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The present documentation is protected by law. All rights, especially the right of duplica-tion, circulation and translation is reserved.

No part of this publication may be reproduced in form of copies, microfilms or otherprocesses, or transmitted into a language used for machines, especially data processingmachines, without the express written consent of the publisher.All copyrights reserved.

© 1990 - 2002 MAGIX Computer Products International Corp. in the USA. MAGIX®and samplitude® are registered trademarks of MAGIX Computer Products InternationalCorp. in the USA. All other product names are trademarks of the corresponding manu-facturers.

© 1990 - 2002 MAGIX AG. MAGIX® and samplitude® are registered trademarks ofMAGIX AG. All other product names are trademarks of the corresponding manufactur-ers.

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Table of Contents

Support 13

Menu Items 14

Menu File 15

New Virtual Project (VIP) 15Open Project 17Open Project > Virtual Project 17Open Project > Wave (*.wav) 17Open Project > MIDI (*.mid) 19Open Project > RAM Wave (RAP) 19Open Project > HD Wave (HDP) 19Open Project > Object (*.Obj) 19Open Project > Edit List (*.EDL) 19Open Project > Table Of Contents (*.TOC) 19Open Project > Session (*.SAM) 19Open Audio CD Track(s) 20Waveform Generator 20Load Session 20Save Projects 20Save Project as 20Save complete VIP in 20Save Project as EDL 21Save Project as Template 21Burn Project Backup on CD 21Save Object 21Save Session 21Record 22Rename Project 22Delete Wave Project(s) 22Delete Virtual Project 22Import audio 22Convert Audio 23Convert Audio > Save In Format 23Convert Audio > Change Bit Resolution 24Convert Audio > Stereo Wave > 2 Mono 25Convert Audio > LR Wave > 2 Mono 26Convert Audio > 2 Mono > Stereo/LR Wave 26Convert Audio > OLD RR 24 Float to IEEE Float 26Convert Audio > LR Wave > 1 Mono 26

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Table of ContentsConvert Audio > 1 Mono > LR Wave 26Export Audio 26Export Audio > Wave 28Export Audio > MP3 28Export Audio > MP3 with external Encoder 28Export Audio > MPEG 28Export Audio > Windows Media (*.wma) 28Export Audio > Real Audio (*.ra) 29Export Audio > AIFF File with Quicktime 29Export Audio > 16 / 24 / 32 Bit Float Aiff 30Export Audio > 32 Bit Float as 16 / 20 / 24 Bit 30Export Audio > Export MIDI File 31Export Audio > Export as Dump 31Export MAGIX playR file 31Batch Processing 31Connect to the Internet 34Publish to Web 34FTP Download 34Exit 34

Menu Edit 35

Undo 35Redo 36Undo History 36Cut 36Delete 37Copy 37Paste/Insert Clip 38Extract 38Insert Silence 39Append Projects 39More 39More > Delete with Ripple 40More > Clear 40More > Copy + Clear 40More > Cut with Ripple 40More > Copy as.... 40More > Paste with Ripple 40More > Overwrite with Clip 40More > Mix with Clip 41Delete Curve Handles 41Delete Curve Handles > Delete Volume Handle 41Delete Curve Handles > Delete Panorama Handle 42Delete Curve Handles > Delete Surround Handle 42

5

Table of ContentsDelete Undo Levels 42Append Projects 42Crossfade Editor 43Auto Crossfade Active 45

Menu View 46

Rebuild Graphic Data 46Sections 46Fix Vertically 48Hide Submix/AUX busses 48Show Grid 49Grid Lines 49Units Of Measurement 49Snap to Grid 50Snap and Grid Setup 50VIP Display Mode 51Store Position and Zoom Level 56Store Zoom Level 56Get Position and Zoom Level 56Get Zoom Level 57Horizontal 57Vertical 58

Menu Track 59

Insert new Tracks > Add one Track 59Insert new Tracks > Add several Tracks 59Insert new Tracks > New Submix Bus 59Insert new Tracks > New AUX Bus 59Cut Track(s) 59Copy Track(s) 59Insert Track(s) 59Delete Track(s) 60Create Empty Track(s) 60Track Properties 60Track Information 60Track FX > Track Routing Dialog 60Track FX > Copy/Paste Track Effects Settings 61Track FX > Reset Track Effects settings 61Track FX > Dynamics/Distortion/Delay/Reverb/EQ/ 61Track FX > Plug-ins 61MIDI Controllers (Samplitude Pro) 61Surround Editor (Samplitude Pro) 61Minimize Track 61Maximize Track 61

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Table of ContentsMinimize none 62Activate next 62Activate previous 62

Menu Object 63

New Object 63Cutting Objects 63Cutting Objects > Cut Objects 64Cutting Objects > Copy Objects 64Cutting Objects > Insert Objects 64Cutting Objects > Delete Object 64Cutting Objects > Extract Object 64Cutting Objects > Duplicate Objects 64Cutting Objects > Duplicate Objects multiple.... 65Cutting Objects > Split Object On Project Marker Position 65Cutting Objects > Split Object On Track Marker Position 65Split Objects 65Trim Objects 66Heal/Unsplit Objects 66Mute Objects 66Lock Objects 66Lock Objects > Lock Objects 66Lock Objects > Unlock Objects 66Lock Objects > Lock Definitions 66Edit Objects 67Edit Objects > Move Objects 67Edit Objects > Object/Fade Step Settings 68Edit Objects > Object Move Step 1 and Step 2 68Object To Play Cursor Position 69Object To Original Time Position 70Set Original Time Position 70Build Loop Object 70Arrange Objects 71Set Hotspot 71Select objects 71Select Objects > Select Objects 71Select Objects > Switch Selection 71Select Objects > Select All Objects 71Deselect Objects 71Select next Object 71Select previous Object 71Group Objects 72Ungroup Objects 72Object Background Color 72

7

Table of ContentsObject Foreground Color 72Object Name 72Object Editor 73Object Manager 74Take Manager 74Wave Editing 74Edit a copy of Wave Content 75

Menu Effects 76

Amplitude/Normalize > Normalize 77Amplitude/Normalize > Normalize (quick access) 78Amplitude/Normalize > Fade In/Out 79Amplitude/Normalize > Set Zero 80Plug-ins.... 80Parametric Equalizer.... 84FFT Filter / Analyzer.... 86Dynamics 99Dynamics (Compressor / Expander....) 101Advanced Dynamics 105Multi-Band Dynamics 109Room Simulator (Samplitude pro) 118Echo/Delay/Reverb 124De-clipping 126Remove DC Offset 129Get Noise Sample 129Noise Reduction 130Dehissing 137Convolution (Samplitude pro) 143Distortion 144AmpSimulation 145Vocoder 146Resample / Timestretching 148Change Sample Rate 152Sample Manipulation 155Sample Manipulation > Sample Data /2 155Sample Manipulation > Sample Data *2 155Sample Manipulation > Reverse 155Build Physical Loop 155Switch Channels 156Stereo Enhancer 156Invert Phase 160Process only left/right stereo channel 160

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Table of ContentsMenu Range 161

Range all 161Move Play Cursor 161Move Play Cursor > to Beginning 161Move Play Cursor > to End 161Move Play Cursor > to Range Start 161Move Play Cursor > to Range End 162Move Play Cursor > Left Move in Page Mode 162Move Play Cursor > Left Move in Scroll Mode 162Move Play Cursor > Right Move in Page Mode 162Move Play Cursor > Right Move in Scroll Mode 162Move Play Cursor > Object border left/right 163Move Play Cursor > Marker left 163Move Play Cursor > Marker right 163Edit Range 163Move range start left 163Move range start right 163Move range end left 163Move range end right 164Edit Range > Range to Beginning 164Edit Range > Range to End 164Edit Range > Flip Range Left 164Edit Range > Flip Range Right 164Edit Range > Beginning of Range > 0 164Edit Range > End of Range > 0 165Edit Range > Beginning of Range < 0 165Edit Range > End of Range < 0 165Edit Range > 0 > Range < 0 165Range start to left marker 166Range start to left Object border 166Range end to rigjt marker 166Range end to right Object border 166Range over aln selected Objects 166Range Length to 166Split Range 166Split Range for Video 167Store Range 167Get Range 167Get Range Length 168Recall last Range 168Store Marker 168Get Marker 169Marker on Range Borders 169Set Markers on Silence.... 169

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Table of ContentsComparisonics Audio Search 171Delete Marker 172Delete All Markers 172Range Editor 172Range Manager 173Edit Time Display 173Object Lasso 174

Menu CD 175

Load Audio CD Track(s) 175Set Track 179Set Sub Index 179Set Pause 179Set CD End 179Set Track Indices On Silence 179Set Track Indices on Object Edges 180Set Track Indices On Object Edges – Options 180Remove Index 180Remove All Indices 180Make CD.... 180Show CDR Drive Information.... 183Show CDR Disc Information.... 183CD Track Options.... 184CD Disc Options.... 184Set Pause Time.... 184Set Start Pause Time.... 185CD Arrange Mode 185

Menu Tools 186

Track Bouncing.... 186Bouncing (internal Mixdown) 189Remove unused Samples 189Waveform Generator 192SMPTE Generator 192Range Manager 193Marker / CD Track Manager.... 193Object Manager.... 195Take Manager.... 195Explore the HD-Wave (HD Wave) directory 198Explore the RAM-Wave (RAP) directory 198Start External Program 1/2 198Timestretch/Pitchshift Patcher 198

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Table of ContentsMenu Playback/Record 200

Play Once 200Play Loop 200Play In Range 200Play With PreLoad 200Play only selected Objects 201Stop 201Stop and Go to Current Position 201Restart Play 201Playback Options 201Playback Mode > Change Playback Direction 203Playback Mode > O-Tone Mode 203Playback Mode > Auto scroll 204Playback Mode > Auto scroll soft 204Play Cut 204Play cut > Play to Cut start 204Play Cut > Play from Cut start 204Play Cut > Play to Cut end 205Play Cut > Play from Cut end 205Play Cut > Play over Cut 205Punch In 205Live Input Mode 207Record 208Record Options 208Monitoring 214

Menu Options 216

Project Properties 216Project Properties > Mixer Setup 216Project Properties > 5.1 Surround Mode (Samplitude Pro) 216Project Properties > Playback Options 216Project Properties > Media Link 216Project Properties > Project Information > Project Options 219Project Properties > Text Comments 221Project Properties > Broadcast Wave Extension 222Project Properties > Snap and Grid Setup 222Project Properties > CD Arrange Mode 222Project Properties > Units of Measurement 223Project Properties > Project Information 223Synchronization active 224Synchronization Setup 224Track Information 233Program Preferences 233Program Preferences > VIP Mouse Mode 233

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Table of ContentsProgram Preferences > Wave (HDP/RAP) Mouse Mode 241Program Preferences > Object Mode 242Program Preferences > Edit Keyboard Shortcuts 243Program Preferences > Change Toolbar Style 245Program Preferences > Edit Toolbars 245Program Preferences > Reset Toolbars 245Program Preferences > Enable VIP Tool tips 246Program Preferences > Grid Lines 246Program Preferences > Video Height 246Program Preferences > Font Selection 246Program Preferences > Font for Time Display 246Program Preferences > MIDI / Metronome Options 247Program Preferences > Draw Setup 248Program Preferences > Clor Setup 248Program Preferences > Undo Definitions 249Program Preferences > Dithering Options 250Program Preferences > Track Speed Settings 252Program Preferences > Resampling Quality Options 253Program Preferences > Object Lock Definition 253Program Preferences > Set PreRoll Time 253System 254System > Playback/Record Devices 254System > MIDI Options 257System > Program Options 258System > Path/Skins 260System > View Options 261System > Colors 261

Menu Window 262

Cascade 262Tile 262Untile 262Arrange Icons 262Main Toolbar 262Position bar 262Punch/Play bar 262Mouse Mode Toolbar 262Range bar 262Workspace bar 262Button bar 263Status bar 263Mixer 263Time Display 263Visualization 264

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Table of ContentsTransport Control 264Close all Windows 264Iconise all Wave Projects 264Hide all Wave Projects 264Half Height 264

Menu Help 265

Help 265Help Index.... 265Context Help.... 265About Help.... 265Tutorial 265Tip of the day 265About Samplitude.... 265System Information.... 265

Index 266

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Support

If you experience any problems with your software, please get in touch with oursupport team. Help is also on hand on the official Samplitude Website:www.samplitude.com

This website will lead you to the Samplitude user service page containing, amongother things, the following free offers:– FAQs (frequently asked questions) and general tricks and tips. In most cases

you’ll find the solution to your problem here. If not, use the support contact.– Support forum: You are not alone. Perhaps other users had a similar prob-

lem and can help you solve yours. Our support staff is also a regular con-tributor.

– Download section: Updates, improvements and patches are likewise offeredfree of charge via download. Many problems you may experience are well-known to us, and can be solved by downloading the latest patch. Besidespatches, there are also wizards for checking and optimizing your system.

– Newsgroup: here you can find a direct line to all other Samplitude users.

All countries incl. USA:You can also reach our support team either by email, by telephone or by fax.

Email: proservice@magix.netPhone:: +49 (0)351 47962 415 (weekdays from 10 a.m – 3 p.m. CET)Fax: +49 (0)3514 796 2410

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

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Menu Items

Samplitude offers a variety of ways to complete Project tasks. The drop downMenu interface is typical of many Windows applications, and will be immedi-ately familiar to anyone who has experience with the Windows operating sys-tems.The functions of many of the Menu items are duplicated as Toolbars and mayalso appear as Buttons in the VIP , Mixer or relevant dialogs. Fully programma-ble Keyboard Shortcuts are also available.Although this may appear slightly confusing at first, as you become familiarwith Samplitude, and discover your preferred working methods, the flexibilityof the Samplitude interface will become apparent.As the Menu interface is text based, most of the options are fairly self- explana-tory, and represent a good starting point for familiarizing yourself withSamplitude.We recommend that you fully explore the Menu interface before proceeding tothe Toolbar and Keyboard Shortcut options, although you’re free to choosewhatever method best suits the way you learn!Please note that some items are ”greyed out”, or not visible, in various Projectscenarios. As an example, more File Menu options are available when a VIP isopened, than when no files are opened. Other options are only available whenan Object or Range is selected, or when destructively editing.For the purposes of this manual, all items are shown fully in screen shots –”greyed out” items have been edited, to make them more easily visible in theblack & white images shown, and items which are invisible in certain configu-rations are shown – although this is impossible to do in the program itself.As you’ve probably discovered, many of the Menu items open, or expand intoadditional dialogs – these are examined in sequence, where applicable.

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Menu File

New Virtual Project (VIP)Opens the New VIP dialog, allowing you to enter the name of the Project, andto specify various options, including; file paths and Project settings.

Name: Enter the name for the Project

Create project subdirectory: When you remove this checkmark, the auto-matic creation of a subdirectory (named after the VIP) in the default projectspath will be suppressed.

File Path: Specify the location of the Project. By default, all subsequent trackswill be recorded to the same location. Samplitude’s folder management designautomatically stores the VIP, and all related HDP and WAV files, into a singlenew folder which shares the name of the VIP. All Project files are thus kepttogether, making editing and administration easier in a multi-user environ-ment.

Track Number: Specify the required number of tracks. Additional tracks canbe added at any later time.

Sample Rate: Specify t4he appropriate Sample rate for the recording. Ensurethat this setting matches the setting chosen for your sound card.

Default Project Length: This sets the initial length of the VIP. You can cre-ate an empty workspace, according to your editing needs. The VIP will be ex-tended whenever you create, or insert, additional audio Objects.

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Menu FileNote: Recording and playback of audio material that exceeds the limit of 2 Gigabytesper wave file (as defined by standard Microsoft conventions) is possible withSamplitude. This is achieved by automatically splitting long recording takes into sev-eral wave files, each of them slightly shorter than 2 GB. Multiple files of one recordingtask are still displayed as a continuous waveform in either the VIP or WAV window.Independent from the bit rate (16 or 24 Bit), the technology allows recording of up to2 Billion stereo samples, equalling about 10 hours of audio per recording task whenworking at 44.1 or 48 kHz, and about 5 hours when working at 96 kHz.

Project Template: You can use this option to create Project Templates, whichsave all Project-related settings (Grid type, track number etc.), without includ-ing the Objects and HDP’s. You can load a Template when you create a newmulti-track Project. When opening a new VIP, a list of all available VIP tem-plates will appear, allowing selection by the user.

Advanced: Displays the advanced features of the dialog, as shown in the righthalf of the screen shot above.

Grid: Displays the Grid. The Units of Measurement determine the Grid type.

Snap to Objects: Activates the Object grid. Objects will be ”snapped” together(sample-accurately) when this option is active.

Auto Crossfade Mode: Turns on the Auto Crossfade Mode

Lock Recorded Objects: Recorded Objects are immediately locked, once addedto a VIP track. This prevents accidental moves, and is especially useful in multi-track Projects.

VIP AutoSave Mode: Selects the AutoSave Mode. The Save Interval can bedefined in the Project Information dialog (key: I)

Units of Measurement: Select from eight different display types. The selecteddisplay type is used for the Time Display, the Grid display in the VIP, and othertime display options.

Device SettingsThis option controls the settings of Multi I/O devices:

Init Play/Record devices for Multi Card Mode: The Multi Card Mode willbe switched on, and the tracks of the new VIP will be sequentially assigned tothe Inputs and Outputs.

Init Panorama and Play/Record Devices for Mono Wave Projects: Trackswill be alternately assigned to left and right channels. This is useful for workingwith Mono, and L&R Wave Projects.

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Menu FileAssign tracks to 5.1 Surround playback devices (Samplitude Pro only):Samplitude will open a new, 6 Track project, for the 5.1 Surround Sound Mode

Shortcut: e

Open ProjectShortcuts: l for RAM projects

Shift + l for HD Wave projectso for virtual projectsw for WAV files

Open Project > Virtual ProjectA multi-track project in Samplitude, which makes use of Wave projects. Thedialog looks for files with the *.VIP extension.When loading a Virtual Project, all associated Wave projects (RAM and HDWave projects) are opened, if they were not opened prior to loading the VIP.The windows of the individual Wave projects remain minimized to preventscreen clutter. They are initially only visible as icons, and will be covered if theVIP is maximised.When loading or recording wave files into the VIP window, each resulting Ob-ject has a time stamp, reflecting its original time position.Once the Wave projects are loaded, the VIP project window is displayed.

Open Project > Wave (*.wav)WAV Files (Windows Standard Audio Format). When opening a WAV file,Samplitude automatically creates an associated HD Wave project. The HD Waveproject file contains additional information about the audio file, such as markerpositions. Once the WAV file has been opened once in Samplitude, it can beloaded as an HDP, from that point on.Note: The Open Wav dialog allows you to import any supported audio file into anHDP or VIP Project. The files can also be dragged & dropped straight into the pre-ferred VIP location, using Windows Explorer.The Open Wav dialog supports the selection of multiple files for loading.Please note that direct editing of audio files from a CD-ROM is not possible.There are a few options:1. Open the file into a Project, and then save it to hard disk for editing.2. Use the Import Sample dialog3. In the case of CD Audio (music CD’s), use the Load Audio CD Tracks menu

item.

Note: If a VIP is the active window, all loaded WAV projects are immediately turnedinto Objects in the VIP. Any selected Range (Range beginning) determines the posi-

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Menu Filetion and track where the Object is created. An exception is the CD VIP (one-trackVIP). In this type of project, the Objects are placed independently of any selectedRange. The Objects are placed in sequence (one after the other), with a pre-deter-mined gap between them. The gap can be defined via CD > Set Pause Time, andrepresents the space between individual tracks on a CD.

The Open Project > Wave (*.wav) dialog includes an information box that showsthe properties of any selected file. A small Play utility is also included, allowingyou to audition the file prior to opening/importing it.

Note: The audition play function makes use of the audio device specified in the Win-dows Control Panel. Due to Windows restrictions, the auditioning of 32 bit files is notpossible.

Options

Positioning within a projectUse file dialog selection sequence when loading: When selected,Samplitude “notices” the sequence in which the files were selected and arrangesthem accordingly.

Sort alphabetically when loading: The selected files are arranged in theVIP in alphabetical order.

Load Files onto the sync positions (timestamp in the Wave): Files con-taining Broadcast Wave Extension with Sync position (Timestamp in the Wave)(e.g. recorded in Samplitude) are set in the VIP at this position.

Load all files consecutively onto the selected track.Load all files from top to bottom: Sorts the files (starting from the markedtrack) one on top of the other in the tracks. If required, additional tracks can beadded.

19

Menu File

Group loaded objects automatically: This option can always be nullified.

MiscellaneousDe-activate preview: De-activates the file preview.

Open Project > MIDI (*.mid)Allows you to import single or multiple MIDI files into a VIP. Refer to the MIDIchapter for more details.

Open Project > RAM Wave (RAP)RAM Wave project. RAM Wave projects contain audio data in Samplitude’sproprietary format. These files are loaded into the RAM memory of your com-puter, including their associated graphic files, marker position information,etc.

Open Project > HD Wave (HDP)HD Wave project. HD Wave projects contain audio data which is directly loadedfrom the hard disk, plus graphical information, marker position information,etc. The audio format used for these files is the WAV format.

Open Project > Object (*.Obj)An Object which has been saved in this format contains playback instructions(link to a Wave project, track, time position, parameters, etc.) for audio data.Objects are used in virtual projects.

Note: You can also use Windows Explorer to drag & drop saved Objects directly intoVIP Projects.

Open Project > Edit List (*.EDL)This function allows you to open a Cut List (in text format) from D-Vision VideoSystems. A Virtual Project that resembles the cut list is created. The cut list is atext file that contains information about the WAV files used, the Object bor-ders, Volume, Panorama Automation, Mute, Lock and Fade information.This effectively makes Samplitude VIP’s compatible with D-Vision video edit-ing systems, and allows you to edit audio-for-video, in Samplitude.

Open Project > Table Of Contents (*.TOC)Previously saved CD Table Of Contents files (*.TOC, *TCX) can be opened andedited.

Open Project > Session (*.SAM)A previously saved Samplitude Session can be loaded with this command. AllProjects, and their related windows, are arranged on the screen as they weresaved to the Session.

20

Menu File

Open Audio CD Track(s)See ”CD Menu”!

Waveform GeneratorSee ”Tools Menu”!

Load SessionSee ”Open Project > Session”!

Save ProjectsThe current Project is saved with the name displayed in the Project window. Ifyou have not specified a name for your Project, Samplitude will ask you to doso.Shortcuts: s, Ctrl + s

Save Project asYou can redefine the path, and name, of a new Project with this function. RAMprojects and virtual projects will be saved with the new names (the source fileremains as it was). HD Wave projects are renamed on the hard disk. Samplitudewill not generate a copy of it, thereby conserving space on your hard drive.

Shortcuts: Shift + s

Save complete VIP inThis function in the �Project� menu allows the saving of a VIP, along with allrequisite Wave projects (*.RAP. *.HDP), into a specified directory. This makesit easy to copy all files used in a VIP to a backup disk etc.Copy only samples used in VIP: Only the portions of Wave Projects that areactually used by Objects in the VIP are copied. This is the equivalent of usingthe “Remove unused samples” command (Tools menu) on the saved VIP, aftercopying.Use of this function can conserve (a lot of) storage space, but there’s a catch.The downside is that after performing this function, Objects can only be madeshorter, as all audio data outside the Object borders was removed."To circum-vent this side effect, you can define a ”security Range” in samples. This numberof samples will be left in the Wave Project - before and after the Object border –leaving a few samples in reserve, should you wish to change a fade in/out, forexample. The default value is 22050 samples (= 500ms, at a 44.1 kHz samplerate).

21

Menu File

Save Project as EDLThe active virtual project is saved as a cut list in the EDL text format. The cut listis a text file that contains information about the WAV files used, the Objectborders, and volume and panorama automation information.This makes Samplitude VIP’s compatible with D-Vision video editing systems.

Save Project as TemplateYou can use this option to create Project Templates, which save all Project re-lated settings (grid type, track number etc.), without saving the Objects andHDP’s used in the project. You can load Templates when you create a newMulti-track Project. This is a very convenient and useful feature which will speedup your work considgrably, and make it easier to maintain consistency acrossmultiple Projects.Templates feature the *.VIT extension.

Burn Project Backup on CDThis option allows you to easily create data CD backups of whole projects. Forthis purpose, the external MAGIXCDR CD-burning application is launched.

Save ObjectThis function allows you to save a single Object. This is especially useful whereyou wish to transfer material between VIP Projects, or would like to preservecertain parts of a VIP (by saving them to single Objects). Another use is thecreation of a sound effects library.

Note: You can use Windows Explorer to drag & drop multiple Object files into a VIPfor easy access.

The default file extension for Object files is *.obj. To save an Object, select anyObject in the VIP, and click on File > Save Object.

Note: It is importanv to ensure that only one Object is selected for saving. If more thanone Object is selected, the first selected Object in the lowest numbered track (i.e. track1) will be saved. It always pays to double check, as you may not notice this until it’stoo late...

Save SessionThis allows you to save a complete Samplitude Session. The dialog includesinformation about all Projects opened since Samplitude was last closed, andtheir respective window positions etc. This is extremely useful for ”picking upwhere you left off”, without having to load the individual Projects first.Sessions feature the *.sam file extension.

Note: If a Session is stored as ”startup.sam”, it will automatically be loadef each timeyou start Samplitude. Needless to say, this is a great way to work, as Samplitude willalways open with your preferred configuration, and you can get started instantly.

22

Menu File

Shortcut: Ctrl + Alt + s

RecordSee ”Playback Menu”!

Rename ProjectThis function allows you to rename a Project file, rather than save it to a differ-ent file. For RAM Wave Projects, only the internal names are changed (withoutbeing saved). In the case of HD Wave projects, all corresponding files are im-mediately renamed.RAM Wave projects need to be saved after renaming the project.

Delete Wave Project(s)HD Wave projects are deleted from the hard disk.Use this command with caution, as all corresponding files are lost!!!There is no undo for this function, and no Recycle Bin.

Note: If you want to delete a *.wav Project from a file manager such as WindowsExplorer, you should also delete the related Samplitude files (i.e. *.hdp, *.ho, etc.)

Delete Virtual ProjectThis command deletes a VIP, and all Wave Projects used in it.

File selection: You can select the project file (.vip) to delete.

Project list: You can choose from a list of the eight most recent projects.

File list: The file list shows the .wav projects used in the selected .vip. You canspecify - on an audio file by audio file basis – whether or not you wish to keepthe file (if used in other projects), or to delete it.

Import audioSamplitude allows the importing of: Wave, AIFF, MPEG, MP3 , MS audio (.wma),audio from .avi files or Sample Dump files into a Samplitude project. You willneed to specify which type the project is going to be, a RAM Wave Project, or aHD Wave project. MPEG files need to conform to the Layer 2 format. Any bitrate can be imported.

Difference between Open > WAV and Import Audio > WAV:The Open Project >WAV command opens an existing WAV file, and edits thefile as an HD Wave project. Samplitude automatically creates an HDP file (andthe corresponding graphic file) in the source folder.When importing a WAV file, the complete file is copied. Additional hard diskspace is needed, and the process takes much more time, as the audio file has tobe copied to another disk location. Import Audio >WAV needs to be used whenintending to use the WAV file as a RAM Wave project.

23

Menu File

Convert Audio

This submenu contains various options for converting mono/stereo HD Waveformats.These conversions can be performed in Destructive Editing mode, or by select-ing a VIP Object prior to performing the command. In both cases, the originalfile is not changed – new files are created, and named, automatically bySamplitude.Performing the command from within the VIP results in changes to the Objectwhich reflect the conversion. In other words, the Object will now refer to theconverted file(s).Performing the command via Wave Editing (Destructive Editing) does not alterthe existing VIP – if the resulting file/s are needed in the VIP, this must bedone manually.

Convert Audio > Save In Format

This function only operates when working directly on an HD Wave Project, andallows you to convert Projects between the various Samplitude Wave Projectformats. This is useful when a RAM Wave project is to be converted into an HDWave, or a L&R Wave project (two linked Mono files). Another option is theconversion to/ from Stereo/Mono Wave projects.

Tip: To enable the functionality of the few Plug-ins which require files to be Mono(i.e. Antares Autotune, Mic Modeller), you will need to use this function to convertStereo files to Mono. Refer to the Plug-in chapter for an example of this process.

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Menu FileActual format: This section shows the current audio format. The options aregreyed out, as the settings are for information purposes only.

New Format: This section allows you to choose the new format specification.Select the desired format, and press OK to convert the audio file. A new file willbe created, leaving the original audio file intact.

Note: It is not possible to use the same name and overwrite the existing file, as the fileis actually open (Samplitude will not overwrite an open file, in this situation).Whatwill happen, is that you will be asked to specify a name and location for the new file.Once the new file has been created, you can select the file as a Range, and drag it intothe current VIP Project.When working in non-destructive Wave editing mode, the command works as a sim-plified “Track bouncing” function. Refer to the “Tools > Track bouncing” chapter fordetails!

Convert Audio > Change Bit Resolution

When using this function, Samplitude allows you to select the Bit Resolution(wordlength) of a Wave project. The function only works destructively, and canonly be applied to files, one at a time.Most users will mainly convert between 16 bit and Float (32 bit) settings. If youneed to convert to a 24 bit format (for use in another application), various op-tions for this are available in the File > Export Audio menu item.

32-bit Float FormatIf you convert a 16-bit Wave Project into the Float format, the signal will remaina 16-bit audio signal. The quality does not initially improve – the wordlength is32 bits, but the last 16 bits are stored as zeroes (until subsequent processingoccurs).There is an advantage to this, however, as Samplitude will not have to convertthe file to 32 bit Float ”on the fly” when playing back at 32 bit Float internalresolution. This gain is minimal, and is offset by the extra overhead associatedwith processing the larger file size, and the extra hard disk overhead/space re-quirements.16 to 32 bit conversion is beneficial when destructively editing audio material.32 bit Float minimizes calculation inaccuracies resulting from repeated dither-ing or truncation of edited audio material. Other benefits are distortion-free

25

Menu Fileaudio, and sustained dynamics, independent of level. T Quantization noise isnot increased, even if working at extremely low levels.If you are converting from a 32-bit Float to a 16-bit audio file, dithering can beapplied, in order to counteract the truncation artefacts associated with conver-sion to a lower resolution.

Note: Dithering is automatically applied if Samplitude’s Dither setting is turned on.(Options > Program Preferences > Dithering Options). If Dither is turned off, the filewill be ”soft truncated”, by rounding off the sample value to 16 bits.

It is possible to use a 16 bit plug-in to quantize/dither the file prior to 32 > 16 bitconversion. In such cases, the last 16 bits are rendered irrelevant by use of theplug-in. As such, it’s better to turn Samplitude’s Dither off, when using third-party quantization/dither tools.

8-bit Wave ProjectsLower resolution audio files are often used for multimedia applications. A re-duction of the resolution to 8-bit is useful, as storage requirements are alsoreduced.A drawback of lower bit resolutions is the decline of the signal to noise ratio(SNR) due to the reduced dynamic Range.

Note: Bit Resolution determines dynamic Range, Sample Rate determines frequencyresponse! Many people seem unaware of, or confused about, this basic rule as SampleRate and Bit Resolution are often (mistakenly) used interchangeably. Now you know!

Quantization noise increases as the resolution decreases. This noise is notsteady, as it is modulated by the signal, making it both audibly annoying, andnearly impossible to counteract. By the way, the Bit Resolution of a HD WaveProject file is always displayed in the Title Bar of the Project window. Bit Reso-lutions between 1 and 8 bits use 3 Byte (8 Bits) per sample value. Resolutionsbetween 9 and 16 bits use 2 Bytes (16 Bits).If you need to perform multiple processing steps on an 8-bit Wave Project,convert the audio file into a 16-bit project"before you start. Any calculation in-accuracies will occur in the 16-bit realm, and are therefore less noticeable. Be-yond this factor, some functions in the Effects menu only work with 16-bitsamples. Once you’ve finished processing the audio, convert it back to an 8-bitaudio file.Likewise, if you start with a 16 bit file which you know will end up as an 8 bitfile, perform all calculations in 16 bit, before reducing the wordlength to 8 bit.

Convert Audio > Stereo Wave > 2 MonoA Stereo Wave Project is copied and converted into a discrete Left and RightMono Wave Project (i.e. The same sample is placed in each Mono Project).

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Menu File

Convert Audio > LR Wave > 2 MonoTwo mono projects are linked to one L&R Wave project. This is a convenientway of editing associated (joined) mono samples with the same operations.Make sure that the windows of the two projects to be linked are open. Selectone of the Objects as the current Object (click on the lower half with the leftmouse button), and make use of the ‘Link Projects’ menu option. Next, click onthe project you want to join, and Samplitude will link the two projects.Samplitude will automatically match the sample length of the two projects, butnot the bit resolution.

Convert Audio > 2 Mono > Stereo/LR WaveOn occasion, it may be necessary to split a 2 channel stereo project (two joinedmono projects (L&R Wave project) into two independent mono projects. Thismenu option terminates the static connection between the projects. If you wouldlike to re-join the projects, simply select ‘Link Projects’ from the ‘Special’ menu(see below).

Convert Audio > OLD RR 24 Float to IEEE FloatThis menu allows you to load 24 bit Projects created in Red Roaster V3.x. Theyare converted into 32 bit Float Projects.

Convert Audio > LR Wave > 1 MonoA current L&R Wave Project is converted into Mono mode. If it was previouslya Stereo Project, both channels will be mixed. The existing samples are initiallyadded, with 100% of their image intact, and are then divided by two. This pre-vents over-modulation (distortion), and is equivalent to reducing the volumeby 6 dB.

Convert Audio > 1 Mono > LR WaveThe original mono Wave project is duplicated, and converted into a single L&RWave project, featuring the same sample in both channels.

Export Audio

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Menu FileThe Export Audio function allows you to export HD Wave or RAM Wave Projectfiles as: Wave, MP3, MPEG, MS Audio, Real Audio, AIFF, Quicktime, Midi orDump files.Three options are also available for exporting 32 bit float files as 16 bit, 20 bit or24 bit files. You can save files in Mono or Stereo format.

Rich Media AuthoringSamplitude can directly export all common Internet streaming audio formats -e.g. Windows Media Audio (WMA), RealAudio and Quicktime audio, as well asMP3 and MPG.

FTP Download: Samplitude offers an integrated FTP download function. Thisallows you to directly download single sounds and complete tracks from anyFTP server, worldwide, into your arrangement!Samplitude 7 interfaces with the ”MAGIX Web Publishing Area”. This allowsworldwide publishing of your music, over the Internet, with a few mouse clicks.

MAGIX playR table export: Samplitude can export multi track arrangementsas an interactive table, for use with the ”MAGIX playR” remixing tool. Thisaffords a comfortable and easy creation method for loops that you wish to usein playR songs. Samplitude is the perfect choice for content creation and edit-ing for ”MAGIX Web playR” and ”MAGIX Record playR” projects.

MAGIX video format support (*.mxv): Samplitude 7 supports (among oth-ers) this new MAGIX video format. It is optimized for robust recording fromanalog sources, and quick editing. It is also the interface between ”MAGIXvideo deLuxe” (used for video recording, editing and dump to tape) andSamplitude. Samplitude can display the video track in its time line, and audioObjects created in MAGIX video deluxe can be edited directly in Samplitude,and saved back to MAGIX video deluxe.Samplitude automatically creates play lists when exporting arrangements intomultiple files, when reading multiple CD tracks etc. These play lists can beused directly in MAGIX playR and MAGIX mp3 maker gold.Samplitude contains a CD-ROM burning module which is optimized to burnbackups of Samplitude projects - even across multiple CD-ROM’s! A restora-tion utility is automatically written to the first CD-ROM, when multiple discsare used.Files from external hard disk recorders can be directly loaded in 16 bit, 24 bitand 32 bit WAV formats. No conversion is necessary, making the task of edit-ing files from external recording sessions a breeze in Samplitude.

A Note about Export Audio: The audio data files of HD Wave projects can be directlyloaded, or imported, as WAV files by other audio applications. The Export Samplecommand is only necessary if you wish to copy the audio file. Keep in mind that thehard disk requirement increases, and that the copy process takes additional time.Please note that direct editing of WAV files stored on CD-ROM’s is not possible.Please use Import Audio to copy these files to hard disk.

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Menu File

Export Audio > WaveThe main reason for Exporting *.WAV Projects is to compress the file into aparticular *.WAV format. Samplitude uses various Windows *.WAV compres-sion codecs for this purpose. The dialog can also be used to quickly copy *.WAVfiles to alternate locations.

