334
Object Background Color… ........................................................................563
Object Border Left ......................................................................................586
Object Border Right ....................................................................................586
Object Color/Name .....................................................................................563
Object Editor... ...........................................................................114, 431, 545
Object Effects .....................................................................................116, 557
Object End to Play Cursor Position .............................................................562
Object Foreground Color… .........................................................................563
Object Handles ...........................................................................................125
Object Hotspot to Play Cursor Position .......................................................561
Object Lasso ..............................................................................................558
Object Manager... ...............................................................................144, 573
Object Menu.......................................................................................415, 545
Object Mode........................................................................... 70, 77, 508, 513
Object Name... ...........................................................................................563
Object step size 1 .......................................................................................562
836 INDEX

Object step size 2 ...................................................................................... 562

Object Synths ............................................................................................ 188
Object to Original Time Position .................................................................. 562
Object view and selection ........................................................................... 144
Object/Curve Mode ...................................................................................... 70
Object/Fade step size................................................................................. 560
Object-based Surround panning................................................................. 227
Object-oriented .......................................................................................... 431
Object-oriented audio editing...................................................................... 113
Objects in the virtual project (VIP).................................................................. 91
Off mode.................................................................................................... 330
Offline effects ............................................................................................... 92
Offline effects calculation in wave projects .................................................. 602
Offset ................................................................................................. 262, 552
OGG Vorbis................................................................................................ 451
Open.......................................................................................................... 412
Open Manual… .......................................................................................... 820
Open MIDI Editor........................................................................................ 247
Open Project.............................................................................................. 440
Open Score Editor...................................................................................... 282
Options administration................................................................................ 483
Options administration/Remote/User administration...................................... 42
Options for automatic pitch correction ........................................................ 656
Options for loading audio files..................................................................... 445
Options management ................................................................................... 44
Oscilloscope: ............................................................................................. 804
Overdrive/Distortion.................................................................................... 751
Overdub (MIDI Record Mode) ..................................................................... 596
Overlapping Objects ................................................................................... 134
Overlapping two objects via the keyboard shortcut ..................................... 134
Overview Mode .......................................................................................... 814
Overwrite mode.......................................................................................... 331
Overwrite with Clip ..................................................................................... 516

Page format settings .................................................................................. 296

Pan ............................................................................................................ 117
Pan setup .................................................................................................. 236
Pan/Surround Editor (Stereo-Panorama-Dialog) .......................................... 543
Panning law mode...................................................................................... 232
Panorama modes in the Surround panorama module.................................. 230
Parameters for stereo manipulation ............................................................ 675
Parametric EQ............................................................................................ 621
Paste Track(s) ............................................................................................ 533
Paste with Time/Ripple ............................................................................... 516
Paste/Insert Clip......................................................................................... 515
Patch List................................................................................................... 773
Peak Meter ................................................................................................ 800
Phaser ....................................................................................................... 686
 INDEX 837

Pitch (fundamental frequency) .....................................................................657

Pitch automation without change in length ..................................................661
Pitch correction (intonation correction) with monophonic audio material.......661
Pitch slice objects and VIP objects..............................................................659
Pitchshift/Timestretch Mode..................................................................71, 511
Plate...........................................................................................................741
Play ............................................................................................................418
Play and Monitor Instruments Live...............................................................323
Play Cursor.................................................................................................431
Play Cut..............................................................................................418, 574
Play from cut end (out point) .......................................................................575
Play in Range/Loop.....................................................................................574
Play into Cut ...............................................................................................575
Play Loop ...................................................................................................574
Play Once...................................................................................................574
Play Only Selected Objects .........................................................................574
Play over cut/crossfade ..............................................................................575
Play to cut end (out point) ...........................................................................575
Play to cut start (in point) ............................................................................574
Play with Preload ........................................................................................574
Playback control .........................................................................................658
Playback Menu ...........................................................................................574
Playback Mode...................................................................................418, 576
Playback Options........................................................................................470
Playback Parameters ..................................................................................578
Plug-in Menu Functions ..............................................................................321
Plug-in Panel - Graphical Interface ..............................................................319
Plug-in Parameter Dialog ............................................................................320
Plug-ins and EQ..........................................................................................117
Plug-ins at track, object, and master level ...................................................217
Plug-ins pre or post ....................................................................................175
Position bar 1 ...............................................................................................75
Position bar 2 ...............................................................................................76
Position/Fades............................................................................................119
Positionbar .................................................................................................810
Positionbar 2 ..............................................................................................810
POW-r Dithering/Smart Dithering ................................................................499
Pre & Post Gain ..........................................................................................762
Preamp Channels .......................................................................................761
Pre-delay ....................................................................................................642
Preparing a MIDI recording ...........................................................................88
Preparing to record.................................................................................82, 88
Preset keyboard shortcuts ..........................................................................412
PreSonus FaderPort ...................................................................................401
Preview audio files ......................................................................................140
Print notes ..................................................................................................297
Process Effects Offline ................................................................................776
Process Only Left/Right Stereo Channel......................................................776
Program interface – Overview .......................................................................47
Program Preferences ..................................................................................474
838 INDEX