Format Settings buttonThis button launches the various Windows *.WAV compression codecs thatare available in Samplitude. Select your desired setting, and click OK.

Export Audio > Wave > OptionsThe two radio buttons in this section allow you to export the entire file, or aportion of the file, selected as a Range.To automatically play the exported file on completion of the process, check (tick)the Auto Play box.

Export Audio > MP3This dialog enables you to export files in the MP3 format, with various formatsettings.

Export Audio > MP3 with external EncoderYou can invoke an external command line encoder, and can set several param-eters for the encoder in the dialog.

Export Audio > MPEG

This dialog allows you to export files in the MPEG2 format (*.mpg)The initial dialog is identical to the Export Audio > Wave dialog. Clicking on theFormat Settings button launches the Choose Bitrate dialog, shown below.Samplitude offers MPEG2 Bit rates ranging from 64 kbit/sec to 384 kbit/sec.

Export Audio > Windows Media (*.wma)This dialog allows you to export files in the Windows Media format (*.wma)The initial dialog is identical to the Export Audio > Wave dialog.Clicking on the Format Settings button launches the Windows Media Export Set-tings dialog, shown above.Various MS Audio Bit rate settings are available, ranging from 6 Voice Audio to128 CD Quality Audio.

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Menu FileThe dialog also allows you to enter Title, Author, Description and Copyrightdetails.Redirector files (*.wvx) can be generated by following the directions in theRedirector Files section.

Export Audio > Real Audio (*.ra)

This dialog allows you to export files in the Real Audio format (*.ra)The initial dialog is identical to the Export Audio > Wave dialog.Clicking on the Format Settings button launches the Real Media Export Settingsdialog, shown above.Various Real Audio encoding algorithms are available via use of the appropri-ate settings in the Content Settings and Target Audiences menus.Author, Title and Copyright information can also be entered.

Export Audio > AIFF File with QuicktimeThis dialog allows you to export audio as 16 bit Macintosh AIFF format (*.aif),through use of QuickTime’s conversion algorithms.The browser window, that opens after selecting the function from the menu,allows you to name the file and select a target directory for it. Quicktime willinitially create temporary files in this directory as part of the conversion proc-ess.The dropdown menu allows you to select various formats for the conversionprocess.Further variables are available by clicking on the Options button.The Compressor dropdown menu allows you to determine the bit reduction /compression algorithm to use – this is, to some extent, dependent on the inputfile format.The Rate dropdown tab allows you to select the desired sample rate.

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Menu File

AIFF export

AIFF options

Export Audio > 16 / 24 / 32 Bit Float AiffThis menu allows you to export audio material as AIFF files, at the selected bitdepth.16 bit material can only be exported to 16 bit AIFF. To export 16 bit audio tohigher resolution formats, you must first convert the file to 32 bit Float formatwith the File > Convert Audio > Change Bit Resolution function.

Export Audio > 32 Bit Float as 16 / 20 / 24 BitThis menu item allows you to export 32 bit Float audio files in reduced bit depth*.WAV formats.Dithering is employed, providing the best possible quality at the lower bit reso-lution.

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Menu FileNote: If Samplitude’s dithering functionality is deactivated, the sample will be roundedoff during bit reduction. This is a better solution than pure truncation.

Export Audio > Export MIDI FileThis menu allows you to export MIDI projects as standard MIDI files (*.mid).Export Audio > Export as DumpThis menu item allows you to export audio material as a Dump file – only theraw sample data is stored in the file. (i.e. no file headers, etc.)You can choose between Intel and Motorola byte order.

Note: You must convert 32 bit Float files to 16 or 8 bit before using this command.Only 16 bit audio files can be exported as Dumps.

Export MAGIX playR fileSamplitude arrangements can be exported in the MAGIX playR-table format(MKS-format - a special format for use in the MAGIX playR live-remix-pro-gram). The arrangement must contain 8 audio-tracks. Once exported to theplayR-format, the arrangement can be directly opened and played back usingthe playR program.The MAGIX playR includes a CD and MP3 player, a fully-equipped DJ-controldesk and multimedia remix software. You can trigger up to 16 samples simul-taneously on your 2 turntables, with the mouse, keyboard or a joystick; A crossfader and a mixer provide you with live mixing facilities. MAGIX music makercan be used for the creation, and editing, of playR-songs. A smaller version ofthe playR – the MAGIX playR jukebox –is included in this package!

Batch ProcessingBatch processing automatically applies a single WAV project task to any num-ber of other files (the “batch”) in exactly the same way – for large volumes,usually overnight.Each task (“job”) is entered in a job list that defines several batch jobs They candefine several batch jobs which are then implemented one after the other.Possible jobs may include:– normalization– lineal fading (in and out)– real-time effects in the mixer master– Format conversion: Bit resolution(16/24/32), Sample rate, stereo/mono/left/

right– Storage in all available export formats

For example, you can normalize a whole list full of 24bit WAV files to 96%,apply 5 ms fades at the beginning and the end of each file, compress them withthe multi-band compressor, change them all to 16bit mono, resample them on22kHz and then saved them all as mp3s.

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Menu FileJobsTo the right edge of the batch processing window is the job list. New jobs arecreated by activating the “Add job” button. When you select a job (with a mouseclick), the 4 settings tabs are displayed(source files, effects, target format, targetfiles). “Remove job” removes the selected job. “Perform jobs” starts the batchprocessing.So long as you don’t close down Samplitude, all the jobs remain saved untilexecution, even if you close the batch processing window in the meantime.

Source filesHere you can create a list of the files to be edited by selecting “Add file”. Mul-tiple selection is possible. Select “Load directory” to add all of the audio fileswithin a directory (including all sublists). All importable audio formats areloadable in Samplitude. “Save list” creates a Playlist (in the common *.m3uformat) for using your selection of files later. “Remove” deletes all selected listentries. “ Remove all” deletes the complete list.

Effects

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Menu File1. NormalizationYou can normalize using percentages (%), decibels (dB) or manually by usingthe levels. For more details, please read the Effects Menu chapter à Amplitude/Normalize

2. Master EffectsTo avoid repetition in the batch processing dialogue, effects settings have beenintegrated with the mixer preset files.{ bml buttons_mx_save_effect.bmp} In the Samplitude mixer, you can exportall mixer settings to the mixer preset (* mix). Simply press the “Save mixerpreset” button in the mixer (see illustration).By loading these *.mix files into the batch processor (“Load preset”), all masterchannel effects settings are included (all other mixer preset data e.g. channelproperties, groups, etc. are ignored). “Edit preset” opens a special FX routingdialog from which you have access to all effects parameters.For more details about the FX routing dialog, please read the effects chapter.Mixer presets are stored in the /fxpresets/batch directory and can be selecteddirectly from the Listbox.Besides mixer preset master effects, you can use the non-real-time effectsResampling/Timestretching, DC removal and De-Clipping. Settings opens theapplicable effects dialog.

3. Fades at the start and end of projectsLinear fades of any given length can be added to your files.

Destination format

All settings can be saved as a preset. For more details, please read SamplitudeEffects à Saving Effects (Preset mechanism).You may select the bit resolution(16/24/32 bit), the sample rate, stereo/mono/left/right and format with the applicable format option.For more about the sample rate: Effects menu à modify sample rate .For more about export formats: Effects menu à export audio.

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Menu FileDestination files

There are several ways to save edited files:“Replace file”: Replaces the original file with the edited file. Should the file beused in the VIP, the VIP must first be closed.“Save and rename file in the source directory”.“Save file in the following directory”.“Delete source file after editing”.“Save with source directory path“. The file is saved along with the path to itssource, allowing you, for example, to retain the sample CD structure.

Connect to the InternetOpens your default dialup connection to the Internet. All you need is a normalinternet-connection for your computer – using a Modem, ISDN or ADSL.

Publish to WebIt‘s easy to publish your songs and videos on the Web, allowing Internet usersworldwide the chance to listen to (and hopefully enjoy) them immediately.All you need is a normal internet-connection for your computer – using a Mo-dem, ISDN or ADSL. Needless to say, it is forbidden to upload material that isprotected by copyright laws – e.g. songs from commercial CD’s. This is checkedevery time you upload material, so it may actually take a few hours for yoursong to appear online. If you‘ve just created an arrangement you’d like theworld to hear, save it first (”File > Save as” option), then click on ”Publish toWeb”, and follow the instructions of the Publishing Wizard.

FTP DownloadThis option allows you to directly connect to any FTP-server on the internet, inorder to download audio material into Samplitude. The MAGIX Server is the”default”, which is not a bad thing, as you’ll always find new sound-materialthere. Once again, the only requirement is a working Internet connection.

ExitCloses Samplitude.

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Menu Edit

This menu contains all functions that are analogous to cutting/splicing etc.tasks that you would perform on a tape machine.Virtual projects are ”track-sensitive” – i.e. only the selected tracks are manipu-lated. When working in a virtual project (VIP), you must first select a Rangebefore making use of the cut functions. The start and end points of the selectedRange determine the start and end points of a cut. The vertical position indi-cates the tracks that are affected by the edit.We recommend the use of the Auto-crossfade function for almost all situa-tions, in order to achieve smooth transitions between the edit points. This willautomatically create fades at the Object edges.Please note that these functions affect both channels, when working with stereoand L&R Wave projects. (If only one channel is to be edited, you winl need toconvert the Wave project into two mono Wave projects. The two mono Waveprojects can be merged, following individual processing).

Attention: To avoid inconsistencies between the Object modes (e.g. lock all audio intime, link Objects until silence) and the common edit commands, some VIP editoptions work differently to those of former Samplitude versions.General Rule: The delete, cut and paste commands are dependent on the currentObject mode, in VIP’s.Explanation: There are several Object ”modes” (link Objects one/all tracks, link untilsilence), which ”ripple”. To explain, this means that when you move one Object intime, the following Objects are also moved, thus preserving crossfades and relativedistances between the Objects. In these ”rippling” Object modes, the edit commandfunctionality is also affected. To give you an example, when you cut one Object, thefollowing Objects will be moved backwards in time, to fill the gap. If you perform aninsert, the following Objects are moved forward, to avoid overlaps. This is the ”stan-dard” behavior of the delete, cut and paste functions, as per former versions ofSamplitude.In other Object modes (normal, lock all audio), these commands will not perform a”ripple”. In other words, temporal (time) movements of other areas not directly in-volved in the cut, remain unaffected. This facility is especially important when cut-ting time-synced audio, e.g. projects with .avi links. As an example, in the ”normal”Object mode, the delete command works like the clear command, leaving a gap wherethe audio material was deleted.The usual commands, which work independently from the selected Object mode areaccessible in the ”more....” submenu. If you find this behavior uncomfortable, remapyour keyboard shortcuts to the old style.

UndoUndo last command(s) (VIP). Samplitude offers a secure way of tracking yourchanges in Virtual and HD Wave Projects. Up to 100 changes can be kept inmemory, allowing you to retrace (and undo) of these steps, if necessary.

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Menu EditVirtual processes and physical processes (such as Normalize, Reverb, Filter withactivated Create Copy option etc.) can be reversed (undone).Range and Marker manipulations can also be undone using this command.When adding effects to audio material (Effects Menu), the Undo option onlyworks on effects that are applied directly to the VIP Objects – i.e. destructively”printed” to the Object, as opposed to realtime effects. The ‘Create Copy’ optionmust be enabled in the effect dialog, in order to ”undo” destructive effects proc-esses.

Notes: The number of Undo steps (i.e. Undo depth) is defined in the Options > Pro-gram Preferences > Undo Definitions Menu item.Some commands, such as Tools > Remove Unused Samples or CD > Make CD, donot allow Undo commands. Please refer to the File Management chapter for furtherdetails.

Shortcut: Alt + Back, Ctrl + z

RedoReverses (undoes) the most recent Undo command.

Shortcut: Ctrl + a

Undo History

Displays a list of recent editing steps. To return the Project to the desired state,simply select the relevant Undo step. Note that it is easy to toggle between vari-ous steps, to ensure that you select the correct state. Once you’re sure of yourselection, click OK to complete the Undo.

CutWave Projects:The audio data (in the selected Range) is copied from the current Wave projectinto the Clip. The material which follows the removed Range is merged withthe material which preceded the removed Range, to close the gap. The com-plete Wave project becomes shorter.Please keep in mind that the Clip contains the same attributes as the Waveproject that the material was copied, or removed, from.If you cut material from a mono Wave project, the Clip becomes a mono Waveproject. If material from a stereo Wave project is cut or copied to the Clip, the

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Menu EditClip becomes a stereo Wave project. Another attribute adopted by the Clip isthe bit resolution and sample rate of the source Wave project. The previouscontents of the Clip are deleted.

Virtual Projects (VIP):Object Mode: Normal + Lock all audioCut works without ripple, the Range is filled with silence, and does not movethe ensuing audio material backwards.(=Command ”Copy & Clear”)

Object Mode: Link Objects one + all tracksThe material which follows the removed Range is appended to the material thatpreceded the removed Range.The VIP project becomes shorter if the selected Range covered all tracks. Thismethod allows you to reduce the length of VIP’s that contain ”dead space”(empty) which follows the last Object (=Command ”Paste with Ripple”).Use Edit > Paste/Insert to insert the contents of the Clip into Wave or Virtualprojects.

Shortcuts: Shift + Delete, x, Ctrl + x

DeleteThe data of the current Range is deleted.In accordance with the selected Object mode in VIP’s, delete works as follows:

Object Mode: Normal + Lock all audioDelete works without ripple, and does not move the ensuing audio materialbackwards (=Command ”Clear”).

Object Mode: Link Objects one + all track(s) and Wave projectsThe sample data that follows the deleted Range is added at the position thedeleted Range started (moved backward). The project length becomes shorter(=Command ”Delete with ripple”).Please note that this command will not save the deleted data to the Clip. If youwant to preserve the deleted sample data, use the ‘Cut’ command. Using this‘Delete’ command will delete the data from the current sample, and preservethe contents of the Clip.

Shortcuts: Delete

CopyCopies the selected Range into the Clip. (VIP, Wave Projects)The current Range is copied into the Clip, but is not deleted from the Project.The sample length is unchanged. Please note that any previous Clip contentsare deleted.

Shortcuts: C, Ctrl + C, Ctrl + Insert

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Menu Edit

Paste/Insert ClipThe contents of the Clip are inserted into the current project, at the current playcursor position, or at the start point of the currently selected Range.

Object Mode: Normal + Lock all audioPaste works without ripple, and does not move the ensuing audio material for-ward. This avoids overwriting/overlapping the material in the selected Range(= Command ”Overwrite with Clip”).

Object Mode: Link Objects one/all tracks and Wave projectsThe data or Objects positioned after the insert point are moved out of the way,to make room for the Clip contents. The samples or audio tracks become longer.The Clip remains unchanged during the procedure. (=Command ”Paste withRipple”)Following the insertion of the Clip contents, the program selects a Range overthe inserted area. If you select Edit > Delete , the inserted contents are removed,and the project is returned to it’s pre-paste state.In virtual projects with selected Ranges, the Range start position, and relativetrack position, are used as the insert point for the Clip contents.The following table indicates Samplitude’s response in cases where the Clipand the Project have different channel numbers:

Clip Project Clip Channel Project ChannelMono Mono Channel 1 Channel 1Stereo Stereo Channel 1 Channel 1

Channel 2 Channel 2Mono Stereo Channel 1 Channel 1

Channel 1 Channel 2Stereo Mono Channel 1 Channel 1

Shortcuts: V, Ctrl + V, Shift + Insert

ExtractDeletes sample data on both sides of the selected Range.This function is designed to be the counterpart of the Cut function.

HD Wave Projects:The current Range remains unchanged – the sections on either side of theselected Range are permanently deleted. The audio file becomes shorter. Thecontents of the Clip are unchanged.

Virtual Projects (VIP):The selected Range determines the material (from all VIP tracks) that remainsin the Project, after using the function. This is regardless of whether, or not,the selected Range spans all Tracks. In other words, the function is not relianton specific Track selection.

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Menu EditThe Objects on either side of the selected Range are deleted from the Project.The contents of the VirtClip remain unchanged.

Insert SilenceThe ‘Insert Silence’ option will insert ‘blank’ data at the current play cursorposition, or at the start position of the currently selected Range.If a Range is selected, it’s length is (automatically) used in the Insert Silencedialog.The ”blank” space will actually contain data with a value of zero. Any data whichfollows will be appended to the end of the blank space. The defined Range ismaintained, and the length of the inserted space extends the overall samplelength.If you have insufficient memory to allow the insertion of silence into theworkspace (i.e. with RAM projects), Samplitude will display an error message.

Append ProjectsThis function allows a project to be appended to another project, i.e. the mate-rial of one project is copied, and placed directly behind the material of the first.You first need to select the Object you want to append, select the menu option,and click on the project you want to add to the first.This option is commonly used for ‘cleaning up’ VIP’s that contain numerousphysical samples. You can:– append a VIP with a VIP. This is good for bigger projects, you can edit parts

of it in different files and finally put them together– append a wave project with a wave project. A particular use of this option is

the ‘cleaning up’ of VIP’s that contain numerous physical samples.– append a wave project with a VIP. This is a smart method to transfer markers

from a wave project to the VIP. Normally, when a hdp is loaded into a VIP,the markers stay inside the audio file as “audio markers”. Often it is neces-sary to have these markers in the VIP. When you append a wave project withthe VIP, the wave data will be inserted as an object at the end of the VIP at theactive track and the markers from the hdp will be inserted in the VIP.

More

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Menu Edit

More > Delete with RippleDeletes with Ripple: When you move an Object in time, the following Objectsare moved, preserving crossfades and distances between the Objects.

Shortcuts: Ctrl + Delete

More > ClearCopies the selected VIP Range into the Clip, and clears it from the VIP Project.The Project length is not changed. Please note that the previous Clip contentsare deleted.This is a good way to remove a section of a VIP for use elsewhere, withoutaffecting the length of the Track(s) that the material was removed from.

Shortcuts: Alt + C

More > Copy + ClearReplaces the selected Range with silence (VIP). This command is useful forremoving material without changing the length of the VIP Track(s).

Note: This command will not save the deleted data to the Clip. If you want to preservethe deleted data in the clipboard, use the Edit > Copy+Clear command.

Shortcut: Alt + Delete

More > Cut with RippleCuts with Ripple.

Shortcut: Ctrl + X

More > Copy as....Copies the selected Range into a new file. (HD Wave Projects only)An Explorer-type file browser is launched, allowing you to name the new file,and select a target location for it.

Shortcut: Shift + C

More > Paste with RipplePastes with Ripple.

Shortcut: Ctrl + V

More > Overwrite with ClipOverwrites sample data with the contents of the Clip.The current Range is replaced with the Clip contents. The overall sample lengthremains unchanged.

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Menu EditNote: In VIP’s, this command does not overwrite the actual audio data i.e. the HDWave Project does not change.

The Clip contents are not changed. The assignment of Clip channels followsthe table shown above.In Virtual Projects, the selected Range determines the target position and Trackfor the Clip contents.

Shortcut: Alt + V, Insert

More > Mix with ClipThis Menu item allows you to mix sample data with the Clip. (HD Wave Projectsonly)The contents of the Range and the Clip are evenly mixed. Channel assignment(s)between Project and Clip follows the table below. The contents of the Clip arenot altered.

Clip Project Clip Channel Project ChannelMono Mono Channel 1 Channel 1Stereo Stereo Channel 1 Channel 1

Channel 2 Channel 2Mono Stereo Channel 1 Channel 1

Channel 1 Channel 2Stereo Mono Channel 1 Channel 1

As both components are combined with their full sample values, make surethat no over-modulation (distortion) occurs. The Mix with Clip function is per-formed by addition, ensuring that the Project sample remains free of suddenVolume decreases.Despite this, however, you may still need to modify the amplitude, before per-forming the mix, in order to keep the resulting sample from clipping / distort-ing. This can be done through use of the Effects > Amplitude/Normalize menuitem.

Delete Curve HandlesThe options offered by this menu item allow you to delete handles from theactive VIP, as follows:

Delete Curve Handles > Delete Volume HandleThis function deletes any selected volume curve handles. Individual volumeevents can be deleted by selecting the Object, and Curve mouse mode, anddouble-clicking on a volume curve event. When deleting several curve events,the ‘Delete Volume Handle’ function is the best tool for the job. Use the CurveMode, and Grab Tool, to select multiple curve events.

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Menu Edit

Delete Curve Handles > Delete Panorama HandleThis function deletes any selected panorama curve events. Individual eventscan be deleted by selecting the Object, and Curve mouse mode, and double-clicking a Pan curve event. When deleting several curve events, the ‘Delete Pano-rama Handle’ function is the best tool for the task. Use the Curve Mode, andGrab Tool, to select multiple curve events.

Delete Curve Handles > Delete Surround HandleThis function deletes any selected Surround curve events. Individual Surroundevents can be deleted by selecting the Object, and Curve mouse mode, anddouble-clicking on a Surround curve event. When deleting several curve events,the ‘Delete Surround Handle’ function is the best tool to use. Use the CurveMode, and Grab Tool, to select multiple curve events.

Delete Undo LevelsDeletes all Undo levels (VIP). This feature will delete the Undo levels of a Vir-tual Project. This is sometimes useful if Wave Projects are left in the Undochain, but no longer exist in the VIP. You won’t be able to process or delete theWave Project if the Undo chain still contains a reference, so you might as wellget rid of it! After deleting these ”orphaned” Undo levels, these Wave Projectswill, once again, be available for use.

Append ProjectsThis function appends a project to another - i.e. the material of one project iscopied directly to the end of the first.You first need to select the project you want to append another to, select themenu item, and click on the project you want to add to the first.You can:– append a VIP to a VIP. This is good for bigger projects, allowing you to edit

portions of it in different files, and join them together.– append a Wave Project to a Wave Project. A common use of this option is for

‘cleaning up’ VIP’s that contain numerous physical samples.– append a Wave Project with a VIP. This is a ”smart” method, used for the

transferral of markers from a Wave Project to a VIP. Normally, when anHDP is loaded into a VIP, the markers stay inside the audio file as “audiomarkers”. Often, it may be necessary to have these markers in the VIP. Whenyou append a Wave Project to a VIP, the wave data will be inserted (as anObject) at the end of the active Track in the VIP, and the HDP markers willbe inserted into the VIP.

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Menu Edit

Crossfade EditorTo apply a crossfade between two overlapping Objects on a track, you have twomethods:

The normal fade in/out handles:Activate the Auto Crossfade mode, and fade in the second Object. The firstObject will be faded out and mixed with the second – i.e. a crossfade will beapplied. Objects remember if a crossfade was once applied, so if this Object (ora copy of it) is used at another position in the VIP, you don’t need to reactivateAuto Crossfade again. You can reset this Object property by selecting ”Crossfadeoff” in the Crossfade Editor. (For the rare occasions where the second of twooverlapping Objects is faded in without a crossfade).

The Crossfade EditorSelect the second Object, and open it’s Crossfade Editor.

Crossfade parameters can be specified in the Crossfade Editor.

Crossfade Length: The length of the crossfade can be specified in differentlength units. Clicking ”+ / -” lengthens/shortens the crossfade by a minor stepwidth, and ”++ / —” by a major step width. The ”-?+” option allows you to

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Menu Editdefine the step widths. The Crossfade length can also be transferred from theselected Range (if one exists), with the ”Get marked Range” button.

Curve types: Available fade-in and fade-out curve types are Linear (0), Loga-rithmic/Exponential(-100 to 100), and Sine/Cosine (-100 to 100). The faderallows you to adjust the curve form, continuously, between these extremes.Linear crossfades do not use as much processing power as non-linear crossfadecurves.

Global Set: The currently selected settings for the crossfade can be used as adefault setting for newly-created crossfades. This mainly concerns the crossfadescreated after applying a ”Split Object” command (Keyboard: ”t”), which are small,symmetric, linear crossfades of 35 ms, and a fade offset of 0%. So use it wisely- if you set a new ”default” value here, it needs to be a reasonable one!

Global Get: Restores the global crossfade settings, as parameters for the Edi-tor configuration.

Get Range: The length of the currently selected Range is used to define thelength of the crossfade.

Fade Offset: Allows you to define the portion of the fade that will be outsidethe Object border. By default, the whole fade is inside the Object borders (0%),as is usual for a normal fade in /out. If the fade is part of a crossfade, however,you might want to change this. As an example, imagine two objects, where thesecond Object starts with a drum hit, but needs to be crossfaded. In this situa-tion, it would be better to have the crossfade take place before the hit, thuspreserving the attack of the hit. You can adjust the value from 0% (fade insideObject borders), through 50% (fade symmetrically to Object borders), to 100%(fade outside the Object borders). The Object will be expanded by the percent-age of fade offset. The original Object start point is displayed as a dashed line.You need to ensure that enough material is available before and after the Objectborders, in order to create the desired crossfade length in this way. In otherwords, when the audio data starts precisely at the beginning of the Object, nofade in can be applied, if the offset is anything other than 0%!Important: These settings affect both crossfades and the normal fades of anObject!If you change the fade offset for an Object, and use it at another location, youmay find that you can encounter the odd problem or two. Basically, anotherObject may not allow you to make a fade in or out, because the Object’s audiomaterial ends at the Object border (this also be problematic when you explicitlyset crossfade to off).

Crossfade off: The ”Crossfade Off” button deactivates the crossfade for theselected Object. The first Object’s fade out time is set to zero, and the ensuingObject’s fade in/out settings are independent of the first Object. If the crossfadeoffset value is >0%, the first Object will be expanded.

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Menu Edit

Play/Stop button: If a Range is selected over the crossfade section, the crossfadecan be previewed with the Play/Stop button. This also works while makingadjustments in the editor dialog, allowing you to audition the crossfade param-eters in realtime.

Move Crossfade: The Object borders of both Objects will be moved simultane-ously, which results in the whole crossfade being moved. Use the +/-/++/—buttons to adjust, if needed.

Enable asymmetric crossfade: The fade offset, and crossfade length of thetwo Objects are no longer linked together, allowing you to change them inde-pendently. This is indicated onscreen by displaying the fade out/in curves in a”split” graphic.

Shortcut: Key: Ctrl + F

Auto Crossfade ActiveIf this option is turned on, all newly recorded or cut material in a VIP (or mate-rial that is dragged from a Wave project into a VIP track) has an automatic fadein/out applied to it. If you perform a ”Split Object” command, the resultingObjects are crossfaded, avoiding clicks at the beginning and end of the Objects.Global settings for Fade In and Fade Out parameters are assigned to the Object.These settings can be changed in the Edit > Crossfade Editor, which may proveuseful where the audio material is cleanly cut, and the fade impairs the attackphase of the sample.If two overlapping Objects have an automatic crossfade applied to them, arealtime crossfade results. If an Object with an existing fade in is moved overan Object that precedes it, a crossfade will be applied across the two Objects(when auto crossfade is active).The auto crossfade mode is an excellent aid when making linear cuts to a spo-ken voice track, jingle etc., which requires smooth segues - without those un-wanted ‘pops’ or clicks. If needed, each crossfade can be edited in the editor, orby manually manipulating the handles.See the Crossfade Editor chapter for more details!

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Menu View

The View Menu allows you to adjust various parameters that determine howSamplitude displays Project data. A wide variety of options are available, ensur-ing that Samplitude’s display suits your preferred working methods, throughcareful selection of views appropriate to particular Projects.

Rebuild Graphic DataOccasionally, you may find encounter inaccuracies in Waveform displays (orother Project bitmaps), following complex sample processing tasks. This arte-fact can be caused by a number of factors, including inefficient display drivers.Should this (rare) problem occur, simply use this Menu item to restore thegraphic display. The screen (window) is cleared, and completely redrawn bythis function.

Note: Corrupt graphic files can also result from abnormal program termination – i.e.a crash / hang. Samplitude is a very stable application, but if your underlying Win-dows system is poorly configured, you may find Samplitude (and many other pro-grams) will behave strangely! Corrupt graphics files are usually not a problem forSamplitude, as the graphics are not part of the audio data. Any corrupted graphicsfiles will automatically be rebuilt when Samplitude is restarted (rebooting the compu-ter is recommended after any crash), and the Project is reopened.

SectionsThese Menu items allow you to take advantage of Samplitude’s ability to simul-taneously display up to 3 different ”views” of the same Project. As most audioediting applications do not offer this feature, users who have not previouslyworked this way will be delighted to discover the increase in speed and effi-ciency afforded by working with multiple tiled views.

If you select ‘2’, Samplitude will display the Project in two windows . Eachsection can be handled separately. It is possible to represent the complete Projectin one section, and a Zoomed in version of a certain Range in the other, forexample.

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Menu View

The screenshot above shows a VIP Project that uses 3 views simultaneously,enabling various ways of looking at the first Object on Track 1.

Note: You can return to the default, single view mode at any time, by pressing theShift+b keys.

The Sections > 3 mode is especially useful when searching for loop points inWave Projects.The whole sample can be shown in the upper section, while the section to thelower left displays the beginning of the loop Range, and the section to the lowerright, the end of the Range. Use the split Range function for this purpose (keyb).You can also drag Ranges across the section boundaries (i.e. from view to view).Establish the startpoint of a Range by clicking, then keep the mouse buttonpressed, and change over to another section. Samplitude will indicate the sizeof the Range while dragging. Release the mouse button at the desired locationto define the end of the Range.

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Menu ViewThe screenshot above shows a Sections > 3 view, where precise selection of aRange over an Objec on Track 1, has been made by using views 2 and 3. View 1shows the entire VIP, View 2 shows a Zoomed in view of the beginning, andView 3 shows a Zoomed in view of the end of the object.This is an excellent way of achieving precise Range selections, while maintain-ing an overview of the Project.

Fix VerticallyThis Menu item is a switch that toggles between two display methods for thevertical selection of Ranges.Ranges can be dragged (pulled) horizontally and vertically in Samplitude.The default view for vertical Ranges is fixed at full Track height, when multipleTracks are selected in the Range. By switching off the fix option, the Rangedisplay of each selected Track can be vertically increased or decreased (adjust-ment affects all Tracks).

The screenshot above shows a Vertical Range over two Tracks - where the Rangeis not fixed Vertically.The screenshot below shows the same Range, fixed vertically:

The difference is purely graphical, and is designed to offer you choices in yourworking methods.

Hide Submix/AUX bussesShows/Hides Busses (if present)You can reach the same function via the ”Busses” button, in the top left cornerof the VIP window.Please refer to the ”Working with the Mixer” chapter, in the ”Quick start /User’s Guide” for more details!

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Menu View

Show GridThe Grid display is designed to assist you with general timing information, andprecise placement of Objects and Ranges. The Grid shows you informationabout your location (i.e. where you are) in the Project window. It can be dis-played in several formats, assisting with easier identification, and a better over-view, dependent on the task being performed.In addition to identifying locations in the Project, the Grid can help you tostructure your VIP song, aligned with bars and beats. Precise Object looping iseasy when using the Grid.The Grid display consists of vertical lines that are displayed at specific intervalsin the VIP, or Wave Project window. The frequency of the line display is changedby altering the Units of Measurement. As an example, if the Grid is displayedin Bars & Beats, the vertical lines are very close to each other, indicating wherethe individual beats occur.If you Zoom into a window, the resolution of the Grid display will also change.As an example, if you wish to see the vertical lines of the Grid every second (i.e.a line on every one second increment), you may need to Zoom further into thewindow.

The Show Grid Menu item is a switch that activates/deactivates the display ofthe predefined Grid in the Project window. The units of measurement definedby View > Units of Measurement will appear in the upper sections of the Grid.Decibel indicators will also be displayed at the right boundary of each Object.

Shortcuts: #

Grid LinesThis Menu item provides 6 options for the graphical display of Grid Lines.

Units Of MeasurementNine options are available for defining the Units used in the Grid. The choice ofUnit will depend on the type of Project you are working on, although you caneasily toggle between the various Unit options in any Project.

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Menu View

The units are as follows: ‘Samples’, ‘Milliseconds’, ‘Hours/Mins/Secs’, threeSMPTE Frame options, the MSF format for red book CD’s (SMPTE at 75 frames),SMPTE + Milliseconds (instead frames) and ‘Bars’ for BPM display.

Note: If you want to find out what the current speed of the a selected quarter bar is,simply select the ‘Bars/Beats’ option. The upper indicator ‘L:’ will display the BPM.

Snap to GridThis function switches the Project’s response to the Grid on and off.When working with Virtual Objects, the Virtual Grid becomes available. If theObject Grid is activated, Objects can only be shifted to the beginning, the end, orthe hot spot of another Object. The reference point is usually the beginning ofthe target Object. A hot spot will also be used as a reference point, when de-fined.If several Objects have been selected, the move is performed by aligning thebeginning of the last selected Object with the reference Object, or Grid point.All selected Object positions retain their relative distances to each other.This option can be used to easily rearrange Objects, sample-accurately.

Shortcuts: Ctrl + r

Snap and Grid SetupThis Menu item launches the Project Options dialog. The dialog provides anumber of variables that determine the Snap and Grid settings used in differ-ent types of Project.

Object: This option activates the Object Grid.

Range: Range activates the area Snap, and enables you to use the currentlymarked area (for the Snap) by selecting ”Get current range for snap”.

Grid/Bars: Activates a Snap based on measures. You can enter the tempo inBPM and additional measure attributes in the Bar/BPM area. The tempo canalso be detected from the current range selection via “Get BPM from CurrentRange”. You can define the number of beats that the current area selectioncorresponds to - e.g. 4, if a complete 4/4 measure has been marked. The pro-gram now automatically displays the tempo (bpm) for the marked area. Divi-sion Markers are used to divide the Snap per beat, i.e. a value of 4 = 1/16 notesin a 4/4 measure.

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Menu View

Bar/Beat: Here you set the meter (numerator/denominator), the tempo in beatsper minute (bpm), and the timer resolution in peaks per quarter (clicks/pulsesper quarter note – often shown as PPQN).

Snap Offset to project start: Lets you define a starting point for the snap andgrid.

Use Snap Offset also for Grid: When this box is checked (ticked), the SnapOffset (if set) is applied to the Grid.

Snap On: When this box is checked (ticked), the Snap feature is turned on.

Shortcut: Ctrl+ Shift + R

VIP Display ModeThe VIP Display Mode Preferences help you to define the two possible alterna-tive display modes, when working with Virtual Projects.

You will usually choose mode 1, as it provides detailed overviews of samples(with all information displayed). Mode 2 employs a quick drawing method, with-out graphics. Perhaps you may prefer using mode 1 to display half mono Wave-forms, and mode 2 to display full Waveforms, in dual stereo. Switching be-tween the two modes is via the Tab key.You can also toggle between Mode 1 and Mode 2 by selecting the appropriatemode from the Menu item. The Modes are defined by selecting the Definitionitem, which opens the following window:As shown above, the two draw modes have identical options - which are listedside by side for easy comparison. The active mode is set by selecting the appro-priate radio button at the bottom of the dialog window.

Waveform DisplayDraw Samples: The audio sample representation is switched on. Usually you’llleave this on, but it can be advantageous to deactivate sample representations,when you wish to see volume and pan curves more clearly.

Scale with Fades/Curves: In this default representation mode, the Waveformoverview is scaled in accordance with the settings of the Fade In/Out, or Vol-ume curves. This makes the decay of the sound during a Fade Out, or volumeCurve changes, more visible.

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Menu View

Most users will prefer to work this way, but occasionally you may find it moresuitable to have the Waveform drawing remain static, regardless of curvechanges. In such situations, simply remove the check (tick) from this option.

Halve: The graphical representation of the audio material can be displayed as awhole Waveform, or half, for higher definition. Checking this box will displaythe Waveform with half its information.This mode is recommended, because the Grid (key #) and vertical Zoom func-tions (Ctrl + cursor up/down) are perfectly adapted to this draw mode. Thedisplay of Volume Curve results is also improved in this mode.Although many multi-track and stereo audio applications display the wholeWaveform, this is usually unnecessary as the bottom half isn’t needed for mostediting tasks.

Separate Stereo: If this option is active, stereo tracks in VIP Projects are dis-played as a two-channel Waveform. This allows you to expand the display toboth channels, rather than showing a single composite channel. Note that thiswill also affect the Wave Project display for stereo Wave Projects.

Note: This display mode can be helpful when selecting (or keeping track of) playbackoutputs in systems with multiple output sound cards,.

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Menu ViewDraw Envelope: With this option on, an outline is drawn around the edges(envelope) of the Waveform. In most cases, this provides easier viewing of theWaveform.

Standard: This radio button enables the default method of drawing the Wave-form.

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

Transparent: When this radio button is selected, the colors of both crossfadeWaveforms are overlapped. This works best in front of a dark background (de-fault). We recommend that you combine this, and the Draw Mode option (Wave-form Colors > Red/Blue alternation), to optimize the display of crossfaded areas.

Interleaved: When this radio button is selected, a sample of the left Object,and a sample of the right Object, are drawn alternately within a crossfade. Youcan then visually assess the fade area - a task made especially easy if the adja-cent Objects are of different colors.

Waveform ColorsDefault color settings: If all Color Settings are set to their Defaults (Options> Program Preferences > Draw Setup > Default color settings), Samplitude willdisplay the Waveforms in gold.

Red/Blue alternation: This mode alternates the Waveform colour of adja-cent Objects between red and blue. This improves the visibility of crossfades inthe Transparent and Interleaved drawing modes (see above).

Comparisonics colors: This mode uses an algorithm patented byComparisonics to depict sonic material in different colors. Dependent on thepitch (and additional parameters), a specific color (hue) is computed and dis-played for each segment of audio material.Low notes are blue in shade, whereas high notes are green/yellow/red. Tonalsonic material is clearly shaded (in color), while noise and atonal audio is grayin color. This makes it possible to visually recognize the different pitches of alead saxophone, or to visually detect inconsistencies which would be unrecog-nizable, if a purely graphic envelope representation was used.The size of the audio segment, used for the computation of color, can be de-fined in the Comparisonics Audio Segment Size (see the lower-right of the DrawMode dialog) field. We recommend sizes of 50 ms or larger, to ensure thatsufficient audio material is available for the color computation.A completely unique audio search method is provided within HD Wave Projects,based on the Comparisonics colors. This is accessed via the Range >Comparisonics Audio Search Menu item, and allows you to quickly and conven-

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Menu Viewiently find identical, or similar, audio material in the HDP area. Please refer tothe Menu Items – Range chapter for more details.

Note: For further information on the Comparisonics algorithm, refer towww.comparisonics.com.

ObjectsBackground: Each Object in the VIP Track can be assigned it’s own color. Thecolor is displayed if this option is checked. If unchecked, the Track backgroundcolor is used. Object color schemes can be assigned via the Object Menu.Object Name: Objects in VIP windows can have their own name. If this optionis checked, the Object name is displayed. Object names can be assigned via theObject Menu.

Project Name: Samplitude also allows you to display the audio file name ineach Object. This is especially useful if you quickly want to identify the WaveProject used in an Object. Checking this option will display the audio file namein the Object.

Object Properties: This shows you which Object-related effects are applied tothe Object, e.g. EQ for equalizers, DYN for dynamics etc....

Group Number: Objects in VIP windows can be grouped together. When group-ing Objects, it is helpful to have the group number displayed in the Object. Thisoption allows you to display group information in the Object.

Object Lock Button: When locked, an Object cannot be moved. Activation ofthis option allows you to change the lock/unlock status of an Object, by clickingon the key icon in the lower region of the Object. The key is not displayed if theObject length is too short to allow it’s display.Red key: Object is lockedYellow key: Object can be moved

Large Object Handles: When selected, larger handles for Objects and volume/ panorama curves will be displayed. This option simply provides better visibil-ity.

VIPButtons/Slider: By default, Samplitude displays buttons and sliders for eachTrack. On smaller displays, it may be desirable to disable the display of buttonsand sliders. Unchecking this option will hide them.

Peak Meters: Every Track in a Virtual Project has its own LED meter, provid-ing exact volume level displays. These LED’s, however, are only visible up to acertain vertical Zoom level.

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Menu ViewThe LED meters also work during recording, and contain a peak hold functionthat ”remembers” the maximum input level. This makes adjustments to inputlevels simpler.When working with a large number of Tracks, the peak meters can slightlyincrease the processing load. This is rarely a problem with today’s fast comput-ers, but if you find that you’re running out of DSP power, you may gain a littleby switching off the peak meters.

Show Border: This option determines if a border is drawn between Tracks ina VIP. Switch it off to save space within VIP’s (with lots of Tracks on smalldisplays - i.e. laptops).

Arrangement Text: This option displays two labels, in the upper and lowerhalves of a VIP track:1. Play Cursor and Range Manipulation Area2. Object Manipulation Area

Mouse BehaviourChange Mouse Cursors: This option causes the mouse pointer to change,when moving it over certain areas. As an example, when moving the mousepointer over an Object handle, the mouse pointer changes into a directionalpointer. This option is useful for mouse modes that combine several functions.

Disable invisible Object Handles: When activated, you cannot change anyObject properties (length, position etc.) with your initial mouse click (the one toselect the Object). To make such changes, you will need to make a second clickon the desired Objects or handles. This facility aids in the avoidance of acciden-tal changes to the Object, by simply selecting it.

Draw while move: To increase graphic performance, disable this option. Whendeactivated, only the Object outline is drawn while moving/dragging Objectswith the mouse button depressed.

2nd Click for Object movement: This option allows you to move Objectswith your second, rather than first, click. The first click simply selects the Ob-ject, avoiding accidental replacements/moves.

Lock VIP size against Zoom Out: If the VIP is Zoomed out beyond its size(from the start of the first Object to the end of the last Object), it will usually beextended automatically. This behavior can be switched on/off here.

Move Thresh: You can adjust the Object move threshold value, in millisec-onds. This prevents Objects and Markers from being moved accidentally, assoon as you click on them.

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Menu View

VIP Border Scroll: This mode allows you to scroll through the VIP whenselecting a Range, and extending it beyond the current window borders.

Shortcut: Shift + Tab

Store Position and Zoom Level

This Menu item stores positions and zoom factors. Once stored, they can berecalled with the 8 buttons to the bottom-left of the VIP, the View > Get Posi-tion and Zoom Factor” Menu item, or the NUM pad (to the right of the cursorkeys). To delete stored positions/zooms, right-click on the desired button(s), oroverwrite with a new setting.The keyboard Shortcuts used to store these settings are shown in the screenshotabove.

Note: Remember that right-click = delete setting. Take care, or you may unwittinglydelete a favourite setting!

Store Zoom Level

This Menu item stores Zoom factors. They can be recalled with the 4 Zoombuttons to the bottom-left of the VIP, the View > Get Zoom Factor Menu item, orthe NUM pad (to the right of the cursor keys). To delete stored zoom settings,right-click on the buttons, or overwrite with a new setting.The keyboard Shortcuts used to store these settings are shown in the screenshotabove.

Note: Remember that right-click = delete setting. Take care, or you may unwittinglydelete a favourite setting!

Get Position and Zoom Level

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Menu ViewThis Menu item loads one of the 4 possible setups for position and zoom factor(assuming that they have been stored via View > Store Position and Zoom Fac-tor). They can also be recalled with the 8 buttons to the bottom- left of the VIPand the NUM pad (to the right of the cursor keys). To delete stored positions/zooms, right-click on the buttons, or overwrite with a new setting.The keyboard Shortcuts used to store these settings are shown in the screenshotabove.

Note: Remember that right-click = delete setting. Take care, or you may unwittinglydelete a favourite setting!

Get Zoom Level

This Menu item loads one of the 4 possible setups for Zoom levels (previouslystored via View > Store Zoom Factor). They can also be recalled using the 4buttons to the bottom-left of the VIP, and the NUM pad (to the right of thecursor keys). To delete stored zoom settings, right-click on the buttons, oroverwrite with a new setting.The keyboard Shortcuts used to store these settings are shown in the screenshotabove.

Note: Remember that right-click = delete setting. Take care, or you may unwittinglydelete a favourite setting!

HorizontalThis Menu item contains all functions of the horizontal (red) position toolbar,plus other horizontal view options.

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Menu View

VerticalThis Menu item contains all functions of the vertical (blue) position toolbar,plus other vertical view options.

The various options are self explanatory. We suggest that you experiment with thevarious vertical viewing options by changing the Menu items, toolbars and Shortcuts.This will help you to establish the options which best suit your working methods.A little persistence and patience goes a long way – time spent developing your favouriteviewing method/system will be repaid tenfold by the speed benefits you will enjoy infuture Samplitude Projects!

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Menu Track

This Menu allows you to make various changes to Track layouts within a VIPProject.

Insert new Tracks > Add one TrackExpands the Virtual Project by one Track, at the bottom of the VIP Track list.

Insert new Tracks > Add several TracksExpands the Virtual Project by adding multiple Tracks at the bottom of the VIPTrack list.

Insert new Tracks > New Submix BusThe virtual project is expanded by one SubMix Bus track, which is insertedbelow the selected track.A Submix bus is a track with all capabilities of a normal track, e.g. EQ, FX, plug-ins. The difference is that it allows you to route the Outputs of all lower-num-bered tracks into it - i.e. the SubMix Bus. Once a SubMix bus is created, itappears in the output device list of all lower-numbered tracks.Please refer to the Mixer chapter for details!

Insert new Tracks > New AUX BusThe virtual project is expanded by one AUX Bus track, which is inserted belowthe selected track.An Aux bus is a track, which has all capabilities of a normal track, e.g. EQ, FX,plug-ins. The difference is that it allows you to route the Outputs of all lower-numbered tracks into it - i.e. the Aux Bus - by using the aux send sliders in theMixer. Once an Aux bus is created, it appears in the output device list of alllower-numbered tracks.You can also send Objects to the Auxes, a great feature for automating Auxeffects.Please refer to the Mixer chapter for details!

Cut Track(s)Cuts complete Tracks, and places the Track into the Clip. If you want to moveone Track to another, or another VIP Project, this would be the first step.

Copy Track(s)Copies complete Tracks to the Clip. If you wish to Copy a Track to another, oranother VIP Project, this would be the first step.

Insert Track(s)Inserts complete Tracks below the selected Track. To select the target Track,simply click onto it.If you are moving or copying Tracks, this command would be the second step.

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Menu Track

Delete Track(s)Deletes complete (selected) Tracks. To select the Track(s), drag a small Rangewithin the desired Track(s).

Create Empty Track(s)Adds one, or more, empty Tracks to the end of the VIP Track list.

Track PropertiesThis submenu allows access to all track properties (this can also be done byclicking the corresponding button in the VIP window). The main purpose ofthe menu is to remap keyboard shortcuts to Samplitude functions. This allowsyou to operate Samplitude with the keyboard.In addition, the menu also allows you to switch the track type, enabling it’s useas an Aux or SubMix busAll menu options affect the selected track (i.e. the one outlined in yellow).

Command DescriptionShortcutMute Mutes the track Alt + MMute inactive Mutes, and deactivates the track (this increases

performance, because no caching of this trackis necessary)

Solo Mutes all other tracks, except those that arealready ”soloed” Ctrl + Alt + SSolo exclusive Mutes all other tracks Alt+SRecord Arm track for recording Alt+RLock Lock track. No Object moves or length changesare allowed.Volume Curve active Shows / Hides Volume curvePan Curve active Shows / Hides Panorama curveSubMix Bus Track acts as SubMix BusAux Bus Track acts as Aux Bus

Track InformationOpens the Track Properties dialog. Refer to the VIP Window – A Detailed Lookchapter, for further details regarding the track Properties dialog.

Track FX > Track Routing DialogOpens the Track FX routing dialog .In many circumstances, you would use the FX button in the Track Propertiesbox (left of the Track), rather than using this Menu item (both perform thesame function). Use of the Menu item can be more convenient in some situa-tions, such as when the Project Track count is high, and the screen view iszoomed out (the Plug-ins button is not always visible).Please refer to the Using Effects in Samplitude – FX routing chapter, for furtherdetails.

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Menu Track

Track FX > Copy/Paste Track Effects SettingsThis command allows you to copy the complete effects settings of the activeTrack into the clipboard (in order to paste them to another track). This includesthe order, and parameter adjustments, of all internal effects (EQ, Dynamics,Delay/Reverb...) plus those of (used) plug-ins.You can also perform this function with the Copy/Paste buttons in the FX rout-ing dialog of the Track.

Track FX > Reset Track Effects settingsReset all Track effects settings to default values - i.e. no effects are applied. Youcan also perform this function with the “Reset” buttons in the FX routing dialogof the track.

Track FX > Dynamics/Distortion/Delay/Reverb/EQ/Provides direct access to the Mixer Track realtime effects. For detailed info onspecific effects, please refer to the “Menu > Effects” chapter!

Track FX > Plug-insOpens the Plug-in dialog, and displays the current Plug-in(s) used within theselected Track (VIP only).In many circumstances, you would use the Plug-ins button in the Track Proper-ties box (left of the Track), rather than using this Menu item (both perform thesame function). Use of the Menu item can be more convenient in some situa-tions, such as when the Project Track count is high, and the screen view iszoomed out (the Plug-ins button is not always visible).Please refer to the Using Effects in Samplitude – FX routing chapter, for furtherdetails.

Please refer to the Effects Plug-ins in Samplitude chapters, for further detailsregarding Plug-ins.

MIDI Controllers (Samplitude Pro)Please refer to the Samplitude and MIDI chapter of the Quickstart/User’s Guidefor further details!

Surround Editor (Samplitude Pro)Please refer to the Menu Options > Project Properties > 5.1 Surround Mode chapterfor further details!

Minimize TrackThis option minimizes the selected track.

Maximize TrackThis option minimizes all but the selected track. The selected track will bezoomed vertically, to the maximum possible level.

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Menu Track

Minimize noneThis option un-minimizes all tracks.

Activate nextMoves the track selection up/down.Alternately, you can use the cursor up/down keys.

Activate previousMoves the track selection up/down.Alternately, you can use the cursor up/down keys.

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Menu Object

The$items in the Object Menu control, and provide, the options available formanipulating selected Objects, in Virtual Projects. Ranges are used to definethe insertion points, or cut positions, of Objects. When inserting material intoa Virtual Project, the Range startpoint performs much the same function as thePlay Cursor – i.e. the material is inserted at the Range startpoint.Splitting, and splicing, are two of the most commonly performed Object edit-ing tasks. The beauty of Samplitude, for these duties, lies in the fact that Ob-jects are Virtual – i.e. no changes are actually made to the physical Wave files.This allows for very fast editing, and incredible flexibility.The Object Editor is also a fundamental Samplitude feature, providing power-ful, and individual, processing for each Object. This processing is in additionto the processing options offered within Samplitude’s other FX paths – thetotal processing combinations are almost endless!Picture the following scenario: A radio engineer downloads a news-feed fromthe network, for further editing. Rather than cutting it destructively, as with aphysical tape, the engineer can record the take, and manipulate it as an Object,cutting it into individual segments. The individual news pieces could then bearranged for later processing, during the newscast, or could be off-loaded to aDAT or reel-to-reel tape.The scenario above is a real-life situation that thousands of radio engineers faceevery day.

New ObjectUse this Menu item to create a new Virtual Object. Before doing so, you mustfirst select a Range in the Wave Project that you wish to reference. The currentRange in the Wave Project will be inserted into the Virtual Project, at the PlayCursor position. It will automatically become the currently selected Object. Theresults of this procedure are the same as the drag & drop method of importingWave projects into VIP Tracks.

Note: The Object will be inserted at the actual Range position in the VIP. If a Rangeis not marked in the VIP, the Object will be inserted in Track 1, at the current PlayCursor position.

Cutting Objects

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Menu Object

Cutting Objects > Cut ObjectsThe currently selected Object(s) is replaced with empty space, and copied to theVirtClip. The length of the current Project is unchanged, and all non-selectedObjects remain in their original positions. The previous contents of the VirtClipare replaced with the Cut Object.If a Range is selected, all active Objects are separated at the Range edges.

Cutting Objects > Copy ObjectsSelect this option to place a copy of the (currently selected) Object into theVirtClip. The contents of the VirtClip can then be inserted into the Project withthe Cutting Objects > Insert Objects option (see below). The previous contents ofthe VirtClip are replaced.Note: You can also Copy/Paste Objects by click-dragging, with the Ctrl key depressed.

Cutting Objects > Insert ObjectsObjects in the VirtClip can be inserted at the current Play Cursor position of theProject. The other Objects in the Project maintain their positions. Please notethat the newly-inserted Object may cover portions of existing Objects. Simplydrag the new Object to a different set of Tracks, or reposition the Object on thesame Tracks.

Cutting Objects > Delete ObjectThe selected Objects are deleted from the current Project. The length of thecurrent Project, however, remains the same. Unselected Objects maintain theirpositions. The contents of the VirtClip remain unchanged.

Cutting Objects > Extract ObjectEffectively the inverse of Delete Object. All unselected Objects are deleted. Pleasenote that this function is similar to the Edit > Extract Menu item. Where the twodiffer is that the Edit Menu function requires that a Range be selected, prior toit’s use.

Cutting Objects > Duplicate ObjectsAll selected Objects are duplicated, and pasted to the same position as the origi-nal Objects. The original Objects are overlaid with the copied Objects. The du-plicated Objects can easily be shifted to any desired position with the mouse. Ifseveral Objects are selected before duplication, press the shift key before mov-ing them, to ensure that all Objects remain selected, and are moved together.This option does not make use of the VirtClip, so any existing VirtClip contentsremain unchanged.This function is also available through use of your mouse. Press-hold the Ctrl-key, click on the Object you wish to duplicate, and drag the Copy to a newposition in the Project.Another option is to use the Drag & Drop functionality for the Object, or theUniversal Mouse Mode:

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Menu ObjectIf multiple Objects are selected, press the Ctrl key and drag the selected Objectsto the new position. This allows you to duplicate the selected Objects easily,without using the VirtClip.

Cutting Objects > Duplicate Objects multiple....This function duplicates multiple Objects, and places them in sequence. An-other dialog is displayed (see the following screenshot), which allows you todetermine; the number of copies (of the selected Objects), the distance betweenthe duplicated Objects, and the overall length of the duplication. This is anexcellent method for quickly building loop-based projects.

Number of Objects: Determines the number of Objects that are created.

Group created Objects: When checked, all created Objects are grouped to-gether.

Delta Time: This determines the relative position of each created Object, to thenext (from the beginning of one Object to the beginning of the next). The de-fault setting is the length of the selected Object. At the default setting, the dupli-cated Objects are adjacent to one another, creating a seamless Loop.

Duration: As an alternative, the duration can be specified, thus combining thetime difference, and the number of duplicated Objects.

Cutting Objects > Split Object On Project Marker PositionThe Object is separated (split) into new Objects at predetermined marker posi-tions within the Object borders.

Cutting Objects > Split Object On Track Marker PositionThe Object is separated (split) into new Objects at predetermined marker posi-tions within the Track.

Split ObjectsObjects are separated at the selected Range borders, or the Play Cursor posi-tion.

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Menu Object

This is a frequently used command, best implemented by using the keyboard Shortcut.

Shortcut: t

Trim ObjectsThe Object borders are trimmed to the selected Range borders.

This is a frequently used command, best implemented by using the keyboard Shortcut.

Shortcut: Ctrl + t

Heal/Unsplit ObjectsThis command allows you to join Objects that have been split into pieces (e.g.by accident). The Objects must be adjacent to each other in the VIP, and thereferred audio data – i.e. the underlying audio file that the Objects are based on- has to fit. This means that the Objects need to refer to distinct (and adjacent)wave data of the same Wave Project. If these conditions are not met, the com-mand is grayed out. All Object settings (fades, effects etc.) of the second Objectare removed, and the resulting Object (i.e. the ”healed” Object) will be assignedthe settings of the first Object.

Mute ObjectsPlayback of the selected Object/s will be muted - i.e. silent. The Waveform willremain visible.The letters MuL + MuR will appear in muted Objects.

Shortcut: Ctrl+m

Lock Objects

Lock Objects > Lock ObjectsAll selected Objects will be protected from moves. This ensures that Objectsare not shifted accidentally during editing sessions.Select the Objects you wish to ‘lock’ in place, and activate the lock function. Adiagonal line is placed across the locked Objects.

Lock Objects > Unlock ObjectsAny selected (and locked) Objects will be unlocked

Lock Objects > Lock DefinitionsSelects options for Object locking (as shown in the screenshot). Only “moving”is locked, by default.

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Menu Object

Disable Moving: Disables moves of selected Objects (default). This is usefulin multi-track projects, when performing quick editing movements.

Disable Volume Changes: The volume handles are disabled for the selectedObject/s.

Disable Fade-In/Out: The fade handles are disabled for the selected Object/s.

Disable Length Changes: The length handles are disabled for the selectedObject/s.

Disable Deleting: This option prevents deletions of locked Objects. This op-tion only affects the deletion of selected Objects by pressing “Del” (or the “De-lete Object(s) from the Object > Cutting Objects menu). It will not prevent thedeletion of an Object when the Range that encompasses the Object is deleted.

Edit Objects

This Menu item contains a wide variety of options for fine-tuning Object posi-tion, especially when crossfading.

Edit Objects > Move ObjectsThis function allows you to move an Object to a precisely specified position.The dialog shown above is opened, enabling you to select the new position insamples, milliseconds, or SMPTE time.

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Menu Object

Edit Objects > Object/Fade Step SettingsSamplitude contains a complete function set for editing Object fades andcrossfades. To edit the crossfade, select two overlapping Objects. To edit a sin-gle Object, select only one Object.

All of these functions can be adjusted incrementally, allowing for very preciseObject movements. The settings can be defined via the Object->Object/FadeStep Setting menu.

Edit Objects > Object Move Step 1 and Step 2These Menu items are primarily used for fine-tuning crossfades. You can moveall handles of one or two selected Objects, with these menu functions.

Please note that although these functions can be executed from the Menu item, it isfar quicker to use the associated keyboard commands to execute the functions.

In combination with the “Activate next/previous track” (cursor up/down) andthe “Select next/previous Object” (ctrl+alt+cursor left/right) allows you to com-plete Project edits, without using the mouse at all!

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Menu ObjectThe basic principle of manipulating the Object is as follows: The Ctrl key se-lects the left Object, the Alt key the right Object. The increment length (Steplength 1 or 2) is determined with the Shift key.The number keys (0-9) select one of the following functions for the selectedObject:1...move Object left2...move Object rightQuite self-explanatory

3...move Object start/end left4...move Object start/end rightWith two selected Objects, the ctrl and alt keys select either; the end of the first,or start of the second Object. Ctrl + Alt moves the whole crossfade. When onlyone Object is selected, the modifier keys select the start and end points of thisObject.

5...extend fade time6...reduce (shorten) fade timeAs above: With two Objects selected, it affects the fade out of the first, or fade inof the second Object. As long as you don’t have asymmetric crossfades enabled(please see the Crossfade Editor chapter), you’ll notice that Alt + 5/6 have noeffect, because the fade in/out times of the crossfade are linked. When only oneObject is selected, the modifier keys refer to the fade in and out points of theObject.

7...increase Object volume8...reduce Object volumeThis is the equivalent of moving the Object volume handles up and down.

9...move Object content left0...move Object content rightThis is a very special facility, that can only be accessed in this way! You canmove the Object’s underlying audio material. This is the equivalent of: movingthe Object’s startpoint, moving the whole Object in the opposite direction, andthe Object’s endpoint by exactly the same amount. To illustrate, just open theWave project window of an Object (Wave editing), and use the keys. You’ll seethe effect as you move the Range in the Wave Project, which addresses theaudio data for the Object!

To perform all of these manipulations with a Step length of 2, simply use theShift key, prior to selecting the numeric value (i.e. Alt + Shift + 0 = move con-tent of the second Object right by Step length 2 ).

Object To Play Cursor PositionThis Menu item places the startpoint of the selected Object(s) at the Play Cur-sor position.

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Menu ObjectNote: Be careful with this command – if multiple Objects are selected, they will all beplaced at the Play Cursor position.

Object To Original Time PositionThis Menu item moves the selected Object to the original time position of thematerial’s recording/creation. This can be helpful if an Object is accidentallymoved, and you don’t notice the change until a few edits later, or even a latersession.

Note: The command only reverts to the time position – if an Object has been moved toanother Track, it will be placed at it’s original location on that Track, not at thelocation of the Track it was originally recorded/created on.If an Object has been moved between Tracks, the only current method of reverting toearlier position/s on other Tracks is via Undo, or the use of VIP backups!

Set Original Time PositionThis Menu item sets a new time position for the ‘Original Position’ attribute ofthe selected Object.

Note: The command only sets a new original time position – if an Object is subse-quently moved to another Track, it will be placed at the new time position on thatTrack, not at the location of the Track it was originally recorded / created on.

Build Loop ObjectWith this function, a Loop can be defined within an Object. A Range, whichindicates the Loop length, must first be selected in the Object.The Object then becomes the ”Loop Object”. This means that the number ofLoops can simply be ‘raised’ with the ‘length handlers’, found at the bottom ofthe Object.To put it simply, drag a Range over the section to be Looped, select Object >Build Loop Object, then click and drag the right edge of the Object to the right.The Loop section will be repeated. Any ‘leftover’ graphic data in the originalObject (to the right of the original Object Range) will be overwritten.You can edit the loop start/length/stop times, and disable the loop “attribute”of an Object in the Object editor - on the pitchshift/timestretch tab.Loop Objects are ideal for generating long drum sequences from a single drumloop! Loop Objects also help to conserve memory, as only one Object is handledrather than multiple Objects, or copies, of the same material or very long sam-ples!If you split a Loop Object at any given point, and disable the loop attribute onthe (new) second Object, the second Object plays back seamlessly from the loopend point in the audio. This allows you to loop a drum hit, creating a drum roll,for example. Just select the Range over the hit you want to make “roll”, pull thelength handle, and split the Object after the last drum hit you want to hear.Disable the loop flag on the second Object, and the last hit will continue with itsnatural reverb tail.

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Menu Object

Arrange ObjectsYou can arrange all Objects on a track, so that each Object is separated from thenext by a specified distance (time). This is useful when preparing a CD master.

Set HotspotThe current Play Cursor position is turned into a reference point for the Snapfunction. Once defined, the hot spot is used for snapping the Object to the grid,rather than marking the Object’s startpoint.Dashed vertical lines illustrate hot spots. Hot spots may be positioned outsidethe boundaries of an Object (to the left or right of an Object).This function is very useful where you wish to synchronize a portion of anObject, which is not aligned with it’s beginning.

Select objectsSelect Objects > Select ObjectsThis Menu item will select all Objects located partially, or entirely, in the se-lected Range, or Objects beneath the current Play Cursor position (if no Rangeis selected).

Select Objects > Switch SelectionThis Menu item performs the reverse of the command above. All selected Ob-jects are deselected, and all unselected Objects are selected.

Select Objects > Select All ObjectsAll Objects of the project will be selected.

Deselect ObjectsNo Object in the project will be selected. This is useful when you wish to deletea Range with the “DEL” key, because the key gives priority to selected Objects,over selected Ranges.

Select next ObjectSelects the next Object on the selected track. If no Object is selected, the com-mand selects the Object nearest to the play cursor.

Key CTRL + ALT+ Cursor Left , CTRL + ALT + W

This command, in conjunction with “Select next/previous track” (cursor up/down), allows you to navigate through the Objects by keyboard only!

Select previous ObjectSelects the previous Object on the selected track. If no Object is selected, thecommand selects the Object nearest to the play cursor.

Key CTRL + ALT+ Cursor Right , CTRL + ALT +Q

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Menu ObjectThis command, in conjunction with “Select next/previous track” (cursor up/down), allows you to navigate through the Objects by keyboard only!

Group ObjectsMultiple selected Objects are grouped together. All operations are applied tothe whole group.

Ungroup Objectsselected Objects are ungrouped. Individual Objects can now be processed inde-pendently.

Object Background Color

Sometimes, it’s necessary to distinguish certain Objects from others. Samplitudeallows you to specify different colors for selected Objects. The dialog (shownabove) allows you to apply virtually any color to Objects, dependent on yourcomputer’s display settings.

Object Foreground ColorSamplitude will also allow you to apply virtually any color to selected Objectforegrounds. The dialog is identical to the previous dialog (see above).

Object NameAnother way to distinguish certain Objects is to give them a different name.Samplitude allows you to specify a name (such as ‘Svennevig Shuffle’) with thisoption.Please note that the name will be only be visible if you enabled the View > VIPDisplay Mode > Definition Menu item, or by pressing Shift+Tab when selectingthe Object.

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Menu Object

Object EditorThis Menu item launches Samplitude‘s Object Editor window.The Object Editor is one of the most powerful features of Samplitude, and maywell become your favourite weapon of choice in the studio!Every individual Object offers realtime processing facilities, without the needto assign a Mixer channel, or perform complex routings. Processing optionsare unaffected by any subsequent manipulation of the Object position (movingor copying – even across tracks). This ability simplifies working with loops,soundtracks, CD Mastering (each song as an Object/s), and other editing tasks,which would normally require complicated routing schemes. The Object Edi-tor is also very useful for managing system processing resources, through thejudicious application of FX - enabling DSP-intensive processors to only be usedwhere necessary, rather than being active all the time.There are 4 ways to launch the Object Editor dialog. You can double-click in thelower half of the Object, or press both mouse buttons in quick succession (right-click > left click) anywhere on the Object. If you prefer menus, you can right-click on the Object and select the Object Editor option, or use the traditionalObject > Object Editor menu at the top of the screen.

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Menu ObjectNotes: The Object Editor also works with multiple selected Objects, allowing you toapply the same settings to multiple Objects. As an example: Multiple Objects areselected, and the Object Editor is displayed. The EQ section is updated, and is appliedto all Objects in the selected group. All other settings of the individual Objects remainunchanged, however, as only the EQ settings were changed collectively.

The Object Editor includes advanced Time Compression and Pitch Changingalgorithms which operate in real time. Timestretching and Pitchshifting can beapplied simultaneously and independently (except when using the Resamplingalgorithm, length and pitch are linked then).

See Menu Effects > Resampling / Timestretching / Pitchshifting for details, espe-cially about the various modes.

Pitch Shifting: Adjust a pitch shift as a relative factor or as an absolute valuein semitones and cent.

Timestretching: Give in a relative time stretching factor or an absolut valueas new object length.

You can also enter a new Tempo in BPM. For this the original tempo must beknown. It will be read from the wave project (for loops with BPM informationssee Menu Tools > Timestretch/Pitchshift Patcher) or will be calculated automati-cally from the Loop lengthor a selected range in the object.On this page of the Object editor you can adjust the objects loop attributes. Thisfeature corresponds with the function „Build Loop Object“ of the Object menu.

The Object Editor is covered in detail in the Object Editor chapter of the QuickStart/ User’s Guide. Please refer to this chapter for further information.

Object ManagerSee ”Tools” Menu!

Take ManagerSee ”Tools” Menu!

Wave EditingSamplitude is primarily a non-linear, non-destructive multi-track audio editor.This means that most of your work is usually completed in the virtual domain(VIP), without making changes to the original audio. There are, however, somejobs which are best completed by working directly on a Wave Project, as if youwere using a conventional audio editor.Samplitude can also function as a conventional audio editor, but now offers twoalternatives, namely: Destructive Editing, or Wave Editing. Samplitude’s devel-opment team designed a way to circumvent the disk space, and time, inefficien-cies associated with Destructive Editing/Wave Editing. When working directly

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Menu Objecton Wave Projects, the powerful options offered by the Wave Editing systemplace Samplitude a ”cut” above other conventional audio editors!Read the ”New Features/Quick start >Virtual Wave Editing” section for an in-troduction to the new Wave Editing mode, and also take a look at the ”SamplitudeTerminology” chapter, for a rundown on wave editing basics!There are some differences between the ”destructive ” and ”Wave editing” modes,when working on Wave Projects:

Rendering edit operations on savingAll edits: cut, paste, delete and insert, are virtual. The edit positions are markedby dotted lines. There is no time-consuming undo file creation. All edit opera-tions are applied to the Wave Project when you save it.

Master Section :You can use the Mixer, while working in a Wave Project. Thisallows you to apply realtime fx manipulations as you would in the normal VIPMaster section. These effects will be applied to the wave project when you saveit.For more information on the Mixer Master section, read the ”Working with theMixer” chapter, in the ”Quick start/User ’s Guide”!

Menu File Save in format: This will open the track bouncing dialog (formatconversions are possible). (Tools > Track bouncing)

Auto Crossfade :The Auto Crossfade option (Edit menu) works in WaveProjects too. Default crossfades are applied to every cut or insert operation,when auto crossfade is active. You can use the Crossfade Editor to fine-tune/edit crossfades.

New File with Drag and Drop :You can mark a Range in the Wave Project,and drag this Range to an empty space on the program desktop. A new WaveProject (untitled.wav) will appear. This method allows you to easily make cop-ies of the entire (or parts of the) Wave Project.

Edit a copy of Wave ContentThis opens the wave project referred by an object for wave editing. But in differ-ence to the normal „Wave Editing“ command it copies the wave data of theobject at the end of the wave project and adjusts the object in a way, that itpoints on these audio data.This has the advantage, that the operation creates an undo step in the VIP, soyou can undo the wave editing without opening the wave project again. Thedisadvantage is, that you change the length of the wave project, which is notdesired in all cases ( when using the audio data in a loop, for instance).

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Menu Effects

The options available in the Effects Menu are processed directly to Hard DiskProjects (HD Wave), RAM Projects (RAP), or selected Objects in the VIP win-dow. With the exception of the Normalize Object (Virtual) option, the Effectsare processed destructively. In other words, the original audio file will beoverwritten with the processed file. If you enable the Create Copy option (ineach Effect’s window), the processed audio will be appended to the end of theoriginal (dry) audio file.When processing selected Objects in the VIP window, having this Copy allowsyou to Undo the process, and restore the original (dry) Object. The appendedaudio is retained in the Project (even though it may no longer be referenced bythe VIP) unless deliberately deleted, either manually or with the Tools > RemoveUnused Samples function.

Note: If you process a selected Object which appears elsewhere in the Project (e.g. aloop-based Project, such as Tutor01.VIP) and you do NOT have the Create Copyoption checked, you will affect ALL copies of that Object in the Project, as the originalHD Wave file has been destructively processed. This will not occur if Create Copy ischecked, as the processed Object will now reference the appended audio section (seeprevious paragraph).

We recommend that the Create Copy option always be checked when applyingEffects via the Effects Menu. Even though this results in the Project requiringadditional hard disk space, you can always be certain that you have an Undo (orthe original file) if you need it. You can never be ”too” sure that you no longerneed the original file!If the Create Copy function is not checked, you will not have an Undo for theprocessing, regardless of whether Undo’s for HD Wave Projects are enabled inthe Options > Program Preferences > Undo Definitions dialog. Your only optionwill be to restore a backup of the entire Project. (We don’t need to remind youthat regular backup of all referenced files is essential!) This applies to VIP andHD Wave Projects!Dialogs in the Effects menu that don’t offer a Create Copy function (such as theFade In/Out dialog), will automatically create an Undo file, provided that theUndo is enabled for HD Wave projects (Options > Program Preferences > UndoDefinitions dialog). These Undo files are temporary, and are deleted when theProject is closed.

Tip: If the Make Copy option was used (when applying Effects to a Selected Object inthe VIP window), you can use the Take Manager to switch between any appended(processed) copies, and the original (dry) audio file!

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Menu Effects

Amplitude/Normalize > NormalizeThis function modifies the sample’s overall amplitude.The data is altered so that the maximum amplitude occurring in a specifiedRange is set to 100% (or any other value between 1-400%). Samplitude willfirst attempt to detect the maximum value, and relate it to the chosen percent-age. All other values are then weighted with the new factor.The Normalize function is designed to fully modulate, or over-modulate, sam-ples. It is often performed before converting a higher resolution sample to alower resolution. As the dynamic range of the low resolution file is reduced, itstill can be fully utilized by applying the Normalize function.If working with sounds from a single instrument, you should set the factor to100%.If, however, your audio material features background percussion, for example,you will be able to over-modulate the sample to a range between 120% and200%. This will only cut off the new percussion peaks. The same method al-lows you to alter the sound of natural instruments by over-modulating them.As preparation for further physical processing, such as filtering, reverb, dy-namic compression etc., a level reduction of 50-70% is suggested. This shouldavoid clipping during post processing.

An important point to note: If the volume level is relatively low during recording, andthe material is later normalized, the result will not be of the same quality as a full-range recording. As an example, if the volume level was only set to 50% of the possiblerange, the audio material will be in 15-bit quality. Even normalizing the material to100% will not change this aspect.

Normalize to: Allows you to set the target level for normalization. This can bedone by; typing the desired value into the data fields, adjusting the fader, orpressing the preset buttons for 50, 95, 100 or 200%. The value is displayed as apercentage and in dB. 0dB=100% (full Range). Normalizing to a value over0dB results in digital distortion.

Peak maximum: displays the highest detected peak in the selected Range/Ob-ject.