Project and Mixer Configuration.................................................................. 468

Project Auto Save… ................................................................................... 470
Project Information….................................................................................. 471
Project options ..................................................................................... 34, 486
Project Properties............................................................................... 412, 467
Project Status… ......................................................................................... 471
Project Surround setup............................................................................... 225
Punch / Playback bar ................................................................................... 68
Punch Marker Mode................................................................................... 581
Punch recording with markers ...................................................................... 86
Punch/Playbar............................................................................................ 810

Q grid/Q length .......................................................................................... 260

Q Threshold ....................................................................................... 261, 554
Q Window .......................................................................................... 262, 554
Quantization ............................................................................................... 550
Quantization - window view ........................................................................ 259
Quantization in the Drum Editor .................................................................. 272
Quantization Setting - Soft Q ...................................................................... 552
Quantization Settings ................................................................................. 259
Quantize .................................................................................................... 258
Quantize Note Ends to Grid ........................................................................ 556
Quantize object position (AQ)...................................................................... 552
Quantize object position (hard) ................................................................... 552
Quantize Settings - Grid ............................................................................. 554
Quick Access ............................................................................................. 605

Rack Effects (FX1/FX2) ............................................................................... 768

RAM Wave (*.RAP) ..................................................................................... 440
Randomize MIDI Velocity ............................................................................ 682
Range ................................................................................ 413, 431, 510, 519
Range All ................................................................................................... 519
Range Bar.................................................................................................... 76
Range Bouncing (Internal Mixdown) ............................................................ 460
Range Editor…........................................................................................... 530
Range end to right marker .......................................................................... 521
Range End to Right Object Border.............................................................. 521
Range Length............................................................................................. 522
Range Manager… .............................................................................. 149, 523
Range Mode ........................................................................................ 69, 507
Range Not Over Tracks .............................................................................. 522
Range Over All Selected Objects ................................................................ 522
Range Over All Tracks ................................................................................ 522
Range Over Current Track .......................................................................... 522
Range start to left marker ........................................................................... 521
 INDEX 839

Range Start to Left Object Border ...............................................................521

Range to Beginning ....................................................................................520
Range to End .............................................................................................520
Rangebar....................................................................................................810
Ranges.......................................................................................................102
Read Mode.................................................................................................330
Real Audio... ...............................................................................................451
Real time effects ...................................................................................92, 419
Real-time effects at track, object, and master level ......................................185
Rebuild Graphic Data..................................................................................811
Recall Last Range.......................................................................................523
Recall Last Stop Position ............................................................................586
Recent File .................................................................................................504
Record .......................................................................................422, 475, 580
Record Mode/Punch In ...............................................................................580
Record offset................................................................................................32
Record Options ..........................................................................................582
Record Pause.............................................................................................582
Record without Playback ............................................................................581
Recording...................................................................................................539
Recording and playing back an instrument ..................................................323
Recording automation in .............................................................................341
Recording MIDI tracks ................................................................................242
Recording/playback ....................................................................................112
Remix Agent ...............................................................................................220
Remix objects in .........................................................................................568
Remote Control ..........................................................................................772
Remote Parameters (Vandal).......................................................................770
Remove All Indices .....................................................................................789
Remove DC Offset (Offline)..........................................................................672
Remove Index.............................................................................................789
Remove Object Gaps..................................................................................553
Remove Range ...........................................................................................522
Rename Marker ..........................................................................................588
Rename Project... .......................................................................................463
Repeat Last Position(s) ...............................................................................586
Replace ......................................................................................................597
Replacing an audio file below the object......................................................137
Resampling / Time Stretching / Pitch Shifting ..............................................647
Resampling Quality Options….....................................................................502
Resampling/Bouncing.................................................................................483
Reset Audio Object Quantization.................................................................553
Reset Beat-Marker......................................................................................650
Reset MIDI Quantization..............................................................................557
Reset Toolbars ...........................................................................................491
Reset Track Effect Settings .........................................................................537
Restart Play ................................................................................................575
Restoration .................................................................................................666
Restore.......................................................................................................513
Retro ..........................................................................................................742
840 INDEX