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Menu EffectsPeak change: displays the level change in dB, in accordance with the selectednormalize level and the detected peak maximum

Working ModeVirtual: This function will perform realtime normalizing on the selected Ob-jects. This is different to the destructive normalizing process, that restructuresthe audio file.The realtime normalizing function looks for peaks in the Object, and adjuststhe Object volume, so that the highest peaks precisely match the selected nor-malize level. You can return the Object to it’s original volume setting by select-ing “Reset”, below the volume fader in the Object Editor.This option is not available when working on Wave Projects (Wave editing)

Destructive: The audio material in the Wave Project is physically altered. Undois only available when Undo is enabled, and the “create copy” flag is set.

Multiple selectionWhen multiple Objects are selected, there are two different techniques avail-able for normalization:

Independent normalization: Each Object is normalized, according to its ownmaximum (peak) level.

Unified normalization: The maximum level is detected from all Objects,and each Object is normalized according to that value. This is the defaultbehavior.

Quick AccessSet parameters: These buttons allow you to set a normalize value (e.g. 99%),and the normalize method for multiple selected Objects, when you access theNormalize function via the Quick access dialog.

Get parameters: to reload these parameters in the dialog.

Shortcuts:Key: Shift + n

Amplitude/Normalize > Normalize (quick access)Quick normalize a selected Range (Wave Projects), or selected Objects, (VIP) toa fixed value. This value can be defined in the Normalize dialog.Normalization modes are always applied in accordance with the project type -i.e. Wave projects in destructive editing mode are normalized ”destructively”and Wave Projects in virtual wave editing mode (and VIP Objects) are normal-ized ”virtually”.

Key: n

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Menu Effects

Amplitude/Normalize > Fade In/OutThis option opens the Fade In/Out window. You can destructively apply Fades(both In and Out) to Hard Disk Projects (HD Wave), or RAM Projects (RAP)from this window.

Important note: Using this dialog, Fades (both In and Out) can be destructivelyapplied to HD Wave or RAP files ONLY! If you wish to destructively apply a Fade toan Object in the VIP window, right-click on the Object and select DESTRUCTIVEEDITING.... This will open the HD Wave or RAP file that the Object represents. Ifyou prefer to fade non-destructively, you can use the Volume Curves or Object Handleoptions in the VIP.

Fade Start in %: This parameter sets the level at the beginning of the fade asa percentage of the original level. To create a simple Fade-In, set this parameterto a value of 0. To create a simple Fade-Out, set this parameter to a value of 100.

Note: You can adjust this parameter by clicking on one of the three ‘preset’ PercentageButtons (0, 50, 100), moving the Slider, or by typing the value in the box.Tip: Fade-Ins don’t have to start at a level of 0, and end at a level of 100. Fade-Outsdon’t have to start at a level of 100, and end at a level of 0. The levels can be setanywhere between 0 and 200. Use the graphic display to help ‘visualize’ the curveyou are applying.

Fade End in %: This parameter sets the level at the end of the fade as a percent-age of the original level. To create a simple Fade-In, set this parameter to avalue of 100. To create a simple Fade-Out, set this parameter to a value of 0.

Note: You can adjust this parameter by clicking on one of the three ‘preset’ PercentageButtons (0, 50, 100), moving the Slider, or by typing the value in the box.Tip: Fade-Ins don’t have to start at a level of 0, and end at a level of 100. Fade-Outsdon’t have to start at a level of 100, and end at a level of 0. The levels can be setanywhere between 0 and 200. Use the graphic display to help ‘visualize’ the curveyou are applying.

Fade Curve: This parameter allows you to choose the type of Curve used forthe Fade.

EXP.: Click on this button to select an Exponential curve. The taper of the Curvecan be set with the Slider.

LINEAR: Click on this button to select a Linear curve. The taper of the Curvecan be set with the Slider.

LOG.: Click on this button to select a Logarithmic curve. The taper of the Curvecan be set with the Slider.

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Menu Effects

Tip: By selecting the opposite number for a Curve’s taper, you can invert the Curve.

Fade In: Click on this button to quickly set up a ‘simple’ Fade-In. The fade’slevel will start at 0 and end at 100.

Fade Out: Click on this button to quickly set up a ‘simple’ Fade-Out. The fade’slevel will start at 100 and end at 0.

Important note: Whenever possible, it is recommended that you perform fades non-destructively within the VIP window, by using the Volume Curves or Object Handles.If you prefer to fade destructively, you will note that the Fade dialog does not have aCreate Copy option. Don’t panic, as the Fade function is one of the Effects menuitems which automatically creates an Undo if the Options > Program Preferences >Undo Definitions dialog has Undo enabled, for HD Wave projects.

Shortcut: F

Amplitude/Normalize > Set ZeroSample data values in a selected Range are set to zero (no data), eliminatingnoise and imperfections in a sample.

Plug-ins....This function allows you to use VST and DirectX-compatible plug-ins inSamplitude. This complements the existing effects with an unlimited numberof 3rd-party effects. Samplitude’s Mixer is also compatible with plug-ins. Theseplug-ins must be able to process the audio data blocks immediately, and com-pletely, without changing the length of the material. This is the case for mostplug-ins, but some plug-ins which try to change the buffer size will fail, as theyare based on changing the length of the material, or are not compatible withSamplitude’s buffering system.

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Menu EffectsThe Effects menu doesn’t suffer from these limitations as the plug-ins are ap-plied destructively in offline mode. All available plug-ins should work, even ifthey change the length of the audio material, or temporarily off-load the datablocks (i.e. Sonic Foundry Acoustic Modeler). Even so, we still recommend thatyou test demo versions, and make appropriate enquiries to plug-in developersprior to purchase. The quality of plug-in processing can be determined with theOptions > Internal Audio Precision setting. This setting allows you to switch be-tween 16-bit and 32-bit Float resolution. Some plug-ins do not yet support thehigher resolution. In most of these cases, Samplitude will display an error mes-sage when selecting the plug-in in the plug-in dialog. In other cases, clicks,pops or gaps may occur in the audio output from the plug-in. In such cases, tryswitching the resolution to 16bit – all available plug-ins should work at thisresolution. You may wish to check if there are any known issues with 32 bitfloat files with the plug-in manufacturer.

Working with the plug-insAfter opening the plug-in dialog, a list of installed plug-ins is visible. Double-clicking on a specific plug-in (in the list to the right) moves it to the left side ofthe dialog. The left side shows active plug-ins. When the plug-in is moved intothe active plug-in list, its plug-in window is displayed.The plug-in dialog (plug-in window) allows you to make adjustments to theeffect settings. Additional double-clicks on entries in the right-side list add otherplug-ins to the active plug-in list, on the left side. You can load up to 8 plug-inssimultaneously (Samplitude pro: unlimited).Please ensure that the selected plug-ins are compatible with each other. As anexample, mono and stereo plug-ins cannot be used simultaneously – an errormessage is displayed.Any plug-in loaded into the active plug-in list can be deleted with the ‘DeleteSelected Entry’ button (select the plug-in first!)

Test: This button activates the realtime preview of the active plug-in listed onthe left side of the display. This function is ideal for verifying that the realtimecalculation of the chosen plug-in settings is operating properly.

Preview: This function calculates, and processes, a short segment of the audiomaterial with the active plug-in settings, and plays back the audio segment. Usethis option if your system is unable to sustain the realtime preview (‘Test’ but-ton). The length of the off-line preview can be determined with the System >Test buffers setting.

Create Copy: This defines whether or not Samplitude creates a copy of theoriginal material. If the option is checked, the copy is appended to the end ofthe original audio file and the effect is calculated on the copied portion. TheUndo option returns the VIP Object to its original state, so we highly recom-mend that this option is always enabled!

Solo: Only the selected plug-in will be used.

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Menu Effects

Mute: The selected plug-in will be muted (bypass function). You can also by-pass a plug-in by unchecking it’s associated checkbox.

Remove: the selected plug-in will be removed from the effects chain.

Arrow up/down: moves the plug-in up/down in the effects chain.

Save and Load: These two buttons in the upper right-hand section of the dialogallow you to save and load plug-in presets. Existing presets (saved in the fx-preset folder) will be listed in the selection box to the top-left. A plug-in presetcontains information about: plug-ins in use, all parameters, and the order inwhich the plug-ins appear.This allows you to easily transfer custom settings between several Object orchannel instances, and projects (Mixer, Object Editor, Offline wave editing inthe Effects menu).

Copy/paste: The copy/paste buttons in the top-right corner accelerate the trans-fer of plug-in settings between plug-in chains.

SetupStart all Object related plug-ins at playback start: This option is onlyneeded when using plug-ins in the Object Editor.Some plug-ins cause playback errors if they are started independently. You canprevent this by choosing this option.

Write DirectX log file: This aids when troubleshooting problems with agiven plug-in. When active, a log file will be written.

Disable DirectX while Scrubbing/Jogging: This is checked by default, as anumber of popular plug-ins cause problems while scrubbing.

Some Tips for Working With Plug-ins in the Effects Menu1. When using plug-ins which require mono file input (e.g. Antares Autotune)

on a stereo file, you must convert the file to mono before using the plug-in.(File > Save In Format) After converting to either a single, or two mono tracks(a piano recorded in stereo, for example), you can then open the mono file/s,process it/them with the plug-in, and re-import the processed file into theProject (usually by click-dragging the selected file into a Track).

Note: This is slightly different when using DirectX in the VIP (i.e. in realtime). Inthis scenario, the Force Mono Processing box must also be checked.

2. Never forget that Samplitude contains excellent Effects processing options!Many DirectX plug-ins are CPU-intensive, due to a variety of reasons. CPUoverhead can be reduced by making use of Samplitude’s efficient native Ef-fects whenever possible. In many cases, we believe that you will achieve bet-

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Menu Effectster sounding audio! In addition to the transparent sound of Samplitude’sEffects, remember that many of the native Samplitude Effects can be auto-mated and/or grouped, when working in the Mixer.

3. It is unnecessary to leave plug-in windows open, once you’re happy with asetting. As an example, if applying multiple plug-in Effects to a file, you couldend up with plug-in windows all over the screen. To avoid this situation,simply close each DirectX plug-in dialog once you’ve made your settings.Samplitude will retain the settings. You can reopen these dialogs at any time,for further adjustment, by double-clicking on the appropriate entry in"theleft-hand column of Samplitude’s plug-in dialog. Once all settings are to yourtaste, click the OK button.

4. Some plug-ins apply dither as part of the processing. This is usually becausethe plug-in is specifically designed to apply dither as part of the masteringprocess (Waves IDR, L1, Timeworks Mastering Compressor etc), or becausethe plug-in uses a higher internal resolution than it is capable of putting out(e.g. 64 bit internal, max 24 bit outpwt).

The latter issue is generally of little concern, as Samplitude simply adds 8 silentbits (zeroes) to the 24 bit output, thus maintaining 32 bit Float resolution.The former Dithering issue usually occurs during final mastering and is de-serving of some consideration (Dithering is the rrocess of adding noise to maskthe quantization distortion, which results from wordlength reduction i.e. 32 bit> 24bit > 16bit etc).Under most circumstances, dither should not be applied more than once to afile that is being mastered. Ideally, dither is applied either immediately prior to,or as part of, the final reduction in resolution (which should be the very lastprocess, prior to delivering the audio to the client).As such, you will need to decide on the use of Samplitude’s, or your DirectX‘finalizing’ plug-in’s dither, when creating your final master. This decision needsto be made, regardless of whether are mastering from the Mixer (non-destruc-tively to CD / non-destructively to file via bounce down > CD), or from theEffects Menu (destructively to file, then to CD). If you decide to use a third-party dither when mastering, carefully consider the plug-in order, and ensurethat you disable Samplitude’s dither. (Options > Program Preferences > DitheringOptions)

VST InstrumentsIn Samplitude 7, professional VST instruments can be merged with the virtualproject. The output signals of the instruments are integrated into the Samplitudemixer and can then be improved with effects.Samplitude searches for installed VST plug-ins in the standard sub-directory\vstplugins under the Samplitude directory. You can install your plug-ins ei-ther in this directory, or specify the path to an existing plug-in directory belong-ing to another application in the Options menu >> System settings (key y) onthe Path/Skins tab.When first starting with a valid VST path, a VST scan of the track settings isactivated. It may take a few minutes. All plug-ins are assessed for their suitabil-

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Menu Effectsity in Samplitude. This Scan is required just the once as subsequent starts ac-cess the correct track settings.

Load VST instruments / MIDI routingYou can play and record VST instruments live in Samplitude.Select the VST instruments available from the list of MIDI playing devices. Youcan load one VST instrument per track. The instrument can be triggered by allMIDI objects. The MIDI IN signal can be used as a control element with bothMIDI recording (right-click on the REC button and select MIDI recording) andASIO Software FX Monitoring.The Editor and/or the graphic interface of the instrument opens automaticallywhen you load the VST instrument.Once loaded, VST instruments are assigned numbers and added to the devicelist from where they can also be used by other tracks. If you select such a num-bered plug-in, the MIDI data of the track is sent to the loaded plug-in. If youselect a plug-in without a number (—), a new plug-in is loaded.

Note: Monitoring must be deactivated while playing back (recorded) MIDI data(switch the REC buttons off). As a track cannot be used for MIDI data recording andplayback simultaneously, you can use several tracks for Overdub recordings for MIDIdevices. i.e. Record each Overdub on a new track, and in a separate MIDI objectwhich then sends them all to the same plug-in.

Output routingIf a VST instrument offers several outputs, additional tracks for these outputscan be added while loading. You can also route each VSTi output to any track,several outputs to a single track, or (vice versa)an output to several tracks.Right-click the REC button and select from the VSTi Outputs submenu theoutput whose signal is to be routed to the track. Note: multiple selections arepossible.

The VST Instrument EditorThe VST Instrument Editor is called up via the Track properties dialog or witha right click on the REC button in the VSTi Outputs submenu.

The VST plug-in menuVST Plug-in dialog/VST plug-in parameter: The editor is preset to load theplug-in GUI (graphic user interface). If the GUI is poorly designed or robs toomuch screen space, you have the option of displaying 8 plug-in parameters asslide controls. You can select these parameters from the Listbox.

Load/Save Patch / Bank: The instrument settings can be saved or loaded tothe extra patch (*.fxp) and bank (*.fxb) formats for VST instruments.Instrument patches can be selected from the Program menu (this correspondsto the “Change Program” command.

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Parametric Equalizer....This dialog contains a 4-band parametric equalizer. You can activate filters infour, freely-selectable frequency ranges, in order to adjust the sound of a sam-ple. You can make broad (wide-band) frequency adjustments for both high andlow pass ranges, plus fine (narrow-band) corrections of specific frequency ranges.A range must be selected prior to opening the effect dialog.On faster computers, realtime preview can be used to check a specific settingbefore it is written to the sample. On a Pentium/200 MHz or faster, all 3 bandscan be calculated in realtime, and played back simultaneously.

Please note that the Mixer window (Shortcut: ‘M’) also offers the same EQ processoron each channel.The EQ is non-destructive in the Mixer, whereas the Effects menuEQ is destructive.

At this point, we would like to thank the Institute for Technical Acoustics of theTechnical University of Dresden, Germany, for their excellent cooperation.

Important Tip: Use the display to help visualize the EQ you are applying. If you’venever used a fully Parametric EQ, it helps to think of the EQ in terms of hills andvalleys. The Center Frequency will determine where the hill or valley is located, in thefrequency spectrum (left or right). Q (bandwidth) will determine the width of the hillor valley. Level will determine the height of the hill (EQ Increase), or the depth of thevalley (EQ Cut).

EQ1, EQ2, EQ3, EQ4: The EQ bands are arranged in groups of buttons, control-ling Frequency, Bandwidth (Q) and Gain (Volume). Each of these parameterscan be adjusted by moving the corresponding knob, or thru numerical input inthe data fields.

Type: For the first and fourth EQ band (typically used for the lowest and highestfrequency bands), you can select a Lowpass, Shelving or Bandpass filter curve.

Freq.: The frequency of the individual filters can be adjusted between 10 Hzand 24 kHz. As each frequency is selectable, several filters can also be set to thesame values, to achieve a more pronounced effect.

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Q: The bandwidth of each individual filter can be adjusted between 10 Hz and10 kHz. Once again, overlapping filter frequencies are possible.

Gain Db: These knobs determine the amount that the filter level (volume) isincreased or decreased (+/- 20 dB). A setting of 0 deactivates the filter, and doesnot consume processing power.

Volume: You can adjust the output gain (volume) with this faderyou’re yourfiltering results in a low volume (i.e. makeup gain)

In/Out Meters: These meters indicate the levels of the audio input and output.Reset: Resets the meters, in cases where clipping has occurred. (Turns off thered clip indicator)

Setup 1, 2 and 3: You can choose between three different settings with thesecheckboxes. This is especially helpful if you want to experiment with settings,and compare them. To switch between setups, simply select another radio but-ton and adjust settings to your taste, then select another radio button a.s.o. Thesettings will be stored with the Project, and can be saved as a group with theSave button.

Bypass: This option bypasses the EQ entirely, allowing an easy comparison be-tween the processed and unprocessed signal.

Create Copy: As per most of the other Effects Menu items, this importantoption determines whether an Undo will be created - prior to processing thefile. As always, we strongly recommend that you leave this option enabled!

Play/Stop: This button activates the realtime preview, allowing you to auditionthe EQ settings, prior to applying the process.

Note: If the preview cannot be stopped by pressing the Test button a second time, thismay be due to a computer overload. In such (rare) cases, try pressing the spacebar tostop the audio playback, or press the Esc key. You may need to try this a number oftimes. You should then increase the Test buffer size in the Options > System dialog,until your configuration allows stable playback.

FFT Filter / Analyzer....Choose this option to open the FFT Analyzer/Filter window. This window al-lows you to destructively apply FFT Filtering to HD Wave and RAM Projects(RAP), or selected Objects in the VIP window. The FFT Filter is one ofSamplitude’s most powerful tools, offering unique draw options that allow youto easily redraw the frequency response of the selected Range. This can be in-valuable when dealing with Equalization issues, for audio repair or precisionmastering.

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So.... what is it?The FFT Filter/Analyzer combines a FFT (Fast Fourier Transform) SpectrumAnalyzer with a FFT Filter. In other words, a Spectrum Analyzer to view theFrequency Response of the audio, and a Graphic EQ that allows you to draw thedesired changes into the Frequency Response graphic.

What can I do with it?There are literally a million and one possible uses for this processor. In fact, amanual as thick as the one you have in your hand could easily be written on thissubject alone! With that in mind, we’ll cover some of the more common, andpractical uses.This manual assumes that you, the reader, have reasonable knowledge of theprinciples and terminology of audio Spectrum Analysis.1. View the Frequency Response of a mix, and make desired adjustments2. Sub-Bass enhancement or reduction (of rumble or plosives)3. Adjust the amplitude of an individual instrument, or note4. Capture the Frequency Response from a recording, and apply it to another

recording (Convolution)5. Crossfade between two separate filter Curves

Tip: If you wish to delve further into the theory behind the FFT-Filter / Analyzer, wesuggest you find an advanced text, specific to FFT.

Curve DisplayThree different Curves (each a separate color) can be displayed by the graph. Atotal of nine curves (three groups of three) are available for use.The first group of three curves (yellow, red, blue) is used in the Static Mode, thesecond group is used for the start point of the dynamic filtering (Dynamic Start),and the third is used for the end point of the dynamic filtering (Dynamic End).

Blue: The blue curve represents the original Frequency Response - UNTILchanges have been made. Once changes to the Frequency Response Curve havebeen made, the blue Curve represents the resulting Frequency Response. Whenusing the Direct/Match Edit Mode, you can re-draw this Curve, in order to make

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Menu Effectsabsolute changes to the Frequency Response. In other words, the Curve youdraw IS the new Frequency Response Curve.

Yellow: When making changes to the Frequency Response Curve, the yellowCurve will appear, indicating the original Frequency Response. The yellow Curveonly appears when using the Direct/Match Edit Mode, or when using the FilterEdit Mode - with Curve numbers set to 3 (under the Settings > Draw Settings >Curve Number option).

Red: The red Curve is centered (flat) at 0dB, and indicates relative changes (i.e.the gain changes made, to achieve the desired response) to the Frequency Re-sponse Curve. You can re-draw this Curve in order to make relative changes tothe Frequency Response.

FadersLeft (large) fader: Use this Fader to adjust the Amplitude Scale of the blueand yellow Curves. The Amplitude is shown (in dB units) to the right of theFader.

Right (upper) fader: Use this Fader to adjust the Amplitude Scale of the redCurve. The Amplitude is shown (in dB units) to the left of the Fader.

Right (lower) fader: Use this Fader to adjust the overall Level of the FFTFilter, without altering the Frequency Response Curve. The Amplitude Changeis shown (in dB units) beneath the Fader.

ZoomAll: Click on this button to quickly Zoom-Out fully. If you click on the button asecond time, the graphic display will return to the previous Zoom level.

Out: Click on this button to Zoom-Out by 1 level (there are 10 Zoom levels).

In: Click on this button to Zoom-In by 1 level (there are 10 Zoom levels).

Max: Click on this button to quickly Zoom-In fully. If you click on the button asecond time, the graphic display will return to the previous Zoom level.There are a total of 10 zoom levels available.

Note: Once Zoomed-In, you can use the Scrollbar (beneath the graphic display) toScroll the display. The current Frequency Range is shown (in Hz) above the graphicdisplay.

Draw mode (below the Zoom buttons)In the first mode (left radio button), the Frequency Response is displayed asindividual ‘Partials’ (useful for editing the low end of the Frequency Response).In the second mode (right radio button), the Frequency Response is displayedas a curve.

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Hz/Notes (to the right of Draw Mode)This option allows you to display the graphic in Hz (frequency) or musical notes.Frequency can only be displayed as musical notes when the Freq lin/log param-eter is set to log.

Freq lin/log (to the right of Hz/Notes)Linear display of Frequency provides a more detailed view of the higher end.Logarithmic display of Frequency provides a more detailed view of the lowerend.

dB lin/log (to the right of Freq lin/log)Linear display of Amplitude provides a more detailed view of the higher end.Logarithmic display of Amplitude provides a more detailed view of the lowerend.

Filter ModeStatic: Select this mode to affect the entire HD Wave, RAP, or selected Object.You should always use this mode, unless you intend on crossfading betweentwo Frequency Response Curves.

Dynamic start: When a Crossfade between two Frequency Response Curvesis desired, use this mode to adjust the first (start) Curve. The FFT Filter willstart with this Curve, and perform a Crossfade until it ends on the second (end)Curve.

Dynamic end: When a Crossfade between two Frequency Response Curves isdesired, use this mode to adjust the second (end) Curve. The FFT Filter willstart with the first (start) Curve, and perform a Crossfade until it ends on thisCurve.

Edit ModeFilter: Select this mode to re-draw the red Curve – i.e. Use this mode to makerelative adjustments to the Frequency response Curve.

Direct / Match: Select this mode to re-draw the blue Curve - i.e. Use thismode to make absolute adjustments to the Frequency response Curve. In otherwords, the Curve you Draw IS the new Frequency Response Curve.

Analyze allClick on this button to have the FFT Spectrum Analyzer calculate the FrequencyResponse of the entire HD Wave, RAP, or selected Object. Note that this optiononly applies when the Filter Mode is set to ”Static”.

ResetClick on this button to reset all Curves to their default (0dB) position.

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Menu EffectsAnalyze > FilterClick on this button to transfer the Frequency Response Curve (of the currentHD Wave, RAP, or selected Object) to the red Curve. This allows you to quicklyapply the Frequency Response of one recording to another.

Invert FilterClick on this button to invert the Frequency Response Curve.

Prevent Clip.If the audio distorts or clips after adjustment of the Frequency Response Curve,click on this button to instantly reafjust the Curve (in a way that prevents clip-ping).

Create CopyAs per most of the other Effects Menu items, this important option determineswhether an Undo will be created prior to processing the file. As always, westrongly recommend that you leave this option enabled!

Play / StopClick on this buvton to hear a realtime Stereo Preview of the filtered audio.

PreviewClick on this button to hear a calculated (processed) Preview of the filtered au-dio. This option should be used if your machine isn’t fast enough to allowrealtime playback.

Tip: You can determine the length of the Preview by pressing the Y key (to open theSystem window), and entering the desired number of seconds in the Program Options> Preview Time parameter box (middle of the window).

Play originalWhen using the Test/Preview audition functions, click on this button to play theoriginal (dry) audio. This allows you to quickly compare processed vs.unprocessed audio.

SettingsClick on this button to open the Advanced Settings window.This dialog allows you to adjust the factors used in calculating the analysis ofthe audio. In most cases, the default values are fine for most work, but you maywish to experiment with the settings, should you have projects/work whichrequires greater accuracy.To improve accuracy in the lower frequency ranges, a higher resolution is needed(starting at 8192). The accuracy of the analysis (in Hz, at a sample rate of 44.1kHz) is listed in the table below:

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Menu EffectsResolution Accuracy in Hz256 172512 861024 432048 21.54096 10.78192 5.316384 2.732768 1.35

High resolutions (8192) are only needed for low frequency ranges, or specific(fading) overtones. Generally, values of 1024 or 2048 are ideal. Values below1024 rarely yield useful results.Two important suggestions:1. If you have drawn very detailed filter curves, it is"imperative that you save the

curve parameters! When switching modes or parameters, the curves willappear to be closely matched but will not maintain the same details.

2. When previewing the filter settings, and working with high resolutions inrealtime, please ensure that the Test buffer setting (File > Options > System) isthe same as, or slightly higher than, the Resolution setting (in the AdvancedSetting dialog of the FFT Analyzer). Realtime previews are not possible, un-less this is correctly set.

If the Test audio is breaking up/popping/crackling, this is probably an indica-tion that you need to adjust the buffer or resolution settings.

Settings > Analysis ParametersAnalysis Precision High: When analyzed, the audio is separated into indi-vidual blocks. This mode overlaps the blocks by a 50% ratio, providing a"moreaccurate representation of short sounds (percussion, etc.). Calculation time isdoubled when this setting is selected.

Analysis Precision Normal: When analyzed, the audio is separated into indi-vidual blocks. This mode appends the blocks, without overlapping them.

Analysis Accuracy Noise: This is the preferred option for analyzing audiothat has a less distinct pitch (e.g. percussion or cymbals)

Analysis Accuracy Tones: This is the preferred option for analyzing audiothat has a more distinct pitch (e.g. guitar or flute)When working with completed songs (i.e. a file which has already been mixed),the choice of setting used here will depend on the type of material. You willneed to use your own judgement in such cases.

Channels Left: When working with Stereo files, select this option to limitanalysis to the Left channel.

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Menu EffectsChannels Right: When working with Stereo files, select this option to limitanalysis to the Right channel.

Channels Both: When working with Stereo files, select this option to analyzeboth channels.

Analysis Time (s): This parameter allows you to define the number of secondsthat the audio will be analyzed by the FFT Analyzer/Filter.This setting only affects the display of frequency response in ”Static” mode.

Note: Every time an Analysis parameter, or the Resolution is changed, the frequencyresponse is re-calculated. E.g. If you have previously used the Analyze All button tocalculate the response for the complete audio range, you will need to re-use the func-tion. This is because the re-calculation (due to the abovementioned changes) willoverwrite the previous analysis results. In this situation, the Analyze All button willbe re-enabled.

Settings > Filter ParametersPrecision: This parameter allows you to specify the quality level that the FFTFilter will use, when processing the audio file. Low, Normal, and High are thechoices; High offering the best quality, but also taking the longest time forprocessing.

Precision Real Time: This parameter allows you to specify the quality levelused for realtime previewing of the FFT Filter. Test, Low, Normal, and Highare the four choices; with High offering the best quality, but also requiring themost computing resources.

Tip: If your machine isn’t fast enough to allow a realtime Preview at the High setting,try one of the lower settings. The quality of the Preview will be slightly lower, but thatwon’t affect the quality level of FFT Filtering on the audio file.

Max Range (dB): This parameter sets the maximum amplification range forthe red Curve.

Min Range (dB): This parameter sets the minimum amplification range forthe red Curve. If Frequencies are to be completely faded out, set the Min Rangeparameter to a low value (e.g. –120dB).

Note: The Fader to the right of the graphic display can be used for fine tuning.

Threshold: When re-drawing the blue Curve (Direct/Match Edit Mode), onlyFrequencies that were originally louder than this Threshold setting will bechanged. This makes adjusting the levels of Partials easier (when using the‘Partial’ Draw mode).

Note: The Fader to the right of the graphic display can be used for fine tuning.

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Settings > Draw SettingsThese settings affect the way the Frequency Response Curves are displayed.

Draw Grid: This parameter allows you to toggle the Grid On and Off for thegraphic display.

Curve Numbers: This parameter allows you to determine the number of Curvesshown in the graphic display. The choices are 1, 2, or 3.

Settings > Dynamic Filter ModeThree different modes are available, when using Dynamic Filtering.

Direct: A Simple Crossfade between the two Curves is performed.

Circle/Direct: A Crossfade is performed between the two Curves, and theStart Curve is moved towards the higher or lower frequencies. If you selected aBand Pass Filter as the Start Curve, the middle Frequencies are changed intime (filter sweep). The highest value of the Start and End Curves are deter-mined, and a range for the ”sweep” is set.

Note: If in the Filter Edit mode, you will first need to edit the red Curve. If the com-plete filter Curve is at 0 dB, no highest value is available for calculation.

Circle: The Start Curve is moved in this mode. The highest and lowest valuesof the start and end curves determine the ”sweep” range. The second curve isonly used to determine the end of the sweep, and otherwise, has no influenceon the end result.

Note: If in the Filter Edit mode, you will first need to edit the red Curve. If the com-plete filter Curve is at 0 dB, no highest value is available for calculation.Tip: Use a broadband (noise) signal to experiment with the different settings for theDynamic Filter Mode. This will allow you to easily hear how the Dynamic Filterworks.

Settings > ResolutionThis parameter determines the number of individual filter bands used whencalculating the Filter Curves. The actual number of filter bands used is one halfof the value specified here.

Note: Resolutions above 8192 are only needed when performing detailed work withlow Frequency Ranges, or for Fading individual ‘Partials.’ For all other uses, a valueof 2048 or 4096 is usually sufficient.

Settings > Save SetupClick on this button to Save the current parameter settings, and Filter Curves.

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Menu EffectsSettings > Load SetupClick on this button to Load a previously Saved set of parameters, and filterCurves.

Note: Once you have selected the settings, you can close the Advanced Settingswindow.The settings will be kept for the remainder of your current Samplitude ses-sion, even if you haven’t saved the settings via the Save Setup button. When yourestart Samplitude, the default settings will be loaded when the FFT Filter is opened,if the settings were not saved as a preset.

To view the Frequency Response of a mix and make desired adjust-ments:1. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAP file,

ensure that it (HD Wave or RAP) is the currently active window. If the FFTAnalyzer/Filter is to be applied to an Object in the VIP window, ensure thatthe Object is selected. (Click on the Object, in the lower half of the Track, toselect it.)

2. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAPfile, mark a Range in the HD Wave or RAP window. (Click and drag in theappropriate HD Wave or RAP window to mark a Range.) If the FFT Analyzer/Filter is to be applied to a selected Object in the VIP window, proceed to step3.

3. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

4. In the lower-left corner of the window (for Draw mode), select the second‘Curve’ mode. The Frequency Response will be displayed as a curve.

5. Click on (enable) the Direct/Match option (On the right side of the window -Edit Mode).

6. Click on the Analyze all button. The entire marked Range, or selected Object,will now be analyzed for Frequency content. When the analysis has finished,the Frequency Content will be displayed as a blue Curve.

7. You can now use the mouse to re-draw any section of the blue Curve - i.e: Ifthe graph shows a tall ‘spike’ at 1000Hz (and the audio sounds a bit harsh),use the mouse to re-draw the spike. (make it shorter). The FFT Analyzer/Filter is perfect for taming strident Frequencies.

8. Click on one of the Test buttons to hear a realtime Preview of your FrequencyCurve changes.

9. Repeat steps 6 and 7, until you are satisfied with the results. If you’d like tostart the re-draw process over again, click on the Reset button, and the Curvewill return to its original analyzed state.

10. Click on the OK button to ”write” the FFT Filter process to the HD Wave,RAP or selected Object, and to close the FFT Analyzer/Filter window.

Enhancing or reducing Sub-Bass:1. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAP file,

ensure that it (HD Wave or RAP) is the currently active window. If the FFTAnalyzer/Filter is to be applied to an Object in the VIP window, ensure that

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Menu Effectsthe Object is selected. (Click on the Object, in the lower half of the Track, toselect it.)

2. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAPfile, mark a Range in the HD Wave or RAP window. (Click and drag in theappropriate HD Wave or RAP window to mark a Range.) If the FFT Analyzer/Filter is to be applied to a selected Object in the VIP window, proceed to step3.

3. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

4. In the lower-left corner of the window (for Draw mode), select the first ‘Par-tial’ option.

5. Click on (enable) the Direct/Match option (On the right side of the window -Edit Mode).

6. Click on the Settings button to open the Advanced Settings window. In theupper-right corner of the window, set the resolution to 16384. Close the Ad-vanced Settings window.

7. Click on the Analyze all button. The entire marked Range, or selected Object,will now be analyzed for Frequency content. When the analysis has finished,the Frequency Content will be displayed as a blue Curve.

8. You can now use the mouse to increase or decrease the level of each partialbetween 10Hz and 50Hz. Warning: You can potentially damage your monitorswhen excessively boosting Sub-Bass Frequencies. Keep your monitor levels low whenexperimenting! Click the mouse just to the right of each ”Partial’, in order toadjust its level.

9. Click on one of the Test buttons to hear a realtime Preview of your FrequencyCurve changes.

10. Repeat steps 8 and 9 until you are satisfied with the results. If you’d like tostart the re-draw process over again, click on the Reset button, and the Curvewill return to its original analyzed state.

11. Click on the OK button to ”write” the FFT Filter process to the HD Wave,RAP or selected Object, and to close the FFT Analyzer/Filter window.

Adjusting the Amplitude of an individual instrument or note:1. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAP file,

ensure that it (HD Wave or RAP) is the currently active window. If the FFTAnalyzer/Filter is to be applied to an Object in the VIP window, ensure thatthe Object is selected. (Click on the Object, in the lower half of the Track, toselect it.)

2. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAPfile, mark a Range in the HD Wave or RAP window. (Click and drag in theappropriate HD Wave or RAP window to mark a Range.) If the FFT Analyzer/Filter is to be applied to a selected Object in the VIP window, proceed to step3.

3. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

4. In the lower-left corner of the window (for Draw mode), select the first ‘Par-tial’ option.

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Menu Effects5. Click on (enable) the Direct/Match option (On the right side of the window -

Edit Mode).6. Click on the Analyze all button. The entire marked Range, or selected Object,

will now be analyzed for Frequency content. When the analysis has finished,the Frequency Content will be displayed as a blue Curve.

7. Click on the Max Zoom button to Zoom the graphic display all the way in.8. If you wish to adjust the Amplitude of an instrument, select the first ‘Hz’

option for the Hz / Notes parameter. Frequency will be displayed in Hertz(Hz). If you wish to adjust the Amplitude of a note, select the second ‘Note’option for the Hz / Notes parameter. Frequency will be displayed as musicalpitches (Notes).

9. To adjust the Amplitude of an instrument, find its Fundamental (strongest)frequency Range, and re-draw the ‘Partials’ in that area (Higher – to increaseAmplitude, or Lower – to decrease Amplitude). To adjust the Amplitude of aNote, find the partials in the Note’s Frequency Range and re-draw them(Higher – to increase Amplitude, or Lower – to decrease Amplitude).

10. Click on one of the Test buttons, to hear a realtime Preview of your Fre-quency Curve changes.

11. Repeat steps 9 and 10, until you are satisfied with the results. If you’d like tostart the re-draw process over again, click on the Reset button, and the Curvewill return to its original analyzed state.

12. Click on the OK button to ”write” the FFT Filter process to the HD Wave,RAP or selected Object, and to close the FFT Analyzer/Filter window.

Capturing the Frequency Response from a recording and apply it toanother recording:1. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAP file,

ensure that it (HD Wave or RAP) is the currently active window. If the FFTAnalyzer/Filter is to be applied to an Object in the VIP window, ensure thatthe Object is selected. (Click on the Object, in the lower half of the Track, toselect it.)

2. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAPfile, mark a Range in the HD Wave or RAP window. (Click and drag in theappropriate HD Wave or RAP window to mark a Range.) If the FFT Analyzer/Filter is to be applied to a selected Object in the VIP window, proceed to step3.

3. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

4. Click on (enable) the Direct/Match option (On the right side of the window -Edit Mode).

5. Click on the Analyze all button. The entire marked Range, or selected Object,will now be analyzed for Frequency content. When the analysis has finished,the Frequency Content will be displayed as a blue Curve..

6. Click on the Analyzer > Filter button, and the Analyzed Frequency ResponseCurve will be transferred to the red Curve. Click on (enable) the Filter option(Edit Mode). The red Curve (representing the analyzed audio’s FrequencyResponse) is now visible.

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Menu Effects7. Click on Cancel to close the FFT Analyzer/Filter window.8. If the red (analyzed) Frequency Response Curve is to be applied directly to an

HD Wave or RAP file, ensure that it (HD Wave or RAP) is the currentlyactive window. If the red (analyzed) Frequency Response Curve is to be ap-plied to an Object in the VIP window, ensure that the Object is selected.(Click on the Object, in the lower half of the Track, to select it.)

9. If the red (analyzed) Frequency Response Curve is to be applied directly toan HD Wave or RAP file, mark a Range in the appropriate HD Wave or RAPwindow. (Click and drag in the HD Wave or RAP window to mark a Range.)If the FFT Analyzer/Filter is to be applied to a selected Object in the VIPwindow, proceed to step 10.

10. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

11. Click on one of the Play buttons, to hear a realtime Preview.12. Click on the OK button to ”write” the FFT Filter process to the HD Wave,

RAP or selected Object, and to close the FFT Analyzer/Filter window.

Crossfading between two filter Curves:1. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAP file,

ensure that it (HD Wave or RAP) is the currently active window. If the FFTAnalyzer/Filter is to be applied to an Object in the VIP window, ensure thatthe Object is selected. (Click on the Object, in the lower half of the Track, toselect it.)

2. If the FFT Analyzer/Filter is to be applied directly to an HD Wave or RAPfile, mark a Range in the HD Wave or RAP window. (Click and drag in theappropriate HD Wave or RAP window to mark a Range.) If the FFT Analyzer/Filter is to be applied to a selected Object in the VIP window, proceed to step3.

3. Select the Effects > FFT Filter/Analyzer menu option, and the FFT Analyzer/Filter window will open.

4. In the lower left corner of the window (for Draw mode), select the second‘Curve’ mode. The Frequency Response will be displayed as a curve.

5. Click on (enable) the Filter option.6. Click on (enable) the Dynamic Start option.7. The currently displayed blue Curve Represents the Frequency Response at

the beginning of the audio file. On the right side of the window under FilterMode, click on (enable) the Dynamic End option.

8. Re-draw the red Curve (currently centered at 0dB) to make some Relativechanges to the Frequency Response.

9. Click on one of the Test buttons, to hear a realtime Preview of the FilterCurve Crossfade.

10. Repeat steps 8 and 9 until you are satisfied with the results. If you’d like tostart the re-draw process over again, click on the Reset button, and the Curvewill return to its original analyzed state.

11. Click on the OK button to ”write” the FFT Filter process to the HD Wave,RAP or selected Object, and to close the FFT Analyzer/Filter window.

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Menu EffectsProblems and Solutions regarding the FFT Filter Analyser1. Slight tremolo or rough sounding audio, delay Effects:This can happen when the ”Test1” setting is selected in the Precision section ofthe Advanced Settings dialog. Use a different Precision setting.

2. Modulation Effects when using extreme filter settings for low frequency ranges:This is also caused by the ”Test1” setting, in the Precision section of the Ad-vanced Settings dialog. Selecting a different setting may solve this problem.

3. Problems with the realtime preview when using higher resolutions:Ensure that the File > Preferences > System > Real Time buffer setting is eitherthe same as, or higher than that of, the Resolution setting - in the AdvancedSetting dialog of the FFT Filter.

4. You are unable to completely eliminate specific ranges of a spectrum:Ensure that you are using the Filter edit mode, and reduce the dB Min settingto a value between –100 to –120 dB.

5. Differences between filtering and analysis:If filter processing has occurred, and the frequency response of the edited au-dio Range is analyzed a second time, the new analytical process does not coin-cide with the corrected frequency response (the blue curve) before processing.Why not ? The responses will closely resemble each other if the Analyze All,and the Analyze Precision ‘High’ settings are used prior to the filtering process,and for the new analysis.

6. Unexpected resonance-like artefacts are introduced when filtering with broad band-passes:Reduce the angle of the curves by omitting vertical lines when drawing thecurves.

7. The morphing results for the dynamic filtering are uneven, when using the Dy-namic Start or End filter mode:Use the highest Filter Precision setting.The Direct dynamic filter mode reduces this problem when using smaller Reso-lution values. You may need to experiment with different settings for the otherdynamic filter modes.

8. The results of the calculation (OK), or the non-realtime preview function (Pre-view) are somewhat different to the realtime previewing (Test):If different settings are used in the Filter Precision and Filter Precision RealTime options (in the Settings dialog), this may result in slight differences inprocessing. Take note of these settings when working with the FFT.

Finally, when working with the FFT Filter, work carefully and patiently. Rememberto keep track of all settings to avoid any confusion or inaccuracies, and remember tomake sure that your Undo options are enabled!

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DynamicsOverview concerning dynamic manipulationThree modules are available for dynamic processing:

Dynamics: A simple, quick dynamic module, offering a compressor, expander,gate and limiter. This module uses an extremely efficient algorithm, making itvery light on CPU resources.

Advanced Dynamics: The Advanced Dynamics module is a more extensivetool, which combines a classic dynamic module (compressor/expander/gate),and an approximating limiter. The output from this module is an unbiased,optimally modulated signal with defined volume.In opposition to the mode of operation used by the Dynamics module, theAdvanced Dynamics module is controlled by the characteristic line, rather thansetups. This approach allows free combinations of operating modes.Parameter adjustments are possible through direct input, or graphic adjust-ment of the characteristic line.Level detection is performed in (selectable) PEAK, RMS or ”fast” modes. In”fast” mode, computer processing requirements are minimal, but the mode ofoperation differs from ”classic” dynamic modules. The RMS mode mirrors thedynamic behavior of analogue dynamic modules. A more lively sound is achievedin PEAK mode.

Multiband Dynamics: The most extensive dynamic processing options areafforded by the Multiband Dynamics module. The primary advantage of dy-namic manipulation in several frequency bands (compared with a standarddynamics processor) is that ”pumping”, and other undesirable side effects, aredrastically reduced. As an example, a level peak in the treble won’t force theentire signal down in the bass Range, allowing you to focus on the processingof individual frequency Ranges.

When, and which, module should be used?When, and which, dynamic module should be used depends on how focusedthe change needs to be. A ”Dynamics” module is incorporated into each mixerchannel, and offers extremely light CPU use and simplicity of operation. It’sinclusion on each channel makes the adjustment of overall track dynamics quickand efficient .The sound of an Object, on the other hand, must often be modified very specifi-cally. To give you an example, the dynamics of an instrument can differ, due tothe change in playing style between the verse and refrain. This is usually desir-able, but can be smoothed or emphasized through precise use of compression.The use of the Advanced Dynamics module is advisable for precise changes tothe dynamic behavior of the source material, as in our example.The Multiband Dynamics module is generally used to balance the entire mix,in the Master channel. One problem which may occur is clipping, resultingfrom the volume increase of the Multi band compressor. To avoid this issue,

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Menu Effectsit’s often necessary to ”loop-in” a limiter, which will then smooth all overly hotlevels to the limiter threshold. If using Multiband Dynamics during CD mas-tering, it’s usually better to use the processor in the Object Editor. This allowsyou to adjust the processor to suit each song (i.e. each ”Object”, in this situa-tion, would point to a file that was a full stereo mix of a song).It should be noted that experienced mastering engineers are often cautiousabout using Multiband Dynamics. Actually, let’s shorten that sentence : experi-enced mastering engineers are often cautious, or to put it another way - ”thereare no old bold mastering engineers”.....are you starting to see where this is head-ing? Multiband Dynamics processors have not always been readily available,although a variant known as Side Chain Dynamics processing (e.g. de-essingetc.) has been popular since the dawn of compression and EQ. Mastering engi-neers are conservative by nature, generally using as little compression as possi-ble. (There are, of course, always exceptions!). Early multiband compressorswere not phase coherent, resulting in coloration of the phase response. In somecases, the costs outweighed the benefits.Over recent years, advances in DSP algorithms and computing power have re-sulted in a proliferation of powerful Multiband Dynamics processors. Theseare capable of rectifying mastering problems which were previously difficultto control. Samplitude’s phase-coherent Multiband Dynamics processor repre-sents the pinnacle of this new technology, but is capable of destruction if usedincorrectly or excessively. Some of the world’s most famous mastering engi-neers blame the current ”inappropriate hypercompression” trend (where everyCD is mastered as loud as possible) on the advent of software/hardware”Finalizers” and Multiband Compressors. While this claim may be at least partlytrue, the processors are not to blame - the person who controls the processordetermines the product.

Note : Sometimes it is very difficult to avoid hypercompression, as the person whopays your engineering wages may be demanding the ”loudest CD on the radio!”.Don’t worry - we understand........just do your best to keep the dynamics as vibrant aspossible.

Samplitude’s Multiband Dynamics processor is exceptionally powerful, and al-though very capable in any situation, it should only be used when actually needed.If Multiband Compression is required when working on a multi-track mixdown,you should first see if the audio can be isolated to one or two tracks. If so, tryusing the Multiband Dynamics within the Object Editor for those tracks/Ob-jects, rather than inserting the processor over the entire mix. When mastering,carefully consider the reason for inserting the Multiband Dynamics module.Be patient when adjusting the parameters, and be sure that your chosen set-tings actually ”enhance” your mix.In some cases, you may find that the Advanced Dynamics processor is moreappropriate for the project. In a mastering situation, this would be termed ”busscompression”, as the processor is inserted over the stereo output buss. Put sim-ply, the entire frequency spectrum is processed.

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Menu EffectsThe Advanced Dynamics processor emulates the wonderful sound of vintagebuss compressor/limiters, which shaped the sound of many famous record-ings. On the other side of the coin, you can also use this processor to seriouslymangle your audio into new, and unexpected shapes (multimedia creators andsound designers take note!). It’s really a matter of knowing what your audioneeds, then patiently adjusting the parameters until you strike gold.When using Multiband Dynamics, it may be beneficial to insert the AdvancedDynamics module (set as a Limiter) after the Multiband. If you’re close to run-ning out of DSP power (CPU resources), try using the standard Dynamicsmodule (set as a Limiter) instead.When CD mastering, it’s recommended that Multiband Dynamics be used ona per-Object (CD track) basis. This allows precise control over the individualCD tracks, with each having different Multiband Dynamic settings.The following table indicates where the various dynamic modules are available:

Dynamics (Compressor / Expander....)Choose this option to open the Compressor/Expander/Noise Gate/Limiter win-dow. This window allows you to destructively apply Dynamics Processing toHD Wave Projects , RAM Projects (RAP), or selected Objects in the VIP win-dow.The Compressor processes the dynamics of an audio sample. The dynamicsalgorithms ”look-ahead” to eliminate peak distortions, or other artefacts. Thegraphics display always indicates the actual dynamics curve. The additional al-ternative uses as an Expander, Noise Gate and Limiter are variations on thecompression algorithm.

Note: The Mixer (shortcut – M) and the Object Editor also contain a Compressor foreach channel or Object. These compressors operate in realtime within the Virtualenvironment – the audio material on the hard disk is not altered (non-destructiveprocessing).

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Menu EffectsModeThe Track’s Dynamics Processor can function as a Compressor, Limiter, Ex-pander, Gate, or Distortion device. Select the appropriate radio button to applythe specified type of Dynamics Processing.

Note: Proper use of dynamics processing"is an art form in itself – it is beyond thescope of this manual to go into great detail about the use of dynamics processing inyour Samplitude projects. Great care should be taken when using compressors, as theeffect of removing dynamics from your audio can result in the loss of all excitementand life from perfectly good recordings! We have assumed that the you have a generalfamiliarity with dynamics processing, and the terms / methods associated with suchprocesses.

This set of Dynamics tools incorporates the output volume into the processingalgorithm. In other words, there is no specific level adjustment available (com-monly called ‘makeup gain’). That said, however, the Comp Max and Limiter100 settings will automatically apply maximum makeup gain, by normalizingthe output to 0dB.Samplitude’s Multiband Compressor includes full makeup gain adjustment.

Compressor: This mode Compresses the dynamics of audio, thus producing asmoother, more even sound. Loud sections (above the Threshold) become softer,and soft sections (below the Threshold) become louder.The dynamics algorithm is similar to that of a ‘classic’ Compressor.This setting is used if the compression is to result in a coloration of the audiomaterial, without causing the volume to rise.The compression ratio is configured with the Ratio control, the threshold withthe Threshold setting, and the Envelope is controlled with the Attack and Re-lease settings.

Comp Max: This mode is exactly the same as the Compressor, but the output isnormalized to 0dB.The dynamics of a frequency band are limited, loud pas-sages stay loud, and soft audio sections become louder. This setting is oftenused to add ”presence” to audio material, making it more prevalent, or to in-crease loudness. Other terms for this type of processing are ‘Maximizer’ or‘Loudness Enhancer’.

Limiter: This mode limits the dynamics of audio to a predefined Threshold.Loud sections (above the Threshold) will be reduced, but soft sections (belowthe Threshold) are unaffected.The ratio is automatically set to infinity when in this mode.

Limiter 100: This mode is exactly the same as the Limiter, but the output isNormalized to 0dB.The ratio is automatically set to infinity when in this mode.

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Menu EffectsExpander: The dynamics of a piece are increased, loud passages stay loud, softpassages (below threshold level) become even softer. Dynamic expansion isoften used for voice-overs that have a high distortion level. Through expansion,the spoken voice is lifted above the noise level, which is in turn, suppressed.Expansion can also be used to restore dynamic range to old recordings, LP’sand cassettes, for transfer to CD.When using expansion, a certain reserve of level must exist, in order to avoidclipping!

Noise Gate: This mode suppresses audio that is below a predefined Threshold.Audio above the predefined Threshold will pass through unaffected. Very softpassages (below the threshold level) are reduced, or completely zeroed. Thisfunction can completely eliminate, or heavily reduce, the noise between pas-sages to a minimum level. This works especially well if high compression ratiosare applied (> 5), provided that this doesn’t amplify any noise on the tracks.

Compressor /ExpanderThis section controls the Ratio and Threshold parameters. You can use thesliders to modify current settings, or type the desired settings directly into theboxes. Notice that the visual display (left of the window) changes to reflect thecurrent Ratio and Threshold settings.

Note: Click on the Linear button to quickly reset the Ratio parameter to a 1 to 1 setting(Compressor or Expander disabled).

EnvelopeThis section controls the Attack and Release parameters. You can use the slidersto modify current settings, or type the desired settings directly into the numeri-cal data fields.

GateThis section controls the Level parameter (Threshold) of the Gate. You can usethe slider to modify the current setting, or type the desired setting directly intothe numerical data field. Notice that the visual display changes to reflect thecurrent Gate Level (Threshold).

Tip: The Gate can be used in any mode (except Distortion), by setting the Thresholdwith this parameter.Important Tip: Use the display (left of the window) to help you visualize the Dynam-ics Processing you are applying. If you’ve never used a Dynamics Processor: Thresh-old is the point at which processing begins, Ratio is the amount of processing, Attackis how quickly the processing kicks in, and Release is how long the processing staysactive.

TestClick on this button to audition your Dynamics Processor changes in realtime,without leaving the Compressor/Expander/Noise Gate/Limiter window. All

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Menu Effectstracks in the VIP will play back, allowing you to make Dynamics Processoradjustments in the context of the entire production. You can also solo the proc-essed audio by selecting the solo button in the VIP.

OKClick on this button to accept the current Dynamics Processor settings, andclose the Compressor/Expander/Noise Gate/Limiter window.

CancelClick on this button to close the Compressor/Expander/Noise Gate/Limiterwindow, without accepting changes to the Dynamics Processor settings.

Create CopyAs per most of the other Effects Menu items, this important option determineswhether an Undo will be created prior to processing the file. As always, westrongly recommend that you leave this option enabled!

BypassClick on (enable) this option to Bypass the Dynamics Processor. This allowsyou to quickly toggle the Dynamics Processing on and off, allowing compari-sons between the processed and unprocessed audio.

PresetsSave: Click on the Save button to save the current Dynamics Processor settingsas a Preset. A standard Windows ”Name File” dialog will appar. Name the Pre-set and click OK, and the Preset will be saved.

Load: Click on the Load button to load a previously saved Dynamics Processorpreset. A standard Windows ”Open File” dialog will appear. Select (click on) thePreset you want to Load, and click OK. The Preset will be loaded.

Delete: Click on the Delete button to Delete a previously saved Dynamics Proc-essor preset. A dialog will appear, asking if you are sure hat you want to Deletethe Preset. Click Yes to Delete the Preset. Click Cancel to cancel the Delete. Youcan use the Preset drop-down list (upper-left side of the window) to quicklyLoad any previously saved Dynamics Processor presets. Simply click on themenu, and select the desired preset.

Distortion: This is an interesting mode that emulates a distortion or tape satu-ration effect. The effect is produced by a smooth non-linear transition curve,controlled by Threshold and Level % parameters. This effect allows you to dis-tort audio material by using a non-linear transfer reference line; the signal be-comes louder, and overtones are added. By adjusting the startpoint of the dis-tortion (Threshold), a soft, analog-sounding"distortion (i.e. Threshold at –40dB) can be created (Overdrive). A harsh, digital-sounding distortion can be cre-ated with a Threshold setting of 0 dB. The Level setting determines the strengthof the distortion.

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Advanced Dynamics

General controls and presetsHard: When active (i.e. with the switch pressed), the output signal is limited tothe defined value. This means that no sample will be louder than the LimiterLevel. Signals are not simply cut off at the limit, as the algorithm attempts to”move” the signals to this limit as gently as possible, without changing theoriginal sound. If the switch is not depressed, the algorithm regulates levels inaccordance with the defined transmission characteristic, and behaves like ananalogue limiter.

Soft – Knee: This indicates the rounding off of the characteristic lines. ValueRange is 1 to 10, where 1.0 means no rounding off. ”Rounding off” is practicalwhen the constant change between compressed, and uncompressed, signals isclearly apparent - i.e. the signal level fluctuates around the knee. Knee is usedto achieve a soft transition.

Dynamic scope: Visualizes the input and output of the signal during dynamicprocessing.

Reduction display: Displays the mean level difference between output andinput.

Input display: Displays the input level in dB.

Output display: Displays the output level in dB.

Reset: Resets reduction, input and output displays.

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Menu EffectsSetup: Setups are typical applications of Advanced Dynamics. They constitutedefault settings, and graphically alter the characteristic line and applicable pa-rameters. Needless to say, you can freely adjust these parameters further, afterusing a setup.

Presets: Saving, loading, deleting: This is where all parameters can be saved,loaded and deleted. The default file extension is *.dy2.In addition, all Dynamics presets (*.dyn) can be loaded. The parameters areconverted to those available in the Advanced Dynamics module. If saved fromwithin the Advanced Dynamics processor, the preset will be saved with the*.dy2 extension.

OK: The parameters are accepted.

Cancel: The parameters will not be accepted.

Help: Opens online Help.

Processing the characteristiclines (graphically)In order to grahically process the static transmission characteristic, click onone of the nodes in the black grid to the left of the window. A tool tip (whichmatches the colour of the selected node) will appear, indicating the name andvalue of the parameter. If you move the mouse, with the button depressed, youwill change the value. It should be noted that moving a characteristic node mayalso have an effect on the parameter values of the other nodes, under certainconditions.To directly position a node in the characteristic field, click on it with the rightmouse button. A small dialogue field will appear, allowing you to directly enterinput and output values.In order to achieve greater clarity, the different sections are divided into differ-ent colors. The color of the tool tips, nodes, and parameter tabs indicate whichparameter is being edited.If you have switched on the Hard Limiter option, and a value lower than 0 dB isselected, a red ”LIMITED ZONE” will appear in the characteristic field. Thelevel of samples cannot ”enter” this zone, and are kept to a level which is smallerthan/equal to the defined limiter level.In order to hide a node, move the applicable threshold slider to 0 dB. In order tomake it visible again, the threshold must be below the limiter threshold.

Processing the characteristic (parametrically)Threshold: This is the input threshold value (in dB). Levels above this valuecause the respective component to process the audio.

Ratio: Defines the ratio of input level to output level.

Limiter level: Level (in dB) determines the maximum level at the output. Pleasenote the HARD setting!

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Gate level: Level (in dB) determines the minimum level at the input. All sig-nals below this level will have an output signal level of 0 dB.

Make up: Raises the entire static characteristic (in dB), without affecting thelimiter and gate settings.

All changes of these parameters have a direct effect on the static transmissioncharacteristic, and on each other. As an example, a gate will render all subordi-nate level changes ineffective.All threshold and level settings remain as set. Ratio settings can be modifiedthrough Make up and Soft. By changing Make up, only the geometric ratiobetween the output and input level (from the view of the threshold points) isretained. The actual ratio of input to output level is the Ratio setting + Make up.

Dynamic parametersLevel measurement methods: The time function determines how the compres-sor reacts to source material.

PEAK: Allows the dynamic module to react in a more lively fashion, but cantend to be a bit ”sharp”.

RMS (Root Mean Square): Corresponds to the operating mode of an ana-logue dynamic module; sounds relatively round and balanced, less lively. Thetime constant for signal detection (in order to obtain the control signal) is basedsolely on the setting of the Attack regulator. Both time constants are also evalu-ated here, for signal smoothing (with signal dynamics manipulation).

Fast: The strength of this process is low processor utilization. This setting canbe favourably used to offset peak levels. Use ”fast” mode when working at thelimits of your CPU, and the dynamics of Objects require minimal adjustment.The maximum level at the output is never higher than the limiter level. Thetime constants regulate the sound characteristic substantially, time constantsthat are too short can lead to distortion effects, while those that are too long canresult in ”pumping”.

Attack: Time constant for the increase of the signal level (in ms)

Release: Time constant for the drop of the signal level (in ms)

Preview: If this switch is inactive, the dynamic section does not operate inpreview mode. This may result in artefacts (pumping) and over-modulation.On the flipside, steep attack phases of the wave forms are not smoothed with-out preview activated – and the sound character therefore tends towards being”brisk and lively”. You should disable preview if trying to emulate the behaviorof analogue dynamic modules.

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Menu EffectsThe Dynamic ScopeThis scope appears when the Play/Stop button is pressed. A ”snow cloud” ap-pears in the characteristic field. Each individual point in the snow cloud repre-sents the difference of output values, above the respective input values (in dB).The use the Dynamic Scope can be easily explained with the following example:Select Preset 0 - ”NULL” - and press PLAY. You’ll see that the ”snow cloud” isnot visible, as all sample levels are on the gray straight line – i.e. all outputvalues are equal to the input values.If you slide the Make Up fader upwards, you can see that the ”snow cloud”follows the characteristic. If you select very high time constants, this takes placerelatively slowly.Selecting a relatively small Attack time (10 ms), a long Release time (400 ms)and a severely arched characteristic can move the effect towards ”pumping” –give it a try! The ”restlessness” of the cloud graphically reflects ”pumping”.By selecting very small time constants, you can visualize the operating mode ofa simple harmonic generator.

Tips and hints for the Advanced Dynamics moduleIn addition to its sonic characteristics, the strength of the Advanced Dynamicseffect is in the visually-supported processing of the characteristic. Quick suc-cess comes from the selection of one of the supplied presets, and making smalladjustments to the characteristic, dependent on the source material. This isvery simple, as you can accurately separate the individual signal componentswith the help of the Dynamic Scope.If the ”snow cloud” moves jerkily, this is probably due to an inappropriate timeconstant setting. Check, and adjust, this setting to suit your tastes/needs. Saveyour own presets.In order to couple ”analogue” limiting with the hard limiter algorithm, definethe Limiter Level at the maximum desired sample level. Once set, you can simu-late an ”analogue” limiter by using an extreme Ratio setting (compressor 10.0or expander 0.1).

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Multi-Band DynamicsThis option opens the Multi-Band Dynamics window, where you can destruc-tively apply Multi-Band Dynamics Processing to HD Wave Projects , RAMProjects (RAP), or selected Objects in the VIP window.

The Multi-band dynamics processor allows you to edit the dynamics, in up tofour independent bandwidths (frequency bands). The complete signal, includ-ing the control signal, is separated into individual frequency bands, and eachband is individually processed by a dynamics processor.Once processed, the individual bands are reassembled, without any phase shift-ing, or alteration of the frequency response. This phase coherence makes theSamplitude Multiband Compressor stand out from similar tools. Samplitude’sextremely high quality FIR filter technique is the primary processing techniqueused, ensuring excellent fidelity.We recommend that you compare the sound of the Samplitude Multiband Com-pressor with other software or hardware multiband comps – we’re sure thatyou’ll be pleasantly surprised at it’s superior audio quality!If no dynamics processing takes place, and the separated frequency bands arereassembled, the audio material returns to it’s original state, without any qual-ity loss.The biggest advantage"of the Multi-band Compressor (over the standard Com-pressor) is the fact that problem issues such as; obvious ‘pumping’, or otherunwanted side-effects are drastically reduced. As an example, a peak in the bassbandwidth would normally ‘pull down’ the rest of the signal, during process-ing. This issue can be side-stepped with a multi-band processor, set to onlycompress the peaking bass frequencies. The Multi-band Compressor allowsspecific treatment of individual frequency ranges, and is an exceptional master-ing tool!

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Note:Another advantage of the Multiband Compressor over the standard Compres-sor, is the provision of output (makeup) gain faders. Please note that the MultibandCompressor is not currently available for reantime use on individual channels, orObjects, in the Mixer. It is, however, available for use as a realtime effect on theMaster output channel in the Mixer.

The upper left-hand section of the dialog contains the settings for the Filter.The graphic display indicates the approxkmate frequency responses of the indi-vidual bands. The left axis label displays the absorption (reduction) in dB. Theupper numbers show the frequencies in kHz. The red curve indicates the se-lected band.The parameters for the Dynamics section are located to the right of the dialog.The right-side graphic display shows the dynamics reference line. It representsthe relationship between the input level (upper label, in dB) and the outputlevel (left-hand label, in dB).The reference line always shows the dynamics settings for the currently se-lected frequency band in the Filter section (red line).The functions of the controls (in the Dynamics section) are generally similar tothat of the standard dynamics section (Compressor, Limiter, Expander, andGate).

Number of BandsThe Multi-Band Dynamics Processor can function as a Broadband, 2 Band, 3Band, or 4 Band Dynamics Processor. Click on one of the radio buttons toselect the desired number of Bands:

1 Band: In this mode, the Multi-Band Dynamics Processor functions as aBroadband Dynamics Processor.

2 Bands: In this mode, the Multi-Bad Dynamics Processor functions as a 2-Band Dynamics Processor (Lowpass and Highpass filters are used).3 Bands: In this mode, the Multi-Band Dynamics Processor functions as a 3-Band Dynamics Processor (Lowpass, Bandpass 1, and Highpass filtes are used).

4 Bands: In this mode, the Multi-Band Dynamics Processor functions as a 4-Band Dynamics Processor (Lowpass, Bandpass 1, Bandpass 2, and Hghpassfilters are used).

Filter SettingsThis Section controls the Frequencies of the different Bands, and their overlap.

LP: This slider adjusts the Cutoff Frequency of the Lowpass Filter.

BP 1: This slider adjusts the Center Frequency of the Bandpass 1 Filer.

BP 2: This slider adjusts the Center Frequency of the Bandpass 2 Filter.

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HP: The Cutoff Frequency of the Highpass Filter is determined automaticallyby the Frequency (and Bandwidth, for Bandpass Filters) of the djacent Filter.

Tip: As you make changes to these settings, notice that the Frequency Display (lowerleft corner of the window) updates to reflect the current settings. You can switch theFrequency and dB (amplitude) axes between Lin (linear) and Log (logarithmic)curves. (Log. provides more resolution in lower Ranges, Lin. provides more resolutionin higher Ranges.) Use this display to help visualize the different Bands.

Separation: Click on one of the radio buttons to select the amount of Separa-tion between Bands (how much the filters will overlap).Low – This setting provides the lowest amount of separation between Bands.Normal – This setting provides a ”normal” amount of separation between Bands.High – This setting provides the greatest amount of separation between Bands.

Select BandClick on one of the radio buttons to select LP (Lowpass), BP1 (Bandpass 1), BP2(Bandpass 2), or HP (Highpass). This selection allows for tweaks to the Dynam-ics of that band. Notice that when selected, the Band turns red, in the upper-leftFrequency Display.

Note: The Dynamics Processor settings currently shown (right half of the window)are for the Selected (red) Band.

Dynamics SetupEach Band’s Dynamics Processor can function as a Compressor, Limiter, Ex-pander, or Gate. When the Bcnd you wish to adjust is active, click on one of theradio buttons to select the specific type of Dynamics Processing to be applied.

Note: Proper use of dynamics processing is an art form in itself – it is beyond the scopeof this manual to go into great detail about the use of dynamics processing in yourSamplitude projects. Great care should be taken when using compressors, as the effectof removing dynamics from your audio can result in the loss of all excitement and lifefrom perfectly good recordings!

This set of Dynamics tools incorporates the output volume into the processingalgorithm. In other words, there is no specific level adjustment available (com-monly called ‘makeup gain’). That said, however, the Comp Max and Limiter100 settings will automatically apply maximum makeup gain, by normalizingthe output to 0dB.Samplitude’s Multiband Compressor includes full makeup gain adjustment.

Compressor: This mode Compresses the dynamics of audio, thus producing asmoother, more even sound. Loud sections (above the Threshold) become softer,and soft sections (below the Threshold) become louder.

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Menu EffectsThe dynamics algorithm is similar to that of a ‘classic’ Compressor.This setting is used if the compression is to result in a coloration of the audiomaterial, without causing the volume to rise.The compression ratio is configured with the Ratio control, the threshold withthe Threshold setting, and the Envelope is controlled with the Attack and Re-lease settings.

Comp Max: This mode is exactly the same as the Compressor, but the output isnormalized to 0dB.The dynamics of a frequency band are limited, loud pas-sages stay loud, and soft audio sections become louder. This setting is oftenused to add ”presence” to audio material, making it more prevalent, or to in-crease loudness. Other terms for this type of processing are ‘Maximizer’ or‘Loudness Enhancer’.

Limiter: This mode limits the dynamics of audio to a predefined Threshold.Loud sections (above the Threshold) will be reduced, but soft sections (belowthe Threshold) are unaffected.The ratio is automatically set to infinity when in this mode.

Limiter 100: This mode is exactly the same as the Limiter, but the output isNormalized to 0dB.The ratio is automatically set to infinity when in this mode.

Expander: The dynamics of a piece are increased, loud passages stay loud, softpassages (below threshold level) become even softer. Dynamic expansion isoften used for voice-overs that have a high distortion level. Through expansion,the spoken voice is lifted above the noise level, which is in turn, suppressed.Expansion can also be used to restore dynamic range to old recordings, LP’sand cassettes, for transfer to CD.When using expansion, a certain reserve of level must exist, in order to avoidclipping!

Noise Gate: This mode suppresses audio that is below a predefined Threshold.Audio above the predefined Threshold will pass through unaffected. Very softpassages (below the threshold level) are reduced, or completely zeroed. Thisfunction can completely eliminate, or heavily reduce, the noise between pas-sages to a minimum level. This works especially well if high compression ratiosare applied (> 5), provided that this doesn’t amplify any noise on the tracks.

Compressor /ExpanderThis section controls the Ratio and Threshold parameters. You can use thesliders to modify current settings, or type the desired settings directly into theboxes. Notice that the visual display (left of the window) changes to reflect thecurrent Ratio and Threshold settings.

Note: Click on the Linear button to quickly reset the Ratio parameter to a 1 to 1 setting(Compressor or Expander disabled).

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EnvelopeThis section controls the Attack and Release parameters. You can use the slidersto modify current settings, or type the desired settings directly into the numeri-cal data fields.

GateThis section controls the Level parameter (Threshold) of the Gate. You can usethe slider to modify the current setting, or type the desired setting directly intothe numerical data field. Notice that the visual display changes to reflect thecurrent Gate Level (Threshold).

Tip: The Gate can be used in any mode, by setting the Threshold with this parameter.Important Tip: Use the three displays to help you visualize the Dynamics Processingyou are applying. If you’ve never used a Dynamics Processor: Threshold is the pointat which processing begins, Ratio is the amount of processing, Attack is how quicklythe processing kicks in, and Release is how long the processing stays active. The top-left grid shows the frequency bandwidth, while the display underneath shows the gainreduction being applied to each Band.

Dynamics Options/BypassPreview: If this option is checked, the dynamics section will perform a look-ahead preview. When unchecked, ‘pumping’ or distortion may be introduced.Note that unchecking this option will not automatically ”level” steep attack phasesof the waveform, which may result in ‘sharper’ audio material. The setting af-fects all bands.

Bypass all: During audio playback, click on (enable) this option to bypass allMulti-Band Dynamics Processing.

Bypass dyn.: During audio playback, click on (enable) this option to bypass thecurrently selected (red) Band.

Link Bands: Click on (enable) this option to Link all Bands of the DynamicsProcessing. Any changes made to the selected (red) Band will be applied to ALLcurrently used Bands.

Note: If Link Bands is active, it does not guarantee that the settings for all bands areset to the same values. Only parameters that were changed after the Link Bandsoption was activated will match. If all parameters of the bands are to be set to thesame values, use the Copy To All option.

Copy to all: Click on this button to Copy the selected (red) Band’s DynamicsProcessing. Any changes made to the selected Band will also be applied to ALLcurrently used Bands.

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Menu EffectsSolo: During audio playback, click on (enable) this option to Solo the currentlyselected (red) Band. This is a very useful feature!

Create copy: As per most of the Effects Menu items, this important optiondetermines whether an Undo will be created prior to processing the file. Asalways, we strongly recommend that you leave this option enabled!

Play/StopClick on this button to audition your Dynamics Processor changes in realtime,without leaving the Compressor/Expander/Noise Gate/Limiter window. Alltracks in the VIP will play back, allowing you to make Dynamics Processoradjustments - in the context of the entire production. You can also solo theprocessed audio by selecting the solo button in the VIP.

PreviewClick on this button to audition a processed Preview of your current MultibandDynamics Processor settings. This feature enables any machine (even thosethat can’t sustain the load of the Multi-Band Dynamics Processor in realtime)to provide a Preview. Most users will not need to use this option, as most mod-ern DAW’s are powerful enough to handle the realtime Test option.

OKClick on this button to accept the current Dynamics Processor settings, andclose the Compressor/Expander/Noise Gate/Limiter window.

CancelClick on this button to close the Compressor/Expander/Noise Gate/Limiterwindow, without accepting changes to the Dynamics Processor settings.

PresetsSave: Click on the Save button to save the current Multiband Dynamics Proces-sor settings as a Preset. A standard Windows ”Name File” diaog will appear.Name the Preset, and click OK.

Load: Click on the Load button to load a previously saved Multiband DynamicsProcessor preset. A standard Windows ”Open File” dialog will appear. Select(click on) the Preset you want to Load, and click OK.

Delete: Click on the Delete button to delete a previously saved Multiband Dy-namics Processor preset. A dialog will appear, asking if youre sure that youwant to delete the Preset. Click Yes to delete the Preset. Click Cancel to cancelthe Delete.

Tip: You can use the Preset drop-down list to quickly Load any previously savedMultiband Dynamics Processor preset. Simply click on the menu, and select the de-sired preset.

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Out (Band)This section controls the Output Volume (makeup gain) parameter for the cur-rently selected (red) Band. This parameter is only available when the selectedband is using the Compressor setting.You can use the slider to modify the current setting, or type the desired settingdirectly into the box. Notice that the visual (Dynamics) display changes to re-flect the Band’s current output Volume setting.Please note that the graphic display only shows a limited representation of thecontroller setting. (If you increase the fader setting too much, distortion may beintroduced. The line shown in the display would need to extend beyond thephysical limits of the display.) As always, use your ears to determine the opti-mum setting!

Out (All)This section controls the Output Volume (makeup gain) parameter, for the com-bined (summed) output of all Bands. This parameter is active in all modes,except Comp. 100 and Limiter 100 (they automatically Normalize the output to0dB). You can use the slider to modify the current setting, or you can type thedesired setting directly into the box.The graphic display does not show this setting. This control is especially usefulfor getting an idea of what the process sounds like, without adding the volumeamplification of the dynamics process. The fader can easily be set to a level thatis similar to that of the input signal.