Retrospective MIDI recording........................................................................ 32

Retrospective Recording (MIDI Pre-Recording) ........................................... 596
Reverb ............................................................................................... 687, 763
Reverb in the object ................................................................................... 129
Reverb parameters..................................................................................... 687
Revolta 2.................................................................................................... 215
Revolver Tracks.................................................................................... 62, 541
ReWire client application ............................................................................ 326
Robota Pro ................................................................................................ 206
Room & Hall ............................................................................................... 740
Room Simulator ......................................................................................... 640
Routing instrument outputs ........................................................................ 318
Routing Manager........................................................................................ 156
Routing MIDI instrument inputs................................................................... 318
Routing the effect ....................................................................................... 182
Routing VST instruments using the VSTi manager....................................... 318

Sample data * 2 ......................................................................................... 683

Sample data/2............................................................................................ 683
Sample manipulation .................................................................................. 682
Sample rate of impulse reply....................................................................... 645
Samplitude as a wave editor....................................................................... 108
Samplitude on Windows x64 (64-Bit) ............................................................ 16
Samplitude on Windows x86 (32-Bit) ............................................................ 16
Samplitude preset and scene selection....................................................... 749
Samplitude Quick Start................................................................................. 80
Saturation and HF Details Section............................................................... 709
Save Complete VIP in... .............................................................................. 464
Save effects parameters (preset mechanism) .............................................. 179
Save in format ............................................................................................ 453
Save Object... ............................................................................................ 449
Save position and zoom level...................................................................... 419
Save Project............................................................................................... 448
Save project as EDL... ................................................................................ 449
Save Project as Template... ........................................................................ 449
Save Project as... ....................................................................................... 448
Save Project Copy...................................................................................... 449
Save Session... .......................................................................................... 449
Save tempo and bar info ............................................................................ 571
Save Track Effect Settings.......................................................................... 537
Save zoom level ......................................................................................... 419
Save Marker............................................................................................... 587
Saving and opening ranges / Special range commands .............................. 104
Saving new effects parameters ................................................................... 180
Scene Memory ........................................................................................... 771
Score Editor ............................................................................................... 282
Score editor modes - page view ................................................................. 283
Score music XML export ............................................................................ 297
 INDEX 841

Score Sheet................................................................................................284
Screen Elements...........................................................................................47
Scroll Bars ..................................................................................................432
Scrolling .....................................................................................................101
Scrub .........................................................................................................432
Scrub Mode................................................................................................510
Scrub Mouse Mode ......................................................................................73
Scrubbing...........................................................................................107, 579
Scrubbing Active ........................................................................................577
SE Dialogs Header......................................................................................666
Search CD Online and Set Track Indices .....................................................794
SE-Cleaning Effects ......................................................................................37
Section .................................................................................................97, 432
Select All Objects........................................................................................558
Select All Objects Under Cursor ..................................................................558
Select Multiple Tracks ...................................................................................98
Select Next Curve .......................................................................................599
Select Next Object......................................................................................558
Select Notes ...............................................................................................285
Select Notes within the Q range ..................................................................262
Select Objects ............................................................................................417
Select Objects in Active Track.....................................................................558
Select Previous Curve .................................................................................599
Select Previous Object................................................................................558
Select Takes...............................................................................................151
Selecting a range ........................................................................................102
Selecting and drawing events .....................................................................275
Selecting Objects........................................................................................558
Selecting objects and clearing selection ......................................................124
Selecting slice objects and VIP objects........................................................660
Send ............................................................................................................33
Session (*.SAM) ..........................................................................................444
Set arrangement tempo to object tempo.....................................................570
Set CD End Index .......................................................................................788
Set CD Pause Index....................................................................................788
Set CD Sub Index .......................................................................................788
Set CD Track Index.....................................................................................787
Set CD Tracks ..............................................................................................95
Set End Marker...........................................................................................590
Set Markers on Silence ...............................................................................587
Set MIDI Velocity to Fixed Value ..................................................................682
Set New Audio Marker ................................................................................589
Set new grid marker positions.....................................................................591
Set new Tempo marker...............................................................................591
Set New Time Signature marker..................................................................591
Set Original Time Position ...........................................................................562
Set Pause Time ..........................................................................................792
Set Preroll Time….......................................................................................503
Set Start Marker .........................................................................................590
Set Start Pause Time ..................................................................................792
842 INDEX