Limiter On (Only in the Mixer Master section)This option is not available when using the Multiband Compressor via the Ef-fects menu. When using the Multiband Compressor in the Mixer Master sec-tion, you can switch to, and edit, the Peak Limiter directly from the MultibandDynamics Section. This Peak Limiter provides level limiting when using theMultiband Dynamics, increasing the loudness of your mix.

Strategies to Cope with the Flood of ParametersA multi-band dynamics processor (naturally) contains many parameters – whichcan be confusing for inexperienced users. The following strategies may helpwith editing, using all bands.If you need to alter all bands, rather than one individual band, the followingsteps may be useful. The frequency settings are based on the standard configu-ration:

Step 1: Making Global Preparations for all Bands1. Select the Dynamics Setup that is closest to your desired results. As an exam-

ple, if you need to add loudness to your audio material, use the CompressorMax setting. Use Compressor if presence needs to be added, or recordedspeech needs become more transparent. This setting will not increase theoverall loudness, and is perfect for clarifying muddy recordings, adding a”kicking” bass for pop music etc.

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Menu Effects The setup only affects the currently selected band (red filter curve). Click on Copy To All to transfer the current setting to the other bands.2. Activate Link Bands. Any changes you perform in the current band are auto-

matically mirrored on the other bands.3. Change the configuration of all bands, until the audio sounds right to your

ears.

Step 2: Fine-tuning of Individual Bands1. Turn off Link Bands, and select a band (use Select Band).2. Activate the Play Solo mode. Individual bands can be isolated (heard inde-

pendently) in this mode, making the task of optimizing settings for eachband easier. Ideal settings for the higher frequency bands are ”small”, as thewaveforms are shorter.

3. If you can’t find satisfying settings for some of the bands, try to change thesplit frequency setting for the selected band. A narrow band setting may helpprevent ‘pumping’ atrefacts in the sound. If you only wish to edit a specific,and critical frequency range, a different approach can be taken:

1. Make sure that Link Bands is turned off. Activate the Play Solo option, andselect the band you wish to edit (Select Bands). If you don’t know the exactfrequency Range, simply work progressively through some of the bands.

2. Change the split frequencies of the selected band, in order to ‘filter out’ thecritical range.

Now you’re ready to perform some dynamics editing. First up, select an appro-priate Dynamics Setup.– To limit critical frequencies, for tasks such as de-essing, Limiter or Com-

pressor Setups can be used.– Use the Bypass Dyn. checkbox to compare the processed and unprocessed

bands.– Turn the Play Solo option off, and compare the original signal with the proc-

essed signal. To do so, make use of either; Bypass Dyn. or Bypass All.

A third option is to compare the default Presets. Some may provide a greatstarting point. In most cases, good results can be achieved by starting out withone of the presets, and some judicious tweaking.The presets, however, will only get you so far. Dynamics processing belongs tothe family of algorithms that are entirely dependent on optimal settings, and onthe type of audio material being processed.Different types of audio material will also have a big impact on the type ofsettings. The original dynamics, the volume level, and the source material areall equally important. Other aspects to consider include; the frequency responseof the audio source, and the proposed use of the processed audio.

Comparing at constant Volume LevelsIf the task is to compare the sound differences, without allowing the dynamicsprocessing to alter the volume levels, this method can be used to accomplishthe task.

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Menu Effects– Use the Output All control to adjust the volume until the audio signal level

matches that of the bypassed level - i.e. when the Bypass All option is used.– Compare the levels by repeatedly checking the bypass option, and adjusting

the output levels.

If the multi-band Compressor is used in the Mixer window’s Master section,the peak meters can be visually used to assist with this task.

Reducing the CPU LoadThe Multiband Compressor’s algorithm causes a high CPU load, which is in-fluenced by the settings in the filter section. The CPU load increases with theuse of the following settings:– Low Split Frequencies– Increased number of Bands– Larger settings for the Separation parameter

Should the realtime use (in the Mixer or when using Test for playback) lead toa CPU overload, you may need to attempt matching the results by using set-tings that are less processor intensive:1. A high setting for Separation (Normal, High) is only needed in a few special

cases. As an example, individual bands may need to be precisely separatedfrom the other bands, for treatment of a very specific frequency area. Typi-cally, this would involve specific bands that are exposed to extreme dynamicsmanipulations.Dynamics treatment of the low bass range often benefits from a high Separa-tion setting. This smooths the frequency response of the source signal, evenfor lower settings.

2. The values in the lower split frequencies should not be set to a value that issmaller than necessary.

3. Only use as many bands as are really needed. Three bands are often enoughfor standard use. As an example, if it’s only the bass range that needs to betreated, two bands are sufficient.

Finally, when using the Multiband Dynamics Processor, always take care not tooverdo the processing. This subtlety is only learnt through experience, but agood general rule to follow is ”less is best”....Careful checking of each band (by using the Play Solo option) will help in thisrespect.

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Room Simulator (Samplitude pro)

General InformationThis function simulates the reverb patterns of any room reverb signal. Theprocess calculates the impulse response of the reverb and applies it to the audiomaterial in the selected range of the object in the VIP track. A room impulseresponse is the natural decay of a sharp, high-impact like sound such as a gun-shot or similar. It contains all necessary information to exactly replicate theroom reverb. The impulse response can be influenced with the dialog param-eters. The reverb characteristics are accessible for easy editing. In addition, thereverb character can be determined by selecting the type of impulse response.A graphic display of the impulse response and additional fade-curves allow youto get a visual overview of the impulse response manipulation via the RoomSimulator dialog. In samplitude professional, the Room Simulator is availableas a real-time effect in objects, tracks, AUX busses and master channels

General operating elementsPresets (Impulse Response and Parameters)When loading a preset, the Room Simulator loads parameters of the dialog andthe impulse response associated with the settings. The impulse response canbe any sample that is saved to the hard disk as a WAV, HDP, or RAP file. If thefile was moved or deleted, the Room Simulator displays an error message. Aspecial *.imp file is created for standard impulses.When saving a preset, only the file path to the selected impulse response saved,and not the impulse itself.

Load/Save/Delete Presets (Impulse Response and Parameters)The presets can be saved, loaded, or deleted. The Load function is only neededif the preset files are located in a different folder than the ‘RoomSim’ folder.

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Menu Effects(Presets that are located in this folder are automatically loaded and displayed inthe selection list of the dialog.) The presets have the extension *.rms.

File (Impulse response)Here you can select an impulse response from the “RoomSim” and Bank direc-tories as well as any currently opened Wave project. If the Wave project doesnot contain an impulse response, no reverb effect will be produced.If you deactivated the ‘Install Impulse Responses’ option when loading the pro-gram, the directory remains empty. If you skipped this part of the installationyou may always go back and install just this part of the Sequoia installation.

BankFor selecting a bank directory into which the impulse response list is trans-ferred.

Load (Impulse response)The impulse response can be any sample that is saved to the hard disk as aWAV, HDP, or RAP file.

Play (Impulse response)To verify the impulse response, it is played after this button is activated. IMRfile impulse responses are only played with 16 bits, even if the impulse responsehas a 32 bit float format..

GraphicsdB linThe graphic display will follow the usual sample display based on the linearamplitude scaling applied to the graphic.

dB logThe scaling of the amplitude display follows a logarithmic pattern. This coin-cides with the way the human ear perceives volume changes.Zoom options: All, In, Out, Max, Position.

Curves:Green: Impulse response timeline

Light blue: 2 segment envelope curve to suppress early reflection and post-reverb.

Dark blue: Freely plottable envelope curves

ParaeterParameter PresetsThis section lets you save, load, and delete the parameters o the dialog only(response curve, frequency response, mix). This function is most useful whentesting different settings without changing the impulse response.

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Save/Load/Delete Parameter PresetsThe Load function is only needed if you want to load preset files from differentfolders than the default folder ‘fx-preset’. The presets for the Parameter that arelocated in the ‘fx-preset’ sub-folder are automatically loaded and listed in thedrop-down menu.The Parameter presets have the extension *.rsp.

Parameters for editing reverb response timesPlottable envelope curves: The impulse response scale can be manipulatedwith a blue freehand envelope curve. Typically, it is used to suppress or deleteearly reflections. Using the zoom options will help greatly.

Reset Freehand Drawing: reinstates the curve’s original status.

Predelay: Delays the entire impulse response to a selectable time interval ofapprox. 100 ms.

Early Reflect: This parameter allows you to set the amount of the early reflec-tion. It raises or lowers the first part of the impulse response.

Late Reverb: The later reverb portions can be amplified or decreased. Thisparameter uses the final part of the impulse response.

Length: This setting will shorten the length of the reverb effect to up to 5% ofthe original length by shortening the impulse response pattern. Please keep inmind that the reverb can end rather abrupt, which may lead to unnatural decaypatterns. You can compensate by applying a lower Late Reverb setting to fadethe impulse response with the 2 segment envelope curve. The graphic displaywill assist you in allowing a quick optical check of the envelope.

Envelope Curve Duration (“Enhanced options”): Sets the duration of thefirst envelope curve segment.

Parameters for editing reverb frequenciesHigh Freq: This setting allows dampening of high frequency portions of thereverb effect.

Low Freq: This setting supresses low frequencies of the reverb effect.

FFT-EQ: The reverb percentage can be re-worked with an additional FFT filter.The real-time spectrum diagram of the reverb percentage in the FFT filter per-mits optical control of room frequencies by recording the impulse response.Undesired resonance can, for example, be identified and eliminated rapidly.The FFT filter is unavailable with parameter latency settings of less than 40%samples because it causes greater latency due to its linear phasing function.

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Menu EffectsMixOrig.: Sets the original signal in dB

Reverb: Sets the amplitude of the reverb effect in dB

Out: Sets the output level in dB

Bypass: The input is switched directly to the output for comparison.

Enhanced OptionsEnvelope CurveDuration: Sets the duration of the first envelope curve seg-ment (suppression of early reflect).

Surround (Batch processing): Two objects arranged in the VIP can be cal-culated destructively during batch processing with surround impulse responses.See the “Surround” section for more details.

Performance and Quality optionsLatency: Parameter for block length defaults upon which the folding operationis calculated internally.Short block length increases the number of arithmetic operations required.This increases the load on the CPU. Large block length leads to irregular CPUload. The optimum for real-time processing tends to be about 32,768 samples.For use in the AUX, track or master, (where lower latency is desired) a settingof 40% is recommended when operating on fast systems (starting from Pentium1800 or Athlon XP 1500+).The quality of the result is independent of this setting.With latencies of less than or equal to 40%, the FFT filter can no longer beemployed. Impulse responses that you have created yourself may apply the FFTfilter to the impulse response before destructive room simulation.The parameter used during room simulation set high by default, since lowerlatency would increase CPU load unnecessarily.

Quality: In the two normal modes, room simulation is calculated at half thesample rate. This is perfectly sufficient in most cases, since natural or digitalimpulse responses typically possess components of less than 10 kHz. (you cancheck this in the integrated FFT filter’s spectral editor). Many older reverb de-vices at half the sample rate – computation above the frequency range that isinefficient use of the CPU.Both normal modi differ only in the quality of the resamples used for samplerate decrease. The ‘normal’ resampling quality is nevertheless quite high. Onlyin exceptional cases should normal plus mode be used (and in which arith-metic performance increases slightly).

High mode calculates the entire frequency range, doubling the load on theCPU when compared with normal mode.

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Menu EffectsRetrieve, Set: Saves and set the quality options globally. Different settings arerecommended for use in objects, tracks, etc.

Overview: impulse response and parameter tendenciesQuality“High Quality” setting Double (Factor 2:1)

LatencyLower latency (2048 samples): approx. increase of 50% (factor 1.5)Very low latency (128 samples): approx. increase of 150 – 200 % (factor 3 - 4)

Impulse response durationIf the length of the sample used as an impulse response exceeds a power-of-two, the CPU load doubles (factor 2,1).The performance required subsequently doubles whenever the following im-pulse response lengths are exceeded:

11.88 s5.944 s2.97 s1.48 s0,74 s0.37 setc.

Make sure that your own impulse responses are shorter than the next value —particularly if the impulse responses are longer than 1 second, because the lengthof these “continuous CPU load intervals” increases exponentially with each in-crease in length.

Impulse response sample ratesThe CPU load increases proportionally to the sample rate.

Impulse response resolutionThe CPU load is independent of it since the computation is carried out withfloat precision in each case.

Room Simulation: Tips and TricksThe Room Simulator can be used to recreate the characteristics of a multitudeof room reverbs. By editing the impulse response pattern itself a number ofdifferent effects can be achieved. Here are a few suggestions:– Use the Reverse function on the impulse response to create a reverse reverb.– By using the Timestretching function the size of the room can be altered

without affecting the resonance behavior of the room itself.– Use the Draw function in the Wave window to remove early reflections of the

room or add others to it.

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Menu Effects– You may want to experiment with short samples of your own audio material

by creating a Fade Out in the sample. You can use the sample as the impulseresponse! Interesting and sometimes amazing effects can be created thisway!

– You can also get interesting reverbs by using the impact on a percussioninstrument as an impulse response.

Problems and RemediesThe reverb is too harsh.The Late Reverb parameter can be used to fade out the impulse response tozero. Use the graphic display to test the parameter’s effect on the response.Especially when using the dB log setting for the display, the response can bemonitored to see whether the amplitude effectively fades to a zero value.

Resulting file has a large DC offset.The impulse response must not contain a DC offset. Please remove it by usingthe menu Effects-> Remove DC Offset.

Heavy hard disk activity or an error message concerning insufficient memory wasreceived.The algorithm needs an immense amount of storage, especially with long im-pulse response patterns. All background processes should be terminated andall RAM wave projects that are not needed should be closed.

The CPU load is too high.– Check the latency parameter settings according to the advice given in the

parameter description.– Select “Normal quality”.– Reduce the length of the impulse response (while remembering the advice

given regarding continuous CPU load intervals).

Problems with very long impulse responses.When used in real-time, impulse responses of up to 11.88 seconds (with 44,1kHz sample rate) can be used on up-to-date computers (2002)).The length is limited only by the CPU capacity.With destructive computations, the upper limit is 380.4 seconds (with 44,1 kHzsample rate).If this upper limit is exceeded, the following samples are ignored.Impulse responses of this length are, however not suitable for room simula-tion.If you want to experiment with extremely long impulse responses (longer than1 minute), you should note that the algorithm will require a lot of main memory(over 500 MB).When loading long Wave projects as impulse responses, a warning appearsoffering the chance to abort the operation to prevent a long wait for loading.

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Echo/Delay/ReverbChoose this option to open the Echo / Delay / Reverb Effect window, allowingyou to destructively apply delay effects to Hard Disk (HD Wave), or RAM Projects(RAP).

Note: If this function is used via the Effects menu, processing is destructive. The sameprocessor is also available for realtime use within the VIP window. To make use of therealtime version, open the Mixer (key M) and right-click on the Delay/Reverb button(on each channel).

ModeMode determines the parameters available in the dialog.

1 Delay: This mode sets the processor to function as a single repeat delay.

Feedback: This mode sets the processor to function as a dela that repeats, as itdecays to silence. The ”echo” events are repeated in accordance with the inter-val specified in the Echo Delay (Millisec.) settings. Echo decay is applied to therepeated events – as a percentage of the previous event - depending on thesettings.

Multitap: This mode sets the processor to function as a multi-tap delay. TheMulti Tap delay repeats portions of the delay event, between the major delayevents determined by the Echo Delay settings. This allows for a variety of delayevents, that are repeated and multiply, while the decay ”fades” earlier events.

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Track Delay: This mode delays the entire Track or Object by a set amount.This can be useful for correcting audio delays in large rooms, or for makinglarge outdoor time delay adjustments.

Reverb: This mofe sets the processor to function as a reverb. Although thismode is not intended to create a world class reverb, the algorithm uses verylittle CPU power, can be used in realtime (see previous page), and offers suffi-cient fidelity for most simple reverb applications.

Rev TimeThis section controls the Delay Time parameter. You can use the fader to modifythe current setting, or type the desired setting directly into either the BPM (beatsper minute) or milliseconds box. Notice that the visual display (lower half of thewindow) changes to reflect the current Delay Time setting.Several presets are available in the Millisec flip menu:

1000ms: Select this option to quickly set the Delay Time parameter to 1000milliseconds.

500ms: Select this option to quickly set the Deay Time parameter vo 500 milli-seconds.

200ms: Select this option to quickly set the Dlay Time parameter to 200 milli-seconds.

Mix Balance in %Dry: This fader controls theoriginal signal level.

Wet: This fader controls the Level of the Delay’s decay (expressed as a percent-age of the original audio’s level). You can use the Fader to modify the currentsetting, or type the desired setting directly into the box. Notice that the visualdisplay (lower half of the window) changes to reflect the current Level of theDelay’s Decay.

Link: The wet and dry levels are linked to maintain a nearly constant overallsignal level when moving one of the faders.

Reverb PropertiesRoom Size: This fader adjusts the overall size of the reverb chamber. You canalso enter the size numerically (with your keyboard) in the adjacent data box.

Reverb Color: This fader adjusts the overall tonal color (light / dark) of thereverb chamber. You can also enter the tonal color numerically (with your key-board) in the adjacent data box.

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Menu EffectsCreate CopyAs per most of the other Effects menu items, this important option determineswhether or not an Undo will be created, prior to processing the file. As always,we strongly recommend that you leave this option enabled!When this box is checked, Samplitude will create a copy of the selected Rangein the audio file that contains the original material. This allows you to comparethe results with the original material. Please consider the length of the selectedRange, and the available hard disk space or RAM memory!

Load SetupClick on this button to load a previously saved set of Echo / Delay / ReverbEffect settings.

Save SetupClick on this button to save the current Echo / Delay / Reverb Effect settings.

TestThis button auditions the processed audio file.

OKClick on this button to write the Delay/Reverb Effect to the audio file, and closethe Echo/Delay/Reverb Effect window.

CancelClick on this button to close the Echo / Delay Effect window, without applyingany processing.

De-clippingThis option opens the De-clipping window, allowing you to (destructively) re-pair digital ‘overs’ (samples which were recorded above full scale) in Hard Disk(HD Wave) and RAM Projects (RAP), or selected Objects in the VIP window.This unique Samplitude function removes digital or analog clipping. Anybodywho records audio has encountered this problem at some point.Samplitude uses high-grade algorithms to interpolate the ”clipped” passages,using the material that precedes/follows the clipped portion as a reference point.Once processed, the total volume level for the material can be further reducedto prevent any additional clipping.The de-clipping algorithm is especially useful on material that contains obviousbut not heavily distorted clipping, such as a piano or voice recording. It does,however, have limits – heavily distorted material cannot generally be repaired,although you may be able to significantly improve the damaged audio.

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Clipping DefinitionMin Number of clipped samples (> 1): This parameter defines the minimumnumber of consecutive clipped samples that must occur before Samplitude’sDe-clipping algorithm will repair the distortion. A value of three works well inmost instances, and has broad audio community acceptance, however there areopposing views as to how many consecutive ‘overs’ constitute a clipped sample.We recommend that you use your ears – if it sounds clipped, it is! As always,different audio material may require different settings. Be patient, and try vari-ous settings whenever possible.

Min Level of clipped samples (< 0dB): This parameter defines the volumelevel at which Samplitude’s De-clipping algorithm assumes that the audio isdistorted (In other words a Threshold level, like that found in a compressor).Start with a value of -0.5dB. If clipping persists, reduce this value until theclipped audio is repaired.A number of sound cards exhibit different clipping behavior, so adjustments tothis setting can be an important issue. Some DAT recorders have an analogprotection mechanism that prevents the incoming level from reaching the dig-ital maximum signal. For such devices, a setting of –0.5 dB (or lower) makessense.By entering a value of –6 dB, all samples above half of the digital maximum areconsidered ‘distorted’, and are recalibrated. Even distorted analog material canbe improved with this algorithm.

Note: Once again, it helps if you are patient, and careful, when repairing audio inthis manner. If at all possible, take the time to repair the clipped samples sequentially(i.e. one ‘clipped section’ at a time), rather than processing the entire file in one pass.

Get Level from height: Click on this button, and the height of the markedRange will be used to define the Min. Level of clipped Samples (< 0dB) param-

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Menu Effectseter. Maybe you’ll have to switch “Fix vertically” in the View menu into “off”state to define vertical ranges. This funvtion is very useful when correctingclipped samples sequentially i.e. one ‘clip’ at a time (see above)

Number of steady samples after clip (1....10): This parameter defines thenumber of ”steady” samples used to determine the end of the distorted seg-ment. In other words, a number of samples that follow the distorted section,that remain at a constant level. A number of lower-end audio cards (e.g.SoundBlasters, and others) produce chaotic values during a clipped segment.For such devices, the only way Samplitude can determine the endpoint of thedistorted segment is to increase this parameter value to a setting between 5 and10. If your audio card is less erratic when playing a clipped segment, you canreduce this parameter to a value of 1.

De-clipping ModeAdjust maximum level to 0dB – (Recommended for 16 bit recordings, or when in16 Bit Integer Internal Precision mode) Click on (enable) this option to Nor-malize the audio, after the De-clipping process. This is recommended if youwork with 16-bit material, as there would be no ‘volume reserve’ (headroom)available for the correction of the distortion. When working with floating pointmaterial (24-bit Wave Project), this option can be disregarded, given that thefloating point format offers an unlimited dynamic range.

Load SetupClick on this button to load a previously saved De-clipping Preset.

Save SetupClick on this button to save the current De-clipping parameters as a Preset.

Create CopyAs per most of the other Effects menu items, this important option determineswhether or not an Undo will be created, prior to processing the file. As always,we strongly recommend that you leave this option enabled!

PreviewClick on this button to audition a (processed) Preview of your current De-clip-ping settings. The duration of the Preview is determined by the Preview Timesetting in the Options > System (Shortcut -Y) menu.

OKClick on this button to write the current De-clipping settings to the audio file,and close the De-clipping window.

CancelClick on this button to close the De-clipping window, without applying anyprocessing.

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Menu EffectsUsing De-clipping to fix a digital ‘over’1. If De-Clipping is to be applied directly to an HD Wave or RAP file, ensure

that it (HD Wave or RAP) is the current active window. If De-Clipping is tobe applied to an Object in the VIP window, ensure that the Object is selected.(Click on the Object in the lower half of the Track to select it.)

2. If De-Clipping is to be applied directly to an HD Wave or RAP file, mark thedesired Range in the HD Wave or RAP window. (Click and drag in the HDWave or RAP window to mark a Range.) If De-Clipping is to be applied to aselected Object in the VIP window, proceed to step 3.

3. Select Effects > De-clipping, and the De-Clipping window will open.4. Enter a value of -0.5 dB for the Min. Level of clipped Samples (< 0dB) param-

eter.5. Click on the Preview button. Has the clipped section been repaired? If so,

proceed to step 6. If not, repeat steps 4 and 5 using a lower value (i.e. -2dB)for the Min. Level of clipped Samples (< 0dB) parameter.

6. Check that the Create Copy option is selected.7. Click on OK to apply De-Clipping, and the audio file will be repaired.

Note: In some cases, the De-clipping algorithm can prove useful for the removal ofcrackling from old recordings, transferred from vinyl or lacquer records. The removalof crackle is one of the most difficult processes to successfully accomplish, due to therandom nature of the thousands of small blemishes which cause it.For such situa-tions, you may achieve better results using a third-party tool.

Remove DC OffsetChoose this option to remove DC-offset from Hard Disk (HD Wave) or RAMProjects (RAP), or selected Objects in the VIP window. DC-offset occurs whenthe audio waveform is not (vertically) centered at the Zero Amplitude Line. Inother words, the waveform is centered either above or below the Zero Ampli-tude Line. DC-offset can cause clicks, glitches or other inaccuracies, and shouldalways be removed before applying processing.

Tip: Some audio cards are responsible for the DC-offset while recording, and othersare not. To check for DC-offset, Zoom-In on a waveform, and see if it is (vertically)centered at the Zero Amplitude Line. If the waveform is not centered at the ZeroAmplitude Line, use the Remove DC-offset option to fix the problem.

Get Noise SampleThis function is the first step in the Noise Reduction process. Samplitude’sNoise Reduction algorithms are of very high quality, and favourably comparewith the most expensive noise reduction applications available!The Noise Reduction function can be used to effectively remove annoying noisymaterial from the audio, with minimal discoloration or other artefacts. In orderto achieve this, the algorithm first needs a sample (noise print) of the noise thatyou wish to remove. This is most effective with constant noises such as; a groundloop, air conditioner hum, tape hiss or feedback.

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Menu EffectsAlthough the algorithm was not designed to deal with clicks, pops and crackles(i.e. vinyl record restoration), acceptable results can be achieved by making anoise print of a Range that contains cnicks, pops and crackle.Before using Noise Reduction, you must first make a Noise Print (of the noiseyou wish to remove).To do so, mark a Range in the HD Wave, RAP, or selected Object that containsONLY the Noise (e.g. 50 or 60 Hz hum – 50 Hz for 240 volt power - Europe,Australia etc., and 60 Hz for the U.S.A. and other countries that use a 110 voltpower supply). Then, select this option to take the actual ‘Noise Print.’Note: If the ‘Noise Print’ contains audio (as well as the Noise), it will also beremoved! So…be sure that the ‘Noise Print’ ONLY contains noise!!!!The duration of the Noise Print should not be too short – Samplitude will dis-play a dialog if a longer sample is required.

Noise Reduction(Please refer to previous Item – Get Noise Sample before proceeding)This option opens the Noise Reduction window. This window allows you toapply graphic ‘Noise Print’ style Noise Reduction to Hard Disk (HD Wave) orRAM Projects (RAP), or selected Objects in the VIP window.

Important note: You must first use the Get Noise Sample option to take a ‘NoisePrint’ (of the noise to be removed) before using Noisg Reduction.(see previous Item)

Here is a quick overview of the steps involved:1. Select a Noise Sample as explained above.2. Next, select the section in the Wave Project (or select the VIP Object) that

requires the removal of the noise signal.3. Open the Noise Reduction dialog via the Effects menu.4. In the Noise Sample box, select the Noise Sample setting. This file contains

the noise print.

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Menu Effects5. You may wish to Preview the changes before committing them to the audio

material. To do so, click on the Preview button.6. Make all desired changes in the dialog, or load a preset and click on OK to

process the sample.

Noise SampleThe ‘Noise Print’ created with the Get Noise Sample option will automaticallybe displayed (selected) in this drop-down list.

Tip: Any loaded HD Wave or RAP can be selected from this drop-down list, and usedas a ‘Noise Print’. As an example, say you’ve recorded several guitar tracks throughan amplifier that generates a significant amount of 60 cycle hum.Rather than taking a ‘Noise Print’ for each individual Track, you can mark a Rangein one Track (containing the hum - in isolation) and copy that ‘Noise Print’ to a newsound file (HD Wave or RAP). You can then use this sound file (‘Noise Print’) toremove 60 cycle Hum from ALL guitar tracks recorded through the noisy amplifier.In other words, you can create an archive of commonly used ‘Noise Prints’ to speedup repetitive Noise Reduction tasks.

PlayClick on this button to listen to the ‘Noise Print.’ Check for evidence of audioyou may not want to remove from the file. If you can hear audio you don’t wantremoved, create a new Noise Print.

Draw ModeIn the first mode, the Frequency Response is displayed as a solid curve. In thesecond mode, the Frequency Response is displayed as a line.

Freq lin / logLinear display of Frequency provides a more detailed view of the higher end.Logarithmic display of Frequency provides a more detailed view of the lowerend.

dB lin / logLinear display of Amplitude provides a more detailed view of the higher end.Logarithmic display of Amplitude provides a more detailed view of the lowerend.

Presets(Type of) Noise: To make the Noise Reduction process quicker/easier, youcan select Presets that specify the type of Noise (to be removed. Samplitude willadjust the Noise Reduction parameters accordingly.

Medium Tonal Noise (e.g.: hum): Use this Preset for reducing 60 cycle Hum,and other tonal Noise.

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Menu EffectsHard Tonal Noise (e.g.: hum): Use this Preset for reducing louder 60 cycleHum, and other louder tonal noise.

Low Broadband Noise (e.g.: hiss): Use this Preset for reducing low-level Hiss,and other low-level Broadband noise.

Medium Broadband Noise (e.g.: hiss): Use this Preset for reducing louderHiss, and other louder Broadband noise.

Hard Broadband Noise (e.g.: hiss): Use this Preset for reducing severe Hiss,and other severe Broadband noise.

Gramophone 1 Medium (e.g.: vinyl): Use this Preset for reducing Vinyl noise.

Gramophone 2 Hard (e.g.: vinyl): Use this Preset for reducing louder Vinylnoise.

(Type of) Audio Material: To make the Noise Reduction process quicker/easier, you can also select Presets that specify the type of audio (from which theNoise will be removed). Samplitude will adjust the Noise Reduction param-eters accordingly.

Speaking Voice: Use this Preset when applying Noise Reduction to Speech.

Singing Voice: Use this Preset when applying Noise Reduction to Vocals.

Fast Beats / Percussion: Use this Preset when applying Noise Reduction toPercussion or other short ‘choppy’ audio.

Songs: Use this Preset when applying Noise Reduction to complete Mixes.

Orchestral Instruments: Use this Preset when applying Noise Reduction toindividual instruments.

Tip: Use these Presets! They’ll enable you quickly ‘dial in’ Noise Reduction settingsthat produce the desired result, and minimize potential side-effects.

Algorithm’s Internal ParametersResolution: This parameter allows you to set the Resolution (Low, Medium,or High) used by the Noise Reduction algorithm. The higher the Resolution,the longer the algorithm will take to process. You may wish to experiment withthis parameter because a higher Resolution does not always guarantee the bestresults. As an example, Low Resolution often works best when applying NoiseReduction to short percussive sounds, and speech.

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Menu EffectsPrecision: This parameter allows you to choose the quality level that will beused to for Noise Reduction. Low, Normal, and High are the three choices, withHigh offering the best quality, but taking the longest to process.

Precision Realtime: This parameter allows you to choose the quality levelused for realtime previewing of Noise Reduction. Test, Low, Normal, and Highare the four choices, with High offering the best quality, but requiring themost"processing (CPU) resources.

Tip: If your machine isn’t fast enough to provide a realtime Preview at the Highsetting, try one of the lower settings. The quality of the Preview will be slightly lower,but this won’t affect the quality of the actual Noise Reduction process on your audiofile.

AbsorptionThis parameter determines the intensity (Low, Medium, or High) of the NoiseReduction algorithm. You can use the Fader to fine-tune the setting.The low, medium and high settings determine the effectiveness of the algo-rithm. The fader allows fine-tuning of the setting, which always operates in theselected setting range. This parameter sets the level of the noise print sampleabsorption (or amplification). This is visible in the graphic display. The yellowcurve indicates the original spectrum of the noise print sample, and the bluecurve represents the corrected spectrum. The latter is used to remove the noisefrom the audio.

Tip: In most cases, you will want to adjust the Absorption parameter to be just aggres-sive enough to reduce the noise. Extreme settings are likely cause artefacts!

Mix (Reduction)This parameter determines the amount (in dB units) that the noise is reduced.

Tip: Quite often it is actually beneficial to leave a little noise in the audio. Removingall of the noise is usually impossible without damaging the remaining audio. Suchdamage can include artefacts such as; strange flanging sounds and whistles. Think ofthe process in terms of reduction, not 100% elimination. As always, be patient, try anumber of settings, and select the ones that deliver optimal results.

Artefact SuppressionWhen trying to reduce high levels of noise, artefacts can often occur (see above).This ksn’t a limitation of Samplitude, but rather a universal by-product of cur-rent noise reduction techniques. If you encounter artefacts when applying NoiseReduction, the following three parameters may prove usefwl (in addition toreducing settings such as Absorption and Mix).

Smooth Attack: This parameter controls the Attack when applying Noise Re-duction. A higher value will reduce artefacts, but alters the response time of the

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Menu Effectsaudio. Generally speaking, this parameter is most effective for diminishing ar-tefacts in musical tracks.

Smooth Release: This parameter controls the Release when applying NoiseReduction. A higher value will reduce artefacts, but alters the decay of the au-dio. Generally speaking, this parameter is most effective for diminishing arte-facts in percussive (instruments with short decay) tracks.

Static Filter Smooth: This parameter ‘levels’ the Spectrum of the Noise Sam-ple. (To better understand what this parameter does, look at the blue curve inthe graphic display.) This ‘ levelled’ Spectrum is then used to calculate the NoiseReduction. Generally speaking, this parameter is most effective for diminish-ing artefacts in vocal, or other ‘smooth’, tracks.

Create CopyAs per most of the other Effects menu items, this important option determineswhether or not an Undo will be created, prior to processing the file. As always,we strongly recommend that you leave this option enabled!

Test MonoClick on this button to hear a realtime monaural preview of the Noise Reduc-tion. This option is very useful when your machine can’t quite keep up with thedemands of a realtime Stereo Preview, even when working with stereo audio!Note: If the computer overloads, and the Preview cannot be stopped by clicking on theTest Mono button, press the Spacebar or Esc key (in extreme cases) to stop audioplayback.

LeftClick on this button to hear a realtime Noise Reduction Preview of the Leftchannel of a Stereo file.

RightClick on this button to hear a realtime Noise Reduction Preview of the Rightchannel of a Stereo file.

Test StereoClick on this button to audition the Noise Reduction in stereo.

Note: If the computer overloads, and the Preview cannot be stopped by clicking on theTest Mono button, press the Spacebar to stop audio playback.

PreviewClick on this button to hear a calculated (processed) Preview of the Noise Re-duction. This option should be used if your machine isn’t fast enough to pro-vide a realtime Preview. The duration of the Preview is determined by the Pre-view Time setting in the Options > System (Shortcut -Y) menu.

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Menu EffectsPlay OrigWhen using the Rreview functions, click on this button to play the original(dry) audio. This allows you to quickly compare processed vs. unprocessed au-dio.

OKClick on this button to write the current Noise Reduction to the file, and closethe Noise Reduction window.

CancelClick on this button to close the Noise Reduction window, without applying anyprocessing.

Load SetupClick on this button to load a preiously saved set of Noise Reduction param-eters.

Save SetupClick on this button to save the curent Noise Reduction settings.

To use Noise Reduction:1. If Noise Reduction is to be applied directly to an HD Wae or RAP file, ensure

that it (HD Wave or RAP) is the current active window. If Noise Reduction isto be applied to anObject in the VIP window, ensure that the Object is se-lected. (Click on the Object in the lower half of the Trackto select it.)

2. For this example, we will remove 50/60 cycle hum from a guitar Track. First,mark a Range (in he HD Wave, RAP, or selected Object) that ONLY contains50/60 cycle hum.

Tp: Click and drag in the HD Wave or RAP window to mark a Rnge. Click and drag(starting in the upper half of the Track) to mark a Range in the VIP window.

3. Select Effects > Get Noise Sample to obtain a ‘Noise Print’ of the 50/60 cyclehum.

4. If Noise Reduction is to be applied directly to an HD Wave or RAP file, markthe desired Range in the HD Wave or RAP window. (Click and drag in theHD Wave or RAP window to mark a Range.) If Noise Reduction is to beapplied to a selected Object in the VIP window, proceed to step 5.

4. Open the Noise Reduction window from the Effects menu.5. Under the Preset section, select Medium Tonal Noise for the Noise parameter,

and select either Songs or Orchestral Instruments for the Audio Materialparameter.

6. Click on one of the Test buttons to hear a realtime audition of the NoiseReduction. (Use the Test Mono button for Mono audio files. Use the TestStereo button for Stereo audio files.) If your machine isn’t fast enough tokeep up with the load of a realtime Preview, click on the Preview button andSamplitude will process a calculated Preview.

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Menu Effects7. If you are satisfied with the results, click on OK to write the Noise Reduction

to the audio file. If you are not satisfied with the results, adjust the Resolu-tion, Absorption, and Artefact Suppression parameters, and repeat steps 6and 7.

Noise Reduction TipsTo identify optimal settings please follow the steps below:1. While familiarizing yourself with the Noise Reduction processor, always be-

gin by selecting preset parameters which are appropriate for the type of au-dio material that needs correction, and the type of noise.

2. Experiment with the Absorption parameter. Never over-do this setting! Youraudio could lose all of it’s ambience if this setting is too high!

3. To reduce potential artefacts, increase the Attack and/or Static Smoothingvalues. The selected method depends on the audio material that needs treat-ment.