Set Track Indices on Object Edges ............................................................. 789

Set Track Indices on Silence....................................................................... 788
Set Zero ..................................................................................................... 606
Setup button in the VIP .............................................................................. 433
Shortcuts and Menu Settings ..................................................................... 488
Show 2nd Grid Line.................................................................................... 813
Show all curves (not selectable) .................................................................. 599
Show all curves (selectable) ........................................................................ 599
Show CDR Disc Information….................................................................... 794
Show CDR Drive Information…................................................................... 794
Show Grid.................................................................................................. 812
Show Grid/Time Signature.................................................................. 261, 555
Show Object Automation............................................................................ 599
Show Only Selected Curve ......................................................................... 599
Show TOC... .............................................................................................. 783
Show Track Automation ............................................................................. 599
Show unselected curves (not selectable)..................................................... 338
Show unselected tracks (selectable) ........................................................... 338
Sidechain Input .......................................................................................... 324
Signal Flow................................................................................................. 422
Signal flow with monitoring ......................................................................... 423
Silence ....................................................................................................... 517
Skins.......................................................................................................... 481
sMax11 ...................................................................................................... 618
Smoothed .................................................................................................. 648
SMPTE Generator ...................................................................................... 775
SMPTE Settings ......................................................................................... 351
Snap Active................................................................................................ 813
Snap and Grid Setup.......................................................................... 467, 813
Snap bar .................................................................................................... 810
Soft AQ ...................................................................................................... 553
Soft Q ........................................................................................................ 263
Soft Q (approximate quantization) ............................................................... 556
Software Monitoring ................................................................................... 425
Software-Instrumente/VST-Plug-Ins/ReWire ............................................... 312
Solo in Place (default) ................................................................................. 170
Solo playback of VSTi instrument outputs ................................................... 319
Solo/monitor bus (in the ............................................................................. 171
Solo/monitor volume fader.......................................................................... 170
Sort, rename, delete, and insert tracks ....................................................... 146
Sound field mode ....................................................................................... 231
Soundpool manager ............................................................................. 39, 157
Source Files ............................................................................................... 527
Speaker Selection ...................................................................................... 766
Special Features of Vandal ......................................................................... 746
Spectral mode................................................................................ 40, 72, 512
Spectral view................................................................................................ 40
Spectrogram .............................................................................................. 808
Spectroscope............................................................................................. 808
Split ........................................................................................................... 514
 INDEX 843

Split at Transients .......................................................................................552

Split Objects .......................................................................................514, 547
Split Objects at Audio Marker Positions...............................................515, 548
Split objects at Marker Positions .........................................................515, 548
Split Objects at Track Marker Positions ...............................................515, 548
Split Range.................................................................................................522
Split Range for Video ..................................................................................522
Spring ........................................................................................................743
Standard Mode (Playback while Recording).................................................580
Standard Quantization ................................................................................263
Start and Length Q .....................................................................................556
Start Q .......................................................................................................556
Start Wizard / Tip of the Day .......................................................................820
Status display .............................................................................................433
Statusbar....................................................................................................810
Step recording via keyboard or controller keyboard .....................................264
Stereo and mono signal processing in surround projects.............................237
Stereo Delay ...............................................................................................689
Stereo dialog options ..................................................................................221
Stereo Editor ..............................................................................................221
Stereo enhancer - tips & tricks ....................................................................676
Stereo Wave -> 2 Mono..............................................................................452
Stereo/Phase..............................................................................................673
Stomp Boxes (pedals).................................................................................750
Stop ...........................................................................................................575
Stop and Go to Current Position .................................................................576
Store Position and Zoom Level ...................................................................815
Store Range ...............................................................................................522
Store Zoom Level .......................................................................................815
Strip Silence ...............................................................................................517
Submit CD to freeDB ..................................................................................793
Submix Bus ........................................................................................433, 535
Submix buses.............................................................................................172
Surround AUX bus ......................................................................................433
Surround bouncing .....................................................................................240
Surround bus..............................................................................................434
Surround master.........................................................................................433
Surround meter ..........................................................................................806
Surround panning .......................................................................................227
Surround panorama module .......................................................................228
Surround Sound .........................................................................................224
Swing .................................................................................................262, 554
Switch Channels .........................................................................................673
Switch Selection .........................................................................................559
Synchronization ..........................................................................................345
Synchronization - Samplitude as master......................................................351
Synchronization Active ................................................................................487
Synchronization applications .......................................................................354
Synchronization formats..............................................................................345
Synchronization Setup... .....................................................................348, 487
844 INDEX

Synchronized image view in Arranger and MIDI editor: ................................ 250

System information..................................................................................... 819
System options .......................................................................................... 474
System options - Recording/Editing.............................................................. 34
System options > Design > View options .................................................... 481
System options -> Performance ................................................................... 46
System Requirements .................................................................................. 16
System Settings ................................................................................... 25, 434

Table of Content (*.TOC) ............................................................................ 444

Take Composer.................................................................................. 152, 563
Take management for multi-track recordings .............................................. 152
Take Manager... ................................................................................. 151, 563
Takes......................................................................................................... 563
Tape Section.............................................................................................. 705
Target format ............................................................................................. 529
Tascam FW-1884....................................................................................... 408
Tascam US-2400 ....................................................................................... 404
Tasks ......................................................................................................... 527
Tempo ....................................................................................................... 518
Tempo and Time signature changes in the tempo map... ............................ 301
Tempo and Time Signature Dialog .............................................................. 310
Tempo Change – BPM Marker ................................................................... 304
Tempo Editing............................................................................................ 301
Tempo Map BPM Mode ............................................................................. 518
Tempo Map Dialog ..................................................................................... 308
Tempo Map Dialog... .................................................................................. 518
Tempo Map Grid Fit Mode.......................................................................... 518
Tempo Map Modes – BPM Mode / Grid Fit Mode ....................................... 303
Tempo markers .................................................................................. 302, 434
Tempo Scaling ........................................................................................... 519
Tempo Scaling / Change Global Tempo... .................................................. 307
Tempo Track.............................................................................................. 306
Tempo-Map and Tempo track ...................................................................... 36
Temporarily Exclude All Objects from Groups ............................................. 559
Temporarily Exclude Object from Group ..................................................... 559
Thin Out ..................................................................................................... 598
Tile............................................................................................................. 818
Time Display............................................................................................... 796
Time input field........................................................................................... 434
Time Offset for Indices on Object Edges ..................................................... 789
Time Signature Marker ............................................................................... 305
Time Stretch/Pitch Shift Patcher... .............................................................. 571
Time/Pitch.................................................................................................. 647
Timestretching/Pitchshifting................................................................ 121, 647
Title bar...................................................................................................... 434
to Beginning............................................................................................... 585
to End ........................................................................................................ 585
 INDEX 845

to Range End .............................................................................................585

to Range Start ............................................................................................585
to Start of Section.......................................................................................585
TOC - Export ..............................................................................................784
Tone pitch automation including changes to the length (resampling) ............661
Toolbar...............................................................................................434, 658
(left section)...............................................................................................65
(right section) ............................................................................................66
Toolbars – Overview .....................................................................................64
Tooltips ......................................................................................................434
Touch mode ...............................................................................................330
Track ..........................................................................................................434
Track automation - Basic procedures..........................................................328
Track automation mode ..............................................................................338
Track Bouncing Settings – Generate ...........................................................458
Track Editor ..........................................................................................56, 809
Track Effect Settings...........................................................................180, 536
Track Effects ..............................................................................................541
Track Freeze for AUX Buses/Submix Buses ................................................535
Track Header........................................................................................60, 435
Track Manager ...........................................................................................146
Track Menu ........................................................................................415, 531
Track Options... ..........................................................................................538
Track Properties .................................................................................415, 542
Track Routing Dialog ..................................................................................536
Track Size ..................................................................................................534
Track Type .................................................................................................533
Track view and selection.............................................................................146
Track Visualization ......................................................................................544
Track-based Surround panning...................................................................227
Trackbouncing............................................................................................456
Transient Section Parameters .....................................................................708
Transport Console ................................................................................53, 796
Transport window only controls external device...........................................352
Tremolo Pan ...............................................................................................695
Trim MIDI Objects .......................................................................................548
Trim mode during playback.........................................................................331
Trim mode with stopped playback ..............................................................333
Trim Objects ...............................................................................................548
Trimming objects ........................................................................................136
True Resynthesis Timestretching (TRTS)......................................................651
True Resynthesis Timestretching (TRTS) (offline) ............................................40
Tube Stage.................................................................................................692
Tuner..........................................................................................................808
Tuplets (8th, 5th, 7th)..................................................................................260