4. Always be aware that the Artefact Suppression parameters are affected by theAbsorption parameter, and vice versa. Always search for the optimal rela-tionship - which balances artefacts against removed noise.

5. It is good practise to check files for DC Offset and remove it (if there) prior tousing Noise Reduction. (Effects > Remove DC offset)

6. Discoloration of the original audio material can be reduced by repeated use(i.e. multiple passes) of the noise reduction algorithm. A low Absorptionlevel should be chosen. Once the first attempt has been executed, the re-maining noise signal in very low volume sections should be used as the noiseprint for the next attempt.

7. High level broadband noise can be difficult to remove. It is therefore sug-gested that you treat the material - prior to using noise reduction - with afilter. The Equalizer can be used to cut frequencies that are not used by theoriginal (desired) audio. As an example, a female voice doesn’t use frequen-cies below 200 Hz, and above 8000 Hz, so these can safely be reduced (butONLY if necessary!).For instruments - everything below the lowest note can be reduced. As anexample, if the lowest note played is an A=440Hz then everything below440 Hz can be cut. This may result in the loss of some harmonics, but audiorepair always involves some trade-offs. The FFT Spectrum Analyze Filter(Effects > FFT Filter/Analyzer) is best suited for this task.

8. Whether or not artefacts are audible, is particularly dependent on the vol-ume of the end result, and the frequency response of the audio playbacksystem. If you know where the audio will be reproduced (movie theatre, TV,radio, etc.) it may be helpful to repair the audio in similar conditions.

9. For sound designers: The algorithm can be used to achieve interesting dis-coloration of the original material, especially if the Noise Sample containsmaterial other than that of the noise signals!

10. The algorithm is useful for the removal of incorrectly played notes, if thenotes/tones contain a spectrum with overtones. To accomplish this, a sam-ple that only contains the wrong note is required. This wrong note can thenbe captured as a Noise Sample.

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Once again, the ‘less is best’ approach applies to effective Noise Reduction. Asthe audio engineer, the noise will be far more noticeable to you than most lis-teners. On the flipside, most listeners quickly notice processing artefacts suchas flanging/whistling, particularly on vocals. As such, a little remaining noise ispreferable to having weird artefacts in the audio!

DehissingThis option opens the Dehisser window, allowing you to apply Dehissing toHard Disk (HD Wave) and RAM Projects (RAP), or selected Objects in the VIPwindow.The Dehisser complements the Noise Reduction DSP. It can be used to removeconstant low-level white noise. This is typically found in material recordedthrough low quality pre-amps, or low quality analog sound cards.The Dehisser does not require a noise-print sample, as is necessary with theNoise Reduction DSP. This makes the Dehisser ideal for realtime use in theMixer window’s Master section.The dialog of the Dehisser (when using it in realtime) differs from the dialogused for off-line processing (‘Effects’ menu).The Dehisser was combined with a simple FFT (Fast Fourier Transform) filter,for use in the Master section of the Mixer window. As the Dehisser algorithmsmake use of FFT functions, the audio is only processed once, for both DSPsteps.When using the off-line version of the Dehisser (Effects > Dehissing), additionalcontrol options are available.

Graphic Display CurvesThree different Curves (each a separate color) are displayed by the graph.

Light Blue: The light blue Curve represents the Frequency Response that re-sults from the Dehissing process.

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Yellow: The yellow Curve represents the original Frequency Response (beforeapplying Dehissing).

Dark Blue: The dark blue Curve (flat line) represents the ‘threshold’ of theDehissing algorithm (defined by the Absorption parameter value).

Draw modeIn the first mode, the Frequency Response is displayed as a solid Curve. In thesecond mode, the Frequency Response is displayed as a line.

Freq. lin / logLinear display of Frequency provides a more detailed view of the higher end.Logarithmic display of Frequency provides a more detailed view of the lowerend.

dB lin / logLinear display of Amplitude provides a more detailed view of the higher end.Logarithmic display of Amplitude provides a more detailed view of the lowerend.

AbsorptionThis parameter determines the intensity of the Dehissing algorithm. You canuse the fader to modify the current setting, or you may type the desired settingdirectly into the box.This parameter determines the threshold between the noise and audio signals.Finding the correct settings for this parameter is of utmost importance. UnlikeNoise Reduction, where a useful Absorption value is automatically entered, thevalue in the Dehisser dialog needs to be manually defined, as it is highly de-pendent on the type of audio material.Low settings can lead to incomplete removal of noise, or may introduce arte-facts. High settings may discolor the audio material. The louder the volume ofthe noise print, the more attention you need to pay to the settings in this dialog

Tip: In most cases, you’ll want to adjust the Absorption parameter to be just aggres-sive enough to reduce the hiss. Extreme settings will, in all likelihood, cause artefacts!

ReductionThis parameter determines the amount (in dB units) of Hiss Reduction. Youcan use the fader to modify the current setting, or you may type the desiredsetting directly into the box.The highest setting is –30 dB. If the reduction value is low, side effects from thealgorithm (artefacts) remain low. These artefacts can be introduced in situa-tions where the noise print is relatively loud, or the Absorption settings are notoptimal.Extremely low volume sections (such as the Fade Out of an instrument sound)are often critical, as the actual noise print level can exceed that of the audio

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Menu Effectssignal. These situations may necessitate the use of smaller values for the Re-duction parameter (-10 to –15 dB). This may reduce the introduction of arte-facts, and could prove to be a good compromise.

ResolutionThis parameter allows you to set the Resolution (Low, Normal, or High) usedby the Dehissing algorithm. The higher the Resolution, the longer the algo-rithm will take to process. You may wish to experiment with this parameter, asa higher Resolution does not always guarantee the best results. As an example,Low Resolution often works best when applying Noise Reduction to short per-cussive sounds, and speech.

OverlapThis parameter selects the type of ‘overlap’ used by the Dehissing algorithm(Smooth, Normal or High).

Smooth: Generally speaking, this setting is most effective when applyingDehissing to musical tracks (or audio with slower attack).

Normal: Generally speaking, this setting is most effective when applyingDehissing to percussive (instruments with short decay) tracks.

High: Generally speaking, this setting is most effective when applying Dehissingto mixed (multiple instruments) tracks.

BypassDuring audio playback, click on (enable) this option to bypass the Dehisser.

Inverse DehissingWhen using the Dehisser, click on (enable) this option to limit what you hear tothe hiss that is being removed. This is a great way of ensuring that you aren’tcausing side effects by using the Dehisser! If you hear any significant amountof signal (besides the hiss), you should probably readjust the Absorption andReduction parameters.

Note: You will find this option to be an essential part of your dehissing routine!

Create CopyAs per most of the other Effects menu items, this important option determineswhether or not an Undo will be created, prior to processing the file. As always,we strongly recommend that you leave this option enabled!When this box is checked, Samplitude will create a copy of the selected Rangeinto the same audio file as the original material. This allows you to compareyour results with the original material. Please consider the length of the se-lected Range, and the available hard disk space or RAM memory!

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Menu EffectsTest MonoClick on this button to hear a realtime Monaural audition of the Dehissingprocess.This option is very useful when your machine can’t quite keep up withthe demands of a realtime Stereo Preview, even when working with stereo au-dio! It also exposes any phase problems with the original audio.

Note: If the computer overloads, and the Preview cannot be stopped by clicking on theTest Mono button, press the SPACEBAR (or the Esc key, in extreme cases) to stopaudio playback.

LeftClick on this button to hear a realtime audition of the Dehissing, from theLEFT channel of a Stereo file.

RightClick on this button to hear a realtime audition of the Dehissing, from theRIGHT channel of a Stereo file.

Test StereoClick on this button to hear a realtime Stereo audition of the Dehissing process.

PreviewClick on this button to hear a calculated (processed) Preview of the Dehissing.This option should be used if your machine isn’t fast enough to provide a realtimeaudition.

Tip: You can determine the length of the Preview by pressing the Y key (to open theSystem window – Program options) and entering the desired number of seconds inthe Preview Time parameter box (center of the window).

Play Orig.Click on this button to play the original (dry) audio, when using the Previewfunctions. This allows you to quickly compare processed vs. unprocessed au-dio.

Save SetupClick on this button to save a set of Dehisser parameters.

Load SetupClick on this button to load a previously saved set of Dehisser parameters.

OKClick on this button to apply Dehissing, and to close the Dehisser window.

CancelClick on this button to close the Dehisser window, without applying any process-ing.

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To apply Dehissing:1. If Dehissing is to be applied directly to an HD Wave or RAP file, ensure that

it (HD Wave or RAP) is the currently active window. If Dehissing is to beapplied to an Object in the VIP window, ensure that the Object is selected.(Click on the Object in the lower half of the Track to Select it.)

2. If Dehissing is to be applied directly to an HD Wave or RAP file, mark aRange in the desired HD Wave or RAP window. (Click and drag in the HDWave or RAP window to mark a Range.) If Dehissing is to be applied to aselected Object in the VIP window, proceed to step 3.

3. Select Effects > Dehissing, and the Dehisser window will open.4. Enter a value of 40 for the Absorption parameter.5. Enter a value of 12 for the Reduction parameter.6. Click on one of the Test buttons to hear a realtime Preview of the Noise Re-

duction. (Use the Test Mono button for Mono audio files. Use the Tst Stereobutton for Stgreo audio files.) If your machine isn’t fast enough for a realtimePreview, click on te Preview button and Samplitude will process a calculatedPreview.

7. If you are satisfied with theresults, click on OK to write the Dehissing proc-ess to the audio file.

If you are not satisfied with the results, adjust the Absorption parameter so thatit is just high enough to reduce the hiss (without producing artefacts). Youshould also readjust the Reduction parameter. You may also wish to experi-ment with the Resolution and Overlap parameters. Once your setting have beenmade, repeat steps 6 and 7.

Tip: As previously mentioned, it’s a good idea to click on (enable) the Inverse Dehissingoption (to verify that you aren’t removing too much of the desired signal) before ap-plying your Dehisser settings.

Suggested steps for finding the optimal Absorption parameter setting:1. For preview purposes, locate a ”critical” section in your audio material. Criti-

cal sections comprise portions of your audio material that contain low levelmusic or speech. Other such sections are those that contain a relatively highlevel of noisg when compared to the audio signal, or audio that is similar toparticular types of noise signals. As an example, the ‘breath’ sound of a saxo-phone tone may have similar characteristics to a noise signal. Another exam-ple is the sibilance of spoken words. It is easier for the algorithm to distin-guish sounds with overtones, or consonants, from noise signals.

2. Set the Reduction setting to the highest value (-30 dB).3. Slowly increase the value of the Absorption setting. This can be performed

during playback of the realtime Preview.

Adjustments to the Absorption setting causes the audio to go through fourpossible stages:

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Menu EffectsStage 1: If the value is small, no noise is removed.Stage 2: The noise is partially removed. Dependent on the level of the noisesignal, a small number of artefacts may be introduced, if the noise is not com-pletely removed.Stage 3: The noise is completely removed.Stage 4: If the value is high, the algorithm not only removes the noise signal,but also portions of the audio signal. (Use the Inverse option to verify the mate-rial that is removed. If portions of the audio signal are included in the audiblesignal, the Absorption value is too high.) The audio material loses definitionand sounds dull. Tjis is due to the removal of ambient characteristics.The task is to reach Stage 3!

Tip: When auditioning the changes, it often helps to use a high monitoring level. Itmay also help to tweak the high EQ on your mixing console or amp, but be sure toreturn it to it’s ‘neutral’ position before finally accepting the setting! We also recom-mend the use of a system with a good signal-to-noise ratio.

4. If the noise signal can not be removed without discoloring the music or speech,reduce the Reduction value until a compromise is reached between noisereduction/minimal discoloration.If you destructively reduce the noise of individual audio tracks in a multi-track VIP, the Dehisser settings become less critical than when using theDehisser, in the Mixer Master section, for the complete mix. For higher noiselevels, you should therefore use the ‘Effects’ menu version of the Dehisser,and remove the noise from the tracks individually.

Note: When working in multi-track projects, if the hiss is limited to one or two traks,you will almost certainly achieve better results by Dehissing the individual tracks, asopposed to inserting the Dehisser in the Mix Master channel in realtime. It is farbetter to only change the tracks affected by hiss!

Once again, the ‘less is best’ approach is often the most suitable for effectiveDehissing. As the audio engineer, the noise will be far more noticeable to you,than to most listeners. Most listeners will, however, quickly notice processingartefacts such as flanging/whistling, particularly on vocals. As such, a smallamount of noise is preferable to having weird artefacts in the audio, in mostcases!

Note: When using the realtime Dehisser in the Mixer Master channel, Samplitudecurrently requires a VIP Buffer setting of at least 16000. This can be set in the Op-tions > System dialog (Shortcut – Y). If the buffer is not set to this value (or higher),the Dehisser will not function. In fact, it will refuse to display!

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Convolution (Samplitude pro)Choose this option to open the Convolution window. This window allows youto (destructively) apply the ‘characteristics’ of an audio segment to other HardDisk (HD Wave) or RAM Projects (RAP), or selected Objects in the VIP win-dow. It might help to think of this processor as a ‘simplified’ version of theRoom Simulator (they are both Convolution Filters).When convolving two samples, the original sample will be amalgamated (by acomplicated filtration method) with the convolution sample. Common over-tones will be amplified, different overtones will be reduced, and a number ofambient characteristics will be transferred.

Note: A similar technique is available in the FFT Analyze Filter - if a sample isfiltered with the saved frequency response from another sample. This method, how-ever, only considers the frequency responses of the two samples.

Convolution can result in innovative reverb, delay, filter, or morph-effects be-tween the two samples. Unexpected results can take your Project in new direc-tions!The basics of this method are the same as those of the Room Simulator. In thiscase, an exact mathematical convolution function is used, whereas the convolu-tion function is optimized for calculating reverb responses in the Room Simu-lator. The maximum length of the Convolution sample is double that of theRoom Simulator.

Convolution SampleUse this Drop-Down List to select the audio segment that you wish to use forthe ‘characteristics’ to be applied to the current HD Wave, RAP, or selectedObject in the VIP window. When using files longer than 1048576 samples,only the first 1048576 samples will be used.

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Menu EffectsImportant note: The segment of audio (Convolution Sample) must first be loadedinto Samplitude (as an HD Wave or RAP) before it can be selected from this list.

MixOriginal (%): This parameter allows you to adjust the Level of the original(dry) audio. The data can be entered numerically (via keyboard) in the adjacentdata field.

Result (dB): This parameter allows you to adjust the Level of the resultant(wet) audio produced by the Convolution process. The data can be entered nu-merically in the adjacent data field. Values above -10 dB can sometimes pro-duce distortion or clipping, so it may be advisable to use small values initially.

Create CopyAs per most of the other Effects menu items, this important option determineswhether or not an Undo will be created, prior to processing the file. As always,we strongly recommend that you leave this option enabled!

Save SetupClick on this butvon to save the current Convolution parameters as a Preset.

Load SetupClick on this button to load a previously saved Convolution Preset.

PreviewClick on this button to audition your current Convolution settings. The dura-tion of the Preview is determined by the Preview Time setting in the Options >System (Shortcut -Y) menu.

OKClick on this button to write the current Convolution settings to the audio file,and close the Convolution window.

CancelCloses the Convolution window, without applying any processing.

DistortionThis effect allows you to distort audio material by using a non-linear transferreference line; the signal becomes louder, and overtones are added.By adjusting the starting point of the distortion (Threshold), a soft, analog-sound-ing distortion (i.e. Threshold at –40 dB) can be created (Overdrive). A harsh,digital sounding distortion can be created with a Threshold setting of 0 dB. TheRatio setting determines the strength of the distortion.

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AmpSimulationThe Ampsimulator is a newly-developed real-time effect that simulates tubeamp sound properties. It is especially suitable for guitar sounds, but also for theorgan or recordings of vocals.

Amp Model: Here you can select from a range of amplifiers whose sound canbe simulated.

Speaker Model: Here you can select from a range of speakers whose soundcan be simulated.

EQ-Section: A 3 band equalizer for setting the bass, mid-tones and treble.

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Bright: The Bright button is for a particularly sharp sound display, that can bejarring when used with the following automatic controllers:

Distortion: Creates distortion in typical analog amplifier fashion.

Volume: Controls the entire volume of the amplifier module.

VocoderThe Vocoder in brief: Carrier material (e.g. a string instrument surface or aSynth chord) are affected by a modulator (e.g. language or singing, or evendrum loops) to give the impression that the material is “speaking” or “singing”.This is done by transmitting the modulator’s frequency characteristics to thecarrier. The modulator signal is divided into a number of frequency bands andapportioned positions at regular intervals in the respective frequency bands.These measurements control a filter for the carrier that correspond to the samefrequency bands.Strictly speaking, a Vocoder has two inputs and an output. Since Samplitudeeffects have only one input, the carrier is “won” from within the effect, whichcan then be mixed precisely with white noise or any WAV file. You can alsoexchange carriers and modulators in order to use the input signal of the Vo-coder effect as a carrier.There is a Real-time FFT filter within the Vocoder for editing Vocoder signals.

Vocoder control elementsFilter curves: The yellow line represents the frequency properties of the modu-lator. The light blue line represents the frequency properties of the carrier. Thered line is a freely plottable FFT Filter. Any frequency property can thus bedrawn in to optimize the results of the Vocoder. The blue line is the resultingfilter curve of the Vocoder.

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Menu EffectsFor more about zooming and filter graph display options, please read the FFTfilter help files.

Reset filter: resets the red filter curve to its initial state.

Dynamic filter parametersResponse time (Release): Affects the speed of adjusting the dynamic filter tothe modulator spectrum. The greater the value, the slower the Vocoder followsthe modulator and softer the sound changes in the carrier. Give the parametersa low value for better results.

Dynamic reduction: Affects the dynamics of the modulator signal for reduc-ing the modulation depth of the dynamic filter.This prevents two modulation side effects: Firstly, modulator signal volumeadjustment is transferred to the output signal in a less complex form. Thisimproves the Vocoder voice in the mix. Secondly, low-level portions of the modu-lator signal are ignored so as to avoid a modulation of the carrier by breathingsounds or signal interference.This parameter is useful only if the modulator signal is fully controlled.Instead of using dynamic reduction within the Vocoder, you can adjust themodulator’s signal dynamics (or the results) with the dynamic tools integratedin the program.

Resolution (Number of filter bands): Dynamic filter resolution (approxi-mately dependant upon the number of filter bands). The best results occur withmedium to high resolution.

Pitch (Filter shift): The dynamic filter of the Vocoder shifts the frequencyup or down to create certain pitch effects. For the best results, don’t changethese parameter.

Formant: Tosses or stretches the dynamic filter curves to manipulate theformants, thus changing the characteristics of the Vocoder voice.

Smooth/normal overlapping: Internal parameter that changes the overlap-ping time window (which calculates the modulator signal spectrum).In the „Smooth“ mode, the Vocoder sounds are softer and more tuneful, butquality may suffer.

Carrier signalsSample selection list: Carrier samples are selected here. All opened waveprojects are listed along with some special carrier samples loaded automaticallyfrom the Vocoder directory. Carrier samples prefer materials with even fre-quencies e.g. orchestral chords, broad synthesizer surfaces, wind noises etc.

Sample (dB): Sets the number of carrier samples.

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Menu EffectsNoise(dB): Automatic controller that mixes white noise into the carrier. This isabove all useful if the carrier material can’t be modulated well or sounds toouneven. Whispering voices can also be produced in this fashion. It’s also goodfor filling in drum loops between beats that are too far apart.

Modulator/Exchange carriers: Exchanges 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, as carrier signal no moreSAM-polarize from the selection list used, but a Stereokanal of the input signal.(the other channel serves further than modulator.) The advantage is the result-ing accurate synchronisation between carrier and modulator signal - the resultis always independent of the Playstart.

Volume: Adjusts the Vocoder output level.

Resample / TimestretchingNote: If you only want to change the sample rate of an audio file, use the Adjustsample rate option from the Effects Menu.

All algorithms in this dialog use the time factor parameter and pitch as inputparameter.The time factor calculation (from the original length/original speed and thelength required / speed required) can be comfortably activated on the right sideof the dialog.

ResamplingSamplers and PCM Synthesizers transpose samples during this procedure. Timefactor and pitch are dependent upon each other: the shorter the audio material,the more higher the pitch. The effect is comparable with changing the playingspeed of record players or tape recorders.The effect is relatively loss-free, the sound loss is smaller than with allTimestretching/Pitchshifting procedures. If pitch change is justified by chang-ing the speed (and vice versa), use this algorithm.

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Menu EffectsWhen lengthening the audio material by resampling, very small aliasing effectsmay occur. the anti- aliasing filter helps in this regard. Alternatively, since thisfilter requires additional CPU load, it can be activated for the computation andthe real-time preview. The filter is also available for the other algorithms thatuse resampling internally when pitchshifting.

Pitch-Shifting/TimestretchingWith all other algorithms, pitch and length variation are independently adjust-able. These algorithms produce artefacts, and depending upon the audio mate-rial, other algorithms may produce better results. The algorithm used forTimestretching/Pitchshifting as a default object effect can be stored in the waveproject with the Timestretch-Patcher.

Algorithms for Pitchshifting / TimestretchingStandardAn algorithm is used that usually produces very good results. It uses factors(from 0.9 to 1.1) and fixed phases, which maintains the impression of space forstereo signals. For drum loops or other “beaty” material, this algorithm is onlyoccasionally suitable because it can change the groove and - in rare cases - doublesor erases beats. The cross-fade length parameter determines sample length tobe added to this algorithm. The optimal size depends on the basic frequencyand/or the deepest frequency in the material. If the duration of one period islarger than the length of the cross-fade, the wave shape can be distorted andmay develop greater artefacts.For 44.1 kHz samples, approx. 900 samples works satisfactorily. This corre-sponds to a frequency of approx. 50 cycles per second.With heavily periodic material (e.g. instrument samples) it is recommendedthat you mark the duration from in front of a sample and then use this area asyour desired length.Time Compression (shorter sample length) usually works better with this astimestretching. When combining two samples, reduce the longer sample ratherthan the other way around.

Use recommended when:– working with complex material (Mix)– the other algorithms fail

Load on the CPU: light

SmoothedThis is a substantially more complex algorithm which demands more comput-ing time. The material can now be processed even with very large factors (0.2...50) without creating large artefacts. That’s because the material is “smoothed”,which creates a softer sound and changes phase position. This smoothing ishardly audible in recordings of speech, singing or solo instruments. With morecomplex spectra – mixed sounds from different instruments or fixed mixes –problems may arise. This algorithm is not suitable for drum loops and other

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Menu Effectsmaterial with pronounced transience. The groove remains, but the phase shiftalters the ‘attacks’. In such cases, a small correction (factor approx. 0.9 - 1.1)often does the trick.

Use recommended for:– orchestral instruments– speech recordings with background noise (e.g. video recordings)– Synth surfaces, guitars…

Use not suitable for:– Stereomix– Drum loops, percussion

Load on the CPU: very heavy

Beat marker-based slicingThis mode was primarily conceived for adjusting drum loops, but can also beused for other material such as monophone bass lines or sequencer lines. Thealgorithm divides the material into individual components – individual notesor beats marked by beat markers.This “snippet”. is then constructed in the new timeline: Individual beats areoverlaid when the tempo is increased. Small pauses appear between beats whenthe tempo is decreased.If you are able to use this algorithm, do so. It allows you to change the tempowithout loss of quality and with minimum CPU load.

Use recommended for:– Samples to be cut into individual notes or measures (beats)– Drum loops, but only when beats don’t overlap and there is little reverb

Use certainly not suitable for:– Anything else

Load on the CPU: very light

Beat marker-based stretchingThis algorithm works like the standard algorithm, but synchronizes the stretchedmaterial with the beat markers. The groove is consequently altered somewhat,and beats may be duplicated or deleted. In contrast to the beat marker-basedslicing algorithm (which may produce missing or incorrectly positioned mark-ers), this algorithm’s disadvantage lies in decreased synchronization perfor-mance. In practice, the automatic generation of markers almost always pro-duces good results. One should avoid placing beat markers too close to each (<1000 samples.)

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Menu EffectsUse recommended for:– All types of rhythmic samples that can’t be cut into individual notes or mea-

sures (beats)– Complex overlapping drum loops– For when beat marker-based slicing can’t be employed or when it’s too much

bother to find the perfect beat marker position.

Load on the CPU: light

Beat marker-based slicing and beat marker stretching – Setting andevaluating beat markersSetting markers: The Beat markers can be set manually or automatically. Usingthe Timestretching Patcher, you can set the markers and save them in the Wavefile (patched). Use the Resampling/Timestretching dialog (Effects menu) to setthe destructive calculation of the (temporary) beat marker.

Evaluating patched markers: In the object editor, use the “Patched” flag todetermine whether the beat markers should be calculated automatically in real-time, or whether patched beat markers should be used (if available). In theResampling/Timestretching dialog (Effects menu) patched markers are used ifthe find beat marker option is not employed.

Setting beat markers in the Timestretching Patcher or in theResampling/ Timestretching Dialog (Effects menu)Generating beat markers — Options:Find beat marker: The algorithm searches for and marks out beats in theaudio material.

Beat recognition threshold: Sets the threshold for beat recognition. Whenthe wave project is being displayed, you can follow the placement of beats. Thisalso works with VIP objects if the wave project is kep open simultaneously.Beat markers can be re-positioned, copied, deleted etc. by activating the appli-cable marker commands.

When new markers are created, the marker name must be assigned “BeatMarker”. Before editing, we advise that you set the beat recognition thresholdto a high value and then delete the redundant markers. It is quicker than add-ing markers manually.

You can only edit markers while the dialog is open by using the Timestretching-Patcher . This allows you to check the results without having to close the dialog.

Monophone VoiceThis is Timestretching and Pitchshifting for solo vocals, speech or solo instru-ments. The material must not contain background noises and should be free ofreverb. With suitable source material, the audio quality is very high. The “Useformant correction” option secures the formants when pitchshifting so that the

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Menu Effects“Mickey Mouse effect” doesn’t occur. You can therefore “compose” a backgroundchorus from just one solo voice. Formants can also be shifted across + - 12 half-tones to create voice distortion.

Typical uses are:– Intonation correction (imprecisely pitched notes should be removed as ob-

jects and worked on separately)– Harmonizer effects: an object with singing can be copied and shifted down-

wards. If the pitch is then changed, a second voice is generated, etc.– Creating background vocals from existing vocal samples– Timestretching– Speech sample distortion

Use recommended for:solo vocals, speech or solo instruments without overlapping, little or no reverbor background noises.

Use certainly not suitable for:Anything else

Load on the CPU: heavy

Change Sample RateThis option opens the Change Sample Rate window, allowing you to convertthe Sample Rate of Hard Disk (HD Wave) or RAM Projects (RAP). As an exam-ple, this is where you convert audio from 48kHZ to 44.1kHz, in preparation forCD burning. This process will create a new copy of the HD Wave or RAP file,and apply the Sample Rate Conversion to the copy. In other words, you don’thave to worry about destroying the original audio file.

Important note: You can only convert the Sample Rate(s) of HD Wave or RAP files!If you wish to convert the Sample Rate of an Object in the VIP window, right-click onthe Object and select Destructive Editing. This will open the HD Wave or RAP filethat the Object represents.

New Sample RateThis parameter determines the new Sample Rate for the copy (HD Wave orRAP). You can use the radio buttons to select from the most common Sample

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Menu EffectsRates, or you can type the Sample Rate into the box. Your audio card MUSTsupport the new Sample Rate, or you will not be able to play the converted audio file!

QualityThis parameter determines the degree of Anti-Aliasing and Interpolation usedwhen converting Sample Rates. The higher the quality, the longer the SampleRate Conversion takes to process.The available Conversion algorithms range from Standard to Ultra High 2, of-fering a suitable quality for all needs:

StandardAn interpolation algorithm is used, which is also applied during realtimeresampling. This setting is appropriate for work where high quality is not nec-essary, but speed is important.

HighThis adds a filter to dampen the aliasing frequencies or to improve the recon-struction (Interpolation). When using extreme Conversion ratios, such as con-verting from a 48 kHz signal to a 22 kHz signal, this setting may improve theresults.

Very HighThis setting uses a new algorithm which utilizes a higher Sample Rate, inter-nally. The input and output Sample rates are divisible by this internal SampleRate. (As an example, the Conversion from 48 to 44.1 kHz uses an internalSample Rate off 7.056 MHz). This ensures the highest possible quality.This method is also used during CD-Bouncing, if the Sample Rate of the projectis not 44.1 kHz.

Ultra High 1Similar to Very High, but with a higher internal filter order. CPU load increasesdramatically.

Ultra High 2Similar to Very High, but with a super high-quality internal filter order. CPUload increases sharply. This algorithm is only useful for 32-bit float files, as themaximum level possible for artefacts is lower than -96 dB.

Note: Reducing the Sample Rate will result in a loss of high frequency content. i.eWhen converting from 48kHz to 44.1kHz, this loss is negligible and above the rangeof human hearing. When converting from 44.1kHz to 22.05kHz, however, you willdefinitely notice the difference. The highest frequency that can be represented by theaudio is equal to half the Sample Rate. In other words, if the Sample Rate is 22.05kHz,the highest frequency that the audio can reproduce is 11.025kHz.

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Menu EffectsOKClick on this button to convert the Sample Rate of the audio file (using thecurrent settings), and close the Change Sample Rate window

CancelClick on this button to close the Change Sample Rate window, without apply-ing Sample Rate Conversion.

Some Notes On Sample Rate Conversion (SRC):Sample Rate Conversion (SRC) is often misunderstood by newcomers to dig-ital audio. Some people become confused about the difference between SRCand Bit Depth (16/24/32 Bit). Here are a few quick notes which broadly sum-marize the important issues:1. Sample Rates are principally related (by the Nyquist Theory) to Frequency

Response, while Bit Depth is principally related to Dynamic Range. In otherwords, Sample Rates have no effect on Dynamic Range.

2. Anti Aliasing Filters are used when performing SRC to reduce Aliasing Dis-tortion, while Dithering is used when reducing Bit Depth to reduce (mask)Quantization distortion, caused by Truncation (removing Bits from thewordlength i.e. 24 bit truncated to 16 bit).

3. A simple chart: Sample Rate > Frequency Response > Anti Aliasing.Resolution=Bit Depth > Dynamic Range > Quantization > Dithering.

4. Due to the complicated mathematics involved in SRC, the quality of the Con-version was - at best - a compromise in the past. Poor interpolation algo-rithms, combined with the steep filters required for the removal of aliasingdistortion, often resulted in noticeable quality differences between the origi-nal and the resampled audio. In recent years, advances in algorithm qualityhave dramatically reduced such artefacts. The algorithms in Samplitude (par-ticularly the Ultra settings) offer extremely high quality SRC results. We aresure that even the most pedantic of audio engineers will be very impressedwith Samplitude’s SRC capabilities!

5. In the past, some audio engineers would perform SRC (in a roundaboutmanner) by re-recording the audio, in the analog domain at the new SampleRate, to avoid the problems of poor SRC. As an example, a 48kHz Mix needsto be converted to 44.1 kHz for CD Mastering. The engineer would play themix at 48kHz through the analog converters, while re-recording the analogaudio at 44.1 kHz onto another recording device.

By using this method, digital SRC is avoided and therefore Aliasing distortionis avoided (although the filters in AD/DA converters also create some distor-tion around the Nyquist frequency).This is still a legitimate method of performing SRC, particularly if your AD/DAconverters are of the highest standard. If you’re one of the engineers who em-ploys this method, we urge you to try Samplitude’s high quality settings, andcarefully compare results. You will be pleasantly surprised at the excellent SRCSamplitude offers – and will save a LOT of time when converting your Projects.

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Menu EffectsTip: Sample Rate Conversion can be performed in Realtime (while recording) fromwithin the Record window. In other words, 48kHz projects from DAT can be re-corded into Samplitude, with the Sample Rate being converted ”on the fly”. This is agreat time saver! For important Projects where maximum fidelity is essential, how-ever, we recommend performing Sample Rate Conversion offline (i.e. destructively)The Ultra settings require a LOT of CPU processing power!

Sample ManipulationSample Manipulation > Sample Data /2Every second sampling value is removed, and the entire sample is reduced tohalf its length. The audible pitch is doubled, i.e. raised by one octave. Whenhalving the sampling rate, you will notice that the corresponding upper har-monics are missing. This option is only available when working in DestructiveEditing mode - i.e. directly on an HD Wave file.The frequency Range is divided (i.e. 0-22.05 kHz @ 44.1 kHz Sample Rate – >0-11.025 kHz @ 22.05 kHz).

Sample Manipulation > Sample Data *2This function inserts a new value between two neighbouring sample values. Itis the average of the two sampling values.The entire sample is doubled in length, and the resulting pitch of the sample ishalved. You must then double the playback rate to achieve the former pitch.You should note that the higher sample rate does not lead to new upper har-monics – the frequency range of the audio material remains the same.This option is only available when working in Destructive Editing mode - i.e.directly on an HD Wave file.

Sample Manipulation > ReverseThe sample data in the selected Range is reversed along the time axis - i.e. thefile will play backwards, with the (former) end position now placed at the (former)start position, and vice-versa. This allows for very interesting effects, not tomention ‘backward masking’ hidden messages, frequently rumoured to be invarious songs....This function is reversible: if you do not select a new Range, reuse of the func-tion restores the original material.The option is only available when working in Destructive Editing mode - i.e.directly on an HD Wave file.

Build Physical LoopThis function features a complex loop optimization algorithm, for use in Waveprojects. It is useful when samples are to be used for instrumental sounds, orfor wavetable synthesis. Sample loops which feature strings, drones, pads andambient effects (all usually difficult to transparently loop) can easily be createdwith this option!

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Prior to processing a sample, you will need to select a Range that defines theapproximate boundaries (edges) of the sample loop. To do this, you must be inDestructive Editing mode - i.e. working directly on the HD Wave project. (Ob-ject > Destructive Editing when working in a VIP)

Remember that you can shift and vary a Range during playback, in order to find thebest loop position. A good shortcut technique for fine tuning loop positions is providedby activating the split Range mode (Shortcut – B) . The sample will now be displayedin 3 sections.

To ensure a smooth, glitch-free loop, the outer limits of the Range will be set tozero amplitude. By applying a crossfade to the material at the loop endpoint(containing the sample data in front of the loop’s startpoint), Samplitude willcreate a transparent transition between the loop end and startpoints.When a marker is placed before the selected Range, the Range between themarker and the loop startpoint will be used for the crossfade. This offers you afeature found in professional hardware samplers. To achieve a short crossfade,set the marker closer to the loop startpoint. To achieve a longer crossfade, posi-tion the marker further away from the loop startpoint.

Note: The distance between the marker and startpoint of the loop Range needs to besmaller than the loop Range itself, in order to make a crossfade possible.

Switch ChannelsThis option allows you to switch the left and right channels of a stereo HDWave project.

Stereo EnhancerThis option opens the Multi-Band Stereo Enhancer window (Not available as adestructive process in Samplitude Studio! It is available in the Mixer Master section).In this window, you can expand or collapse the Stereo Image (in up to threeseparate Frequency Bands) of Hard Disk (HD Wave) and RAM Projects (RAP),or selected Objects in the VIP window.

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Note: This option can only be applied to Stereo audio files.

The Multi-Band Stereo Enhancer allows you to perform detailed modificationsand corrections to the stereo image, in three independent frequency bands.The signal is separated into the three frequency bands and the separate bandsare processed individually.The reassembly of the independent bands is 100% phase-neutral, thanks to theFIR Complement Filter technique – no discoloration of the frequency responseis introduced. This method is superior to that of many other stereo enhancers,which work by destroying phase coherency.Using multiple bands to affect the stereo image has many important advan-tages over image enhancers that destroy phase coherency. As an example, in-creasing the width of the mid-range prevents the ”typical” problems of muddyhighs and lows when using such enhancers. These issues often show up due tophase cancellations. In addition, the decline of mono compatibility caused byan increase of the base width is limited to the treatment of a specific band.

Some Important Multi-Band Stereo Enhancer Applications1. Reduction or expansion of the stereo base width.2. ”Punchy” bass - through reduction of the base width in the bass range.3. Control and correction of problems in the stereo image of a completed mix.4. Relocation of the mono portion of a stereo recording within the panorama

field (directional mixing). This can also be used to move a centered vocaltrack to the left or right in a stereo image.

5. Damping or removing mono signals in the mid-frequency range, in order tocreate ‘room’ in tracks or drum loops. This allows the addition of furtherinstruments or vocals.

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Multi Band ModeThe algorithm works with three frequency bands if this option is checked.The Multi Band Mode is not automatically active when using the Enhancer inthe Mixer Master section. This reduces the initial load on the CPU when se-lected in the Master section.

Solo ModeSelecting the Solo mode buttons allows previewing of individual frequencybands. This greatly simplifies the process of chaning filter parameter settings.As an example, you can isolate a specific frequency range of a mix, and changethe aspect of the stereo image for the range.

Direction Pan ModeThis switches between two panorama control modes.If the option is checked, only the mono portion (the center signal) is consideredwhen changing the panorama setting. The panorama control functions as adirectional mix controller. This allows you to move previously centered vocalsto the left or right channel. Any portion of the remaining audio signal that isnot centered is unaltered.Otherwise, all panorama controls operate conventionally – the complete stereosignal is changed (mono and the remaining left and right portions).

Setup 1/2/3To compare different dialog configurations, select a different radio button. Canalso be used as a bypass function, if one of the configurations is left at thedefault setting.

Phase CorrelationOpens the Phase Correlation Display. This is especially useful in Solo mode.The base width and panorama setting for each frequency band can be visuallychecked.

TestClick on this button to hear a realtime audition of the processed audio.

PreviewThis is the non realtime preview function, which may be used with older orslower machines, and for processor-intensive settings in the filter section.

Save, Load, Delete SetupThis allows you to save, load, and delete configuration settings for the dialog.The default file extension is *.ste.

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Menu EffectsOKThe algorithm is applied to the selected audio Range or VIP Object. In theMixer Master section, the settings in the dialog are adapted for use in the Mas-ter section.

CancelThe dialog is closed without applying any changes. The settings are ignoredwhen used in the Mixer Master section.

Base Width Fader (Vertical fader)The width value is set between 0 and 200. A setting of ‘0’ means ‘Mono’, ‘100’= ‘No Change’ or ‘Stereo’, and 200 = ‘Maximum Width’ (Difference Signal).Dependent on the correlation between left and right, a level boost can occur ifthe value of the fader setting is reduced. In extreme cases, a level boost of +3 dBmay be introduced. This is the case if the left and right channels are identical(this corresponds to maximum correlation), and when setting the base width to0 (Mono).Increasing the base width to values above 100 decreases mono compatibility. Ifthe base width is reduced, mono compatibility is maintained.

PanThe panorama for each of the bands is controlled with this knob (or horizontalslider). Damping values are shown in dB.If the Direction Pan Mode option is active, the Pan control functions as a direc-tional controller. Only the mono portion (center signal) is considered.This allows you to isolate centered vocals, and change their position within thestereo field. Any material outside the center remains unchanged.

SoloIf the Solo Mode is checked, an individual band can be selected for previewing.

Split FrequencyThese two faders allow you to set the split frequency for the three filter bands.The values are shown in kHz and intersect with the neighbouring frequencycurve.The selection of split frequencies has an impact on processing power. The CPUload rises with lower frequency settings.

Band SeparationThis setting determines the characteristics of the filter segment, and is used toincrease separation.Higher settings will produce the following:1. The attack level of the filter curves is increased – the transition between two

bands is smaller.2. The absorption in the cross section increases (Setting Low: approx. 25-35 dB,

Normal: approx. 35-45 dB, High: approx. 55-75 dB).

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Menu Effects3. The coarseness of the frequency response of the individual bands is reduced.

This is usually not a problem, as the coarseness of the individual filter bandsis cancelled out, due to the complementary filter technique. The output sig-nal is always reproduced without any coarseness.

4. The CPU load increases.

Invert PhaseThe sample data within the selected range is inverted along the amplitude axis.This phase inversion means that negative values become positive, and vice versa.This function is reversed by simply reusing the command.The ‘Invert’ function permits samples with different phases to be matched.Along with the available mixing functions (which are, from a mathematicalviewpoint, adding functions), you can actually subtract samples by applyingthis function to the selected sample.

Process only left/right stereo channelOnly the right/left channel of a stereo Wav project will be affected by effects,when ”Left/Right processing only” is used. This option is only available whenin Wave/Destructive Editing mode.The L/R buttons (in the lower left corner of the WAV project window) have thesame effect.

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Menu Range

The Range menu contains functions which enable you to select sections (Ranges)of a Project in various ways. Ranges work in VIP Tracks, and when workingdirectly on HD Wave files.Many of Samplitude’s processing options require you to select a Range prior totheir use. Spending some time learning the many ways you can select Rangesin Samplitude, will dramatically increase your editing speed.

Note: When selecting a Range for playback (when looping a particular section foroverdub rehearsal, for example), it is unnecessary to drag the Range vertically downover all of the Tracks. Selecting one Track will still result in the playback of all Tracks.

Range allChoose this option to quickly mark a Range over the entire Project (HD Wave,RAP, or VIP).

Shortcut: a

Move Play Cursor

Move Play Cursor > to BeginningChoose this option to position the Locator (Cursor) at the beginning of theProject (HD Wave, RAP, or VIP).

Shortcut: Home

Move Play Cursor > to EndChoose this option to position the Locator (Cursor) at the end of the Project(HD Wave, RAP, or VIP).

Shortcut: End

Move Play Cursor > to Range StartChoose this option to position the Locator (Cursor) at the beginning of thecurrently marked Range.

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Menu Range

Shortcut: Alt + Left arrow

Move Play Cursor > to Range EndChoose this option to position the Locator (Cursor) at the end of the currentlymarked Range.

Shortcut: Alt + Right arrow

Move Play Cursor > Left Move in Page ModeWhen a Range is selected, this option moves the left boundary of the Range tothe left (i.e. lengthens the Range), when in Page mode. Page mode scrolls tooff-screen pages, sequentially – page 3 is onscreen, so scrolling to the right willshow page 4. A left scroll shows page 2.When a Range is not selected, this option moves the Locator (Cursor) to the left(in Page mode).

Shortcut: Left arrow

Move Play Cursor > Left Move in Scroll ModeWhen a Range is selected, this option moves the left boundary of the Range tothe left (i.e. lengthens the Range), when in Scroll mode. Scroll mode scrolls tooff-screen positions in a linear fashion – i.e. if the onscreen display shows bars1 to 8, Scroll mode will show you bars 2 thru 9, 3 thru 10 etc. as the songposition is updated.When a Range is not selected, this option moves the Locator (Cursor) to the leftin Scroll mode.

Shortcut: Shift + Left arrow

Move Play Cursor > Right Move in Page ModeWhen a Range is selected, this option moves the left boundary of the Range tothe right (i.e. shortens the Range) , when in Page mode. Page mode scrolls tooff-screen pages, sequentially.When a Range is not selected, this option moves the Locator (Cursor) to theright in Page mode.

Shortcut: Right arrow

Move Play Cursor > Right Move in Scroll ModeWhen a Range is selected, this option moves the left boundary of the Range tothe right (i.e. shortens the Range) , when in Scroll mode. Scroll mode scrolls tooff-screen positions in a linear fashion.When a Range is not selected, this option moves the Locator (Cursor) to theright in Scroll mode.

Note: The above functions work best when using the keyboard shortcuts.

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Menu RangeShortcut: Shift + Right arrow

Move Play Cursor > Object border left/rightThis option moves the Locator (Cursor) to the left (right) border of the selectedObject.

Move Play Cursor > Marker leftThis option moves the Locator (Cursor) to the next marker to the left (previousmarker).

Shortcut: F2

Move Play Cursor > Marker rightThis option moves the Locator (Cursor) to the next marker to the right (nextmarker).

Shortcut: F3

Edit Range

Move range start leftMoves the start of the area one pixel to the left in the current VIP window. Thedistance moved is determined by the zoom factor. The greater the zoom factor,the shorter the distance.

Shortcut: Alt + “/” (Number pad); <- (Cursor left)

Move range start rightMoves the start of the area one pixel to the right in the current VIP window. Thedistance moved is determined by the zoom factor. The greater the zoom factor,the shorter the distance.

Shortcut: Alt + “*” (Number pad); -> (Cursor right)

Move range end leftMoves the start of the area one pixel to the left in the current VIP window. Thedistance moved is determined by the zoom factor. The greater the zoom factor,the shorter the distance.

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Menu Range

Shortcut: Alt + “-” (Number pad); Shift + <- (Cursor left)

Move range end rightMoves the start of the area one pixel to the right in the current VIP window. Thedistance moved is determined by the zoom factor. The greater the zoom factor,the shorter the distance.

Shortcut: Alt + “+” (Number pad); Shift + -> (Cursor right)

Edit Range > Range to BeginningChoose this option to extend the currently marked Range to the beginning ofthe Project (HD Wave, RAP, or VIP).

Shortcut: Alt + Home)

Edit Range > Range to EndChoose this option to extend the currently marked Range to the end of theProject (HD Wave, RAP, or VIP).

Shortcut: Alt + End

Edit Range > Flip Range LeftChoose this option to flip the currently marked Range to the left. (What used tobe the start of the marked Range is now the end of the marked Range.)

Shortcut: Ctrl + Shift + Left arrow

Edit Range > Flip Range RightChoose this option to flip the currently marked Range to the right. (What usedto be the end of the marked Range is now the beginning of the marked Range.)

Shortcut: Ctrl + Shift + Right arrow

Edit Range > Beginning of Range > 0Choose this option to move the Beginning of the currently marked Range to thenext Zero Amplitude Crossing.This option is only available when Destructively Editing (i.e. working directlyon an HD Wave file).

Tip: Editing Cuts should be made at Zero Amplitude Crossings, to prevent clicks.Samplitude’s Crossfade features will usually prevent this problem from being an issuewhen editing. If you are cutting audio for use in another software application, how-ever, ensure that you place your cuts at Zero Amplitude Crossings.

Shortcut: Ctrl+Page Up

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Menu Range

Edit Range > End of Range > 0Choose this option to move the End of the currently marked Range to the nextZero Amplitude Crossing.This option is only available when Destructively Editing (i.e. working directlyon an HD Wave file).

Tip: Editing Cuts should be made at Zero Amplitude Crossings, to prevent clicks.Samplitude’s Crossfade features will usually prevent this problem from being an issuewhen editing. If you are cutting audio for use in another software application, how-ever, ensure that you place your cuts at Zero Amplitude Crossings.

Shortcut: Ctrl+Page Down

Edit Range > Beginning of Range < 0Choose this option to move the Beginning of the currently marked Range to theprevious Zero Amplitude Crossing.This option is only available when Destructively Editing (i.e. working directlyon an HD Wave file).

Tip: Editing Cuts should be made at Zero Amplitude Crossings, to prevent clicks.Samplitude’s Crossfade features will usually prevent this problem from being an issuewhen editing. If you are cutting audio for use in another software application, how-ever, ensure that you place your cuts at Zero Amplitude Crossings.

Shortcut: Shift + Page Up

Edit Range > End of Range < 0Choose this option to move the End of the currently marked Range to the pre-vious Zero Amplitude Crossing.This option is only available when Destructively Editing (i.e. working directlyon an HD Wave file).

Tip: Editing Cuts should be made at Zero Amplitude Crossings, to prevent clicks.Samplitude’s Crossfade features will usually prevent this problem from being an issuewhen editing. If you are cutting audio for use in another software application, how-ever, ensure that you place your cuts at Zero Amplitude Crossings.

Shortcut: Shift + Page Down

Edit Range > 0 > Range < 0Choose this option to move the Beginning of the currently marked Range to thenext Zero Amplitude Crossing, and to move the End of the currently markedRange to the previous (left) Zero Amplitude Crossing.

Shortcut: Clear

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Menu RangeNote: If you do not have a Clear key on your keyboard, it is easy to assign your ownshortcut, for this option. A possible suggestion ks Ctrl+Shift+Up arrow, as this is notused by default. To change the shortcut key, open tje Options > Program Preferences> Edit Keyboard Commands window.

Range start to left markerChoose this option to extend the Range to the next marker on the left.

Shortcut Shift + F2

Range start to left Object borderChoose this option to extend the Range to the left border of the next Object.

Range end to rigjt markerChoose this option to extend the Range to the next right marker.

Shortcut Shift + F3

Range end to right Object borderChoose this option to extend the Range to the right border of the next Object.

Range over aln selected ObjectsChoose this option to extend the Range over all selected Objects.

Range Length toThe following options allow you to adjust the Length of a marked Range to aprecise number of Beats.

Note: To define the length of a Beat; select View > Snap and Grid Setup.... You cannow enter the Time Signatwre, Tempo (in Beats Per Minute), and Pulse Per QuarterNote resolution.

1- 16 Beat/s: Choose"this option to adjust the Length of the currently markedRange to a duration of 1, 2 , 4, 8 or 16 Beats.

Tip: the Grid option (under the View menu) can display Bars and Beats, and theSnap function (under the View menu) can be set to Snap to Bars.

Split RangeChoose this option to display the current Project (HD Wave, RAP, or VIP) inthree independent views. The top view shows the entire Project (HD Wave,RAP, or VIP), the lower left view shows the audio near the Beginning of thecurrently marked Range, and the lower right view shows the audio near theEnd of the currently marked Range. Each view has its own independent Zoomcontrols, and can be used to manipulate the currently marked Range.

Note: To return the screen to a normal view, press Shift + B.

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Menu RangeTip: This option is very useful when trying to create loops! In the lower views, you canZoom-In (independently) at the Beginning and End of the currently marked Range.This allows very detailed adjustments to the Range borders, without having to con-stantly Zoom-In and Out.

Shortcut: B

Split Range for VideoThis option is nearly identical to the Split Range option above, but is intendedfor use with AVI (video) files.

Note: To return the screen to a normal view, press Shift + B.

Store RangeThe following options allow marked Ranges to be stored (for later recall).

Other....Choose this option to store the currently marked Range under a specific name.

Shortcut: Alt + F11

Note: Ranges stored under specific names can only be recalled with the Range Man-ager (Tools menu).

2 – 10Choose this option to store the currently marked Range to the F2....F 10 keys(for later recall by pressing ctrl + F2....F10 keys).

Shortcuts: Alt + F2....F 10

2 – 3Choose this option to store the currently marked Range to the F2/F3 ke{ (forlater recall by pressing ctrl + F2/F3 key).

Shortcuts: Alt + F2/F3

Get Range2 – 10Choose this option to recall the marked Range stored to the F2....F10 key.

Shortcuts: ctrl + F2....F10

2 – 3Choose this option to recall the marked Range stored to the F2/F3 key.

Shortcuts: ctrl +F2/F3

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Menu Range

Get Range LengthThe following options are similar to the Get Range options, but in this case onlythe stored Range’s Length is recalled (not the Range itself). This Range Lengthis then used to mark a new Range at the current Locator (Cursor) position.

2 – 10Choose this option to recall the Length of the marked Range stored to theF2....F10 key. This Range Length will be used to mark a new Range at the cur-rent Locator (Cursor) position.

Shortcuts: Ctrl + Shift + F2....F10

2 – 3Choose this option to recall the Length of the marked Range stored to theF2....F10 key. This Range Length will be used to mark a new Range at the cur-rent Locator (Cursor) position.

Shortcuts: Ctrl + Shift + F2 / F3

Recall last RangeChoose this option to recall the last Range that was marked in an HD Wave,RAP, or VIP window. As an example, if you’ve mistakenly removed a markedRange, selecting this option will restore it.

Shortcuts: Shift + Backspace

Store MarkerThe following options allow Markers to be placed, and their location stored (forlater recall and positioning of the Cursor).

Other....Choose this option to place a Marker (and store its position) under a specificname.

Note: The position of Markers stored under specific names can only be recalled withthe Marker / CD Track Manager (Tools menu).

Shortcut: Key ”?”

Auto NumberChoose this option to place an automatically named Marker (and store its posi-tion).

Shortcut Key ”‘”

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Menu Range1 – 10Choose this option to place a Marker (and store its position for later recall) tothe 1....10 key.

Shortcuts: Shift + 1....10

Note: All Markers can be placed in realtime during playback, except for the Other....option. For this option, the Marker will be placed at themost recent ”stop” position ofthe Cursor, regardless of whether or not playback is active when the command isselected.

Get MarkerThe following options allow Marker positions to be recalled in realtime. Youcan also recall Marker positions using the Marker / CD Track Manager or theAudio Marker Manager (Tools menu).

1 – 10Choose this option to recall the Marker position stored to the 1 key. The Cursorwill be placed at that position.

Shortcuts: 1....10

Marker on Range BordersChoose this option to place Markers at the Start and End points of the currentlymarked Range. The Markers will be labelled S (start) and E (end).

Set Markers on Silence....This option opens the Set Markers on Silence.... window. This allows you tohave Samplitude automatically detect Silence, and create/place a Marker eachtime Silence is encountered. The ‘silence threshold’ can be defined. When work-ing in a VIP, you can set Samplitude to split Objects wherever Silence is en-countered.

Important Tip: Only audio to the right of the Locator (Cursor), or audio within amarked Range will be searched! If you wish to search the entire audio file, press theHOME key to place the Locator (Cursor) at the beginning of the file.

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Menu RangeMin. Time (ms): This parameter determines the minimum length of Silencethat must be encountered before the algorithm will actually consider it ‘Silent’,and create/place a Marker.

Threshold (dB): This parameter determines the Level at which the audio isconsidered Silence.

Tip: To quickly see all locations that are below a certain Level, use this parameter inconjunction with the Test button (see below).

Start Number: This parameter defines the starting number used when plac-ing the Markers. As an example, if this parameter is set to 5, the first Markerwill be labelled 5, the next Marker labelled 6, etc.

Prefix: This parameter allows you to enter c Prefix that will appear before eachMarker number. As an example, if you enter ‘low’ for this parameter (and 5 forthe Start Number parameter), the first Marker placed will be labelled low5, thenext Marker labelled low6, etc.

Add Time: After finding silence the Marker will be moved through, adding apositivg or negative time in ms.

Delete Matching Markers: Click on this button to Delete all Markers thatmeet the criteria set by the Min. Time and Threshold parameters. As an exam-ple, let’s say Markers were placed by a previous search. If you enter the samecriteria (set by the Min. Time and"Threshold parameters) and click on this but-ton, these Markers will be deleted.

Delete All Markers: Click on this button to Delete all Markers in the window,or current marked Range.

OK: Click on this button to perform the search, place the Markers, and close theSet Markers on Silence.... window.

Cancel: Click on this button to close the Set Markers on Silence.... window,without performing a search and creating/placing Markers.

Split VIP Objects: When working in a VIP, select this option to have Samplitudesplit the selected Object(s) wherever a Silence Marker is placed.

Test: Click this button to preview the results of the function, prior to complet-ing the command. This is useful for checking that the Threshold settings aresuitable for your needs. Once you are happy that the Threshold settings areright, click the OK button to commit the changes. NB: Split Objects are notshown until you commit to the changes.

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Menu RangeMarker Tips: You can click and drag a Marker to move it. You can also set and adjustvarious Markers via the Markers button, at the top of the Track Properties section(see screen shot below), or by right-clicking on a Marker.

Comparisonics Audio SearchThis function uses the patented Comparisonics algorithm. This allows you tofind the same, or similar sounding, regions in an audio file very quickly – arevolutionary feature!The function has a variety of uses including:– quickly finding particular, repeated, sounds in a recording.– forensic audio work.– finding repeated animal (or other) noises on lengthy field recordings.– finding instances of a particular instrument in a classical recording (e.g. a

cymbal)– finding examples of repeated Foley, or other distinctive sounds, when edit-

ing pre-mixed audio for film/video.

It is assumed that a HD Wave Project is already open. If not, select an Object inthe Track you wish to search, then select Object > Wave Editing.Prior to selecting the command via the menu, you must first select a Range (tobe used as the basis for finding other ”similar” Ranges), and copy it into theclipboard (Key ‘c’). The Range can be of any duration, but 5ms – 5 secs willprovide the best results, depending on the dominant frequency of the audioyou are searching for.

Note: The waveform display does NOT need to be set to Comparisonics Colors (View> VIP Display Mode > Definitions) for this function to work. In fact, with theComparisonics Colors displayed. you would rarely need to use this function, as simi-lar areas can be identified by color!

Once you have selected the Range and copied it"to the clipboard, launch thedialog from the Range > Comparisonics Audio Search menu.

The dialog allows you to change the sensitivity for the algorithm. During theadjustment of the sensitivity level, Samplitude displays ”Match Markers” atpositions identified as a match for the material in the clipboard.

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Menu RangeIn the example above, the algorithm has found 4 locations which contain audiosimilar to that of the clip (which, in this case, contained a wide frequency spec-trum including bass guitar, kick drum and crash cymbal). Note that the originalRange area has been correctly identified by the algorithm.The Sensitivity fader is used to adjust the threshold of the algorithm, thus de-termining the relative similarity to the audio in the clipboard. You may need toexperiment a little with this setting to determine the appropriate position.In the example shown above, the algorithm correctly identified the complexfrequency spectrum of the clipboard audio, and the four times the particularsection of audio appeared in the file (a four bar sample of a rhythm section).Other areas of the file were not significantly different (the file is four bars ofbass guitar and drums), yet the algorithm managed to select the correct sec-tions.

Note: The audio copied to the clipboard can also be used as the sample for findingsimilar sections of audio in other HD Wave files. Simply open the other file/s youwish to search, and use the function.

Delete MarkerThis function deletes the currently selected Marker. To select a Marker, either;use one of the Get Marker commands, or position the mouse cursor over theMarker until the bi-directional arrow Cursor appears. Once visible, click on theMarker.

Note: When using the mouse to select the Marker, the quickest deletion method is toselect the Marker as shown above, then press Delete on the keyboard. You can alsoright-click on the selected Marker and use the Delete Marker command. There isalways an option to suit your tastes in Samplitude!

Delete All MarkersThis function deletes all Markers in the currently focussed (”topped”) VIP orHD Wave Project. The command does not simultaneously delete Markers fromthe VIP and all HD Wave files referenced by the VIP Object(s) – the commandmust be applied separately to each HD Wave file.In other words, deleting Markers from the VIP does not delete Markers fromHD Wave files.

Range Editor

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Menu RangeChoose this option to open the Range Editor window.This window allows you to specify the currently marked Range’s Start and Endpositions, and Length (in Samples, Milliseconds, SMPTE, or Bar formats).If you change any of the values in the ‘Range Start’, ‘Range Length’ or ‘RangeEnd’ sections, all other values will automatically be updated, with the followingexceptions:Change the Range Start value – the endpoint will be retained.Change the Range End value – the startpoint will be retained.Change the Range Length value – the startpoint will be retained.Please note the format of the ‘Bar’ dialog box. The format is displayed in 4/4time, with a resolution of 96 clicks per quarter note. Bar, beat, and clicks aredisplayed.The number of beats per minute (BPM) can be set in the BPM dialog box,accessible via the View > Snap Setup option.

Note: The SMPTE frame rate can be chosen in the View > Units of Measurementmenu.

Range ManagerSee Tools menu!

Edit Time DisplaySamplitude has three main displays for viewing the time settings of Cursor/Range/Object/Marker locations etc:1. The standard Time Display window - Window > Time Display menu.2. The Time Display settings indicated by Tool tips (e.g. when selecting a Range,

or positioning the mouse cursor over a Marker). This is very handy whencreating a Range, but Tool tip measurements are"only shown when actuallydragging the mouse.

3. The Time Display Position Boxes located at the bottom of the waveformworkspace, at the extreme right in HD Wave Projects, and adjacent to theZoom preset buttons in VIP Projects. These settings remain in the displayuntil a new setting is made/chosen. Settings can be directly entered into theboxes.

The screenshot above shows the Time Display Position Boxes available in atypical VIP workspace. By default, 3 boxes are shown. To enable all 5 boxes,right-click on any box, and select Number Of Fields > 5.

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Menu RangeOnce you become"comfortable with the available options, you will then be in agood position to decide how many Time Display Position Boxes you wish tosee/you need for your working methods.Any numerical data in the Time Display Position Boxes can be entered directly:1. By double-clicking in the relevant box.2. By selecting the box via the Range > Edit Time display menu.3. By using the shortcut keys (Alt+Numeric Pad 1-5).

Object LassoThis option enables the Object Lasso function. Normally, when you click on anObject (in the lower half of the Track), the Object will be selected.When you choose the Object Lasso option, however, you can click (in the lowerhalf of the Track) and drag a Lasso to select a group of Objects. All Objectseither inside, or touched by, the Lasso will be selected.

Note: This option is a ‘one shot’ function. Each time you wish to use the Object Lassofunction, you must select it from the Range Menu.

Tip:You can drag a Lasso by clicking and dragging from the lower half of an emptyTrack. If you wish to drag a Lasso that starts on an Object, you must first select theObject Lasso option from the Range Menu.

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Menu CD

As you mey have guessed, the options found in this menu are geared towardpreparing and burning CD’s. Several of this menu’s options are also availabledirectly from the Toolbar.Samplitude’s CD Burning (writing) routines are of the highest stability andquality, based on years of experience. The software code is licensed from PointSoftware & Systems.If your computer is powerful (and well-tuned), you will easily be able to BurnRed Book Master CD’s - in realtime, as you mix a song or Master another mixedTrack!

Note: As new CD Writing hardware is constantly appearing, MAGIX cannot guar-antee that your hardware is currently supported by Samplitude’s existing CD Writer*.dll files. In addition, some CD Writers have various hardware or firmware limita-tions. Therefore, prior to purchasing a CD Writer for use with Samplitude, pleasecheck the latest CD Writer compatibility list at www.magix.com

If you have already purchased your CD Writer, please do the following beforeusing it with Samplitude:1. Ensure you have installed the latest Firmware update from the hardware

manufacturer.2. Download and install the latest CD Writer *.dlls from www.magix.com

Samplitude allows you to create audio CD’s directly from Virtual Projects andany Stereo Wave Project, regardless of the number of tracks in the VIP.32 Bit Float/24 Bit Objects are dithered, and converted to 16-bit, during theBurning of the CD or the CD Track Bouncing function. The only requirementis that the Project be at a sample rate of 44.1kHz.When selecting the special ”CD Arrange Mode”, regardless of the selected Range,HD Wave Projects are loaded by automatically inserting a pre-determined spacebetween the songs, or Objects. The duration of this gar can be adjusted with theCD > Set Pause Time menu item.If a completed, multi-track, VIP is destined for use as a single track on a (multitrack) CD, use the Track Bouncing function to turn the multiple tracks into asingle HD Wave Project. This HD Wave Project can then be reloaded as a ‘TrackObject’ in a new CD VIP, allowing you to place it alongside other track Objects.Samplitude also includes an excellent ‘CD Ripping’ function that creates exactdigital copies of audio CD’s, on your hard disk.

Load Audio CD Track(s)This function allows you to import audio data from most CD ROM drives andCD-Writers - in the digital domain, without any loss in quality.The MAGIX CD Audio ”ripper” is very accurate – there is no need for you touse an external application to perform this task.

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Menu CDPlease visit the MAGIX website (www.MAGIX.com) or contact our technicalsupport for the latest list of supported drives.The HD Wave Projects are recorded as WAV files, and can be edited with otheraudio editing programs (although why you’d want to is a mystery, givenSamplitudes capabilities), without needing to convert them first.

Note: If you have inserted a CD, but the tracks do not appear in the Track List dialog,please click on the CD Drive Options button (further info on this shortly) to confirmthat your CD device is correctly identified by Samplitude. If you have multiple CDdevices, you may need to select the device that actually contains the audio CD.

Selecting the Load CD Audio Tracks function launches the dialog shown in theabove screen shot. To complete the task, follow this procedure:1. Click the CD Drive Options button and select your desired CD-ROM Drive (if

you have multiple Drives).2. Select one or more tracks in the track list box.3. Click on the Copy Selected Track(s).... button.4. Select a filename for the new WAV file or HD Wave Project and click OK.5. The Import Sample dialog is launched. Browse to the desired target location

for data storage, then enter the name for the imported file/s in the File namebox.

6. Use the File Options radio buttons to select a single file for all tracks, or sepa-rate tracks for each file.

Note: If all tracks are copied into a single file, Markers are placed at the beginning ofeach track in the resulting HD / WAV Project. The Markers, however, are not cur-rently imported if the HD / WAV is loaded into a VIP. If each Track is copied into aseparate file, the resulting HD / WAV files can be loaded as separate Objects into aVIP.

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Menu CD

Format Settings Button: This button launches the Choose Wave Codec dialog,as shown in the screen shot above. If you want to re-code the format of the 16bit audio file (i.e. compress or convert) during the copying process, you canselect from a range of Samplitude’s built-in Codecs (Code / Decode), as listedin the drop down menu.

7. Once you have selected the appropriate settings, click the Import button. Theaudio data is copied from the CD-ROM to your hard disk as a new HD /WAV file/s.

Track List box: This section lists the available CD tracks on the inserted CD.You can select multiple entries by using the standard Windows techniques(Ctrl+click, Shift+click) on the desired tracks.

Copy Selected TracksThis button opens the Import Sample dialog.Play: Starts audio playback of the first selected track in the list.

Note: This feature will not work with all CD ROM devices.

Stop: Stops audio playback.

Pause: Stops audio playback. Stop position is used for later resumption.

Resume: Resumes playback if previously paused.

Select All Tracks: Selects all tracks of the CD. You can select multiple trackswith Ctrl + mouse click, or with Shift/Alt + Cursor keys.

Deselect All Tracks: Deselects any selected tracks.

Track Information box: When a Track is selected, the box immediately belowthe Unselect All Tracks button displays additional information for the currentlyselected track. The Memory listing specifkes how much hard disk space will berequired to copy the audio track to the hard disk.

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Menu CD

CD Drive Options: This section displays the available CD-ROM Drives. Pleasenote that although your system may display one or more Drives, this does notensure compatibility with the CD Track extraction function.

Add Drive: Creates a new Drive in the list. Use the Configuration functions tospecify configuration settings for the Drive as follows:

Delete: Deletes the selected Drive entry from the Drive list.

Load Setup: Loads the Drive list, and all configuration data, from a *.cfg file.

Save Setup: Saves the Drive list, and all configuration data, in a *.cfg file.

Reset: Restores the standard Drive settings.

Configuration: This button opens the Drive configuration dialog, where youcan select special copy modes and SCSI IDs....

Drive Name: Lets you edit the name of the Drive in the list. This is useful if youcreate more than one entry, accessing the same physical Drive.

Host Adapter Number: Lets you specify the number of your SCSI adapter –normally 0.

SCSI-ID: Lets you set the ID of your CD ROM Drive. Be sure to set the correctID, there is no error checking!

SCSI-LUN: Select the SCSI LUN parameter, normally 0.

Alias: Lets you select a manufacturer type for your CD ROM Drive.

Copy Mode Normal: Copies the audio data, without any software correction.

Copy Mode Sector Synchronization: Copies the audio data using a softwarecorrection algorithm. This is useful, because some CD ROM Drives cannotexactly seek to the same position on each read access. Samplitude can compen-sate for these differences with this algorithm.

Copy Mode Burst: Optimizes the speed of the copy process, no software cor-rection is done.

Sectors per Read: Defines the number of audio sectors per read cycle. Thehigher the number, the faster the copy process will be. Not all SCSI adapterssupport more than 27 sectors!

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Menu CDSync Sectors: Defines the number of audio sectors used for Sector Synchroni-zation. A higher number allows better synchronization, but slows the copyingprocess.

Note: For many users, the default CD ROM Configuration settings will work well.

Set TrackChoose this option to place a Track Marker at the current Locator (cursor) posi-tion. All subsequent Track Markers will be re-numbered.

Important note: Each audio track on the CD MUST have a Track Marker!! TrackMarkers are placed at the beginning of each audio track (slightly before the audiostarts). The Track Markers allow CD players to cue to each individual audio track.Tip: This option is also available from the Toolbar.

Set Sub IndexChoose this option to place a Sub index Marker at the current Locator (cursor)position. All subsequent Sub index Markers will be re-numbered.

Note: Sub index Markers are not required, but they allow CD players to cue to specificpoints within an audio track. Sample CD’s containing dozens or hundreds of Loops,broken into components, often use Sub indexes.Tip: This option is also available from the Toolbar.

Set PauseChoose this option to place a Pause Marker at the current Locator (cursor) posi-tion.

Note: Pause Markers allow CD players to switch their output to absolute silence untilthe next Track Marker.

Set CD EndMarks the End of the CD. This is important for burning a CD, when the projectstill produces audio after the endpoint of the last Object(s). e.g. a reverb tail. Toprevent Samplitude from cutting this section of audio, you can place the CDend marker an appropriate distance after the last Object.Another use of the CD end marker is to partially burn a project to CD.CD Burning always starts from the first track Marker, and ends with the EndMarker. All you need to do is delete all track Markers that precede the first trackyou want to burn. All audio before the first track Marker will not be burned tothe CD. Burning stops with the CD End Marker, allowing you to place the CDEnd Marker inside the project.

Set Track Indices On SilenceThis function sets track Markers on silent passages of a selected Object.As an example, this is useful for setting Markers between each title, after re-cording an entire DAT tape.

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Menu CD

Set Track Indices on Object EdgesChoose this option to automatically place a Track Marker at the beginning ofeach Object (in Track 1). In many situations, this option provides the quickestway to set Track Markers for your CD.Prior to using the function, execute the Remove All Indices command, to deleteany redundant track Markers.If there are multiple Objects that make up a single track or title, you may wantto first use the Bouncing function (to combine the Objects), to ensure propertrack assignments.

Tip: This option is also available from the Toolbar.

Set Track Indices On Object Edges – Options

Set Pause Indices on Object EndsThis option automatically generates Pause Markers on Object ends.

Time Offset for Indices on Object EdgesThis option allows you to set an offset for the generated track Markers.

No Indices on Object CrossfadesThis option prevents Track Indices from being placed between two overlappingObjects, which segue via a Crossfade. This makes it possible to use the auto-matic track Marker generation functions, even if crossfades are used insideeach track.

Remove IndexChoose this option to Delete a Track Marker or Sub index Marker. First, clickon the Marker, then select this option to delete it.

Tip: After clicking on a Track Marker or Sub index Marker, you can press the Deletekey to remove it.

Remove All IndicesChoose this option to Delete all Track Markers and Sub index Markers. Thiscan be helpful before use of the ‘Set track Indices on Object edges’ function.

Make CD....Choose this option to open the Make CD Window. This window allows you toBurn an audio CD.This dialog svarts the CD writing process. Samplitude contains high-grade CDcreation routines that are constantly updated. The software code is licensedfrom Point Software & Systems.

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If you want to find out which CD-R Drives are supported, please read the”CDR_Readme.txt” in the installation folder, or visit our web site"atwww.emagic.de.Samplitude creates a TOC (Table of Contents) file, prior to starting CD crea-tion. The name of the current VIP is used, and the extension *.tcx is added tothe file. The TOC file is located in the same folder as the current VIP. It istherefore important to save the VIP to hard disk, prior vo starting the Burningprocess.

Tip: This option is also available from the Toolbar.

Burn ”On The Fly”This mode will Burn the CD directly from the VIP window. All realtime process-ing will be calculated (included) during the Burning process, so there is noneed to create an Image File. This saves a great deal of time and Hard Diskspace!The following realtime tasks are calculated during the process:– Object effects, volume and panorama settings– Fades and crossfades– Mixing of tracks– Mixer track effects– Mixer Master section effects– 32-bit Float to 16-bit conversion and dithering

Important note: To successfully Burn CD’s using this mode, your system must be ableto sustain the realtime processing requirements!

To check your system’s performance:1. Open Options > Program Preferences, and ensure that Enable Performance Pro-

filing is enabled.2. Play the VIP and watch the DSP Meter in the lower left corner of the window.

Take note of the values displayed during the most demanding sections (larg-est number of tracks and realtime effects).

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Menu CDBased on the results from step 2, here is an estimate of what you can expect:Below 25% – CD Burning with up to 4x speedBelow 50% – CD Burning with up to 2x speedBelow 90% – CD Burning with up to 1x speedAbove 90% – ”On the Fly” CD Burning isn’t possible, use the second mode(Generate a complete, new file)

Notes: At the time of publishing, many new, and very fast CD Writing devices areavailable. Although some users have reported successful realtime CD Burning at speedshigher than 4x, this is a difficult task to accomplish when writing audio CD’s. Toensure consistency, you may be best served by creating an Image File (see below) priorto writing the CD.There are many varied opinions on differences in sound quality between audio CD’swritten at different speeds. As there are also many variables in CD Writing (i.e.hardware, firmware, software, write speed, media quality) it is difficult to commenton this, except to say ”use your ears and compare”.

Generate a complete new fileThis mode will create"an Image File (a single ‘