Undo ..................................................................................................480, 513

846 INDEX

Undo Definitions... ...................................................................................... 497

Undo History .............................................................................................. 513
Undo quantization/reset ............................................................................. 264
Undo/Redo/Reset Quantization .................................................................. 553
Unfreeze Object ......................................................................................... 564
Unfreeze Track ........................................................................................... 535
Ungroup Objects ........................................................................................ 559
Ungroup track control group ...................................................................... 534
Unhide All Tracks ....................................................................................... 534
Units of Measurement ................................................................................ 813
Universal HQ .............................................................................................. 651
Universal Mode ............................................................................................ 69
Unlock Objects........................................................................................... 549
Untile ......................................................................................................... 818
Up arrow/down arrow buttons .................................................................... 227

Vandal.................................................................................. 45, 219, 663, 746

Varispeed and Scrub Settings .................................................................... 486
VariVerb Pro............................................................................................... 737
VCA Mode ......................................................................................... 700, 703
Velocity ...................................................................................................... 270
Velocity dynamics....................................................................................... 256
Velocity Mode ............................................................................................ 265
Version limits of Vandal SE versus Vandal ................................................... 746
Vertical............................................................................................... 420, 817
Video options ............................................................................................. 358
Video Window ............................................................................................ 809
View Menu ......................................................................................... 419, 796
Vintage Mode............................................................................................. 704
VIP - virtual projects ........................................................................... 435, 494
VIP Display Mode ....................................................................................... 814
VirtClip for virtual projects ................................................................... 427, 436
Virtual projects (VIP) ........................................................... 440, 514, 516, 517
Visualization ....................................................................................... 436, 798
Vita ............................................................................................................ 213
Vocal Strip ................................................................................................. 697
Vocoder ..................................................................................................... 679
Voicing ....................................................................................................... 762
Vol ............................................................................................................. 118
Volume Adjustment ...................................................................................... 85
Volume Draw Mode.............................................................................. 71, 510
Volume/Dynamics ...................................................................................... 755
Vpot Controls ............................................................................................. 699
VST / DirectX / ReWire setup / Plug-in buffer .............................................. 176
VST Instrument Editor ................................................................................ 543
VST instrument preset selection ................................................................. 324
VST Instruments......................................................................................... 186
VST MIDI out + Audio out recording ........................................................... 317
 INDEX 847

VST MIDI out recording:..............................................................................538

VST plug-in/VST parameters dialog.............................................................341
VST/DirectX/ReWire....................................................................................483
VSTi Manager .............................................................................................156

WAV ...........................................................................................................450
Wave (HDP/RAP) Mouse Mode ...................................................................510
Wave Editing ..............................................................................................436
Wave Projects .................................................................... 436, 472, 514, 517
Wave Projects to Icons ...............................................................................818
Waveform Color..........................................................................................496
Waveform Display .......................................................................................491
Waveform Generator...................................................................................775
What's new in Samplitude Pro X/Pro X Suite? ...............................................36
Window ..............................................................................................420, 818
Windows Media... .......................................................................................450
Work Area ..................................................................................................436
Workshop – Recording .................................................................................80
Workspacebar ............................................................................................810
Workspaces .................................................................................................63
Write Text File .............................................................................................147

Zoom..........................................................................................................437
Zoom mode................................................................................................512
Zoom Mode..................................................................................73, 101, 510
Zoom Tool (Shortcut Z) ...............................................................................101
Zoom with Keyboard.....................................................................................99
Zoom with the Position Bar ...........................................................................99
Zoom with the Scroll Bar Buttons................................................................100
Zooming .......................................................................................................99
Zooming with the mouse - vertical zoom .....................................................100
Zooming with the mouse wheel...................................................................100
Zooming with the scrollbars ........................................................................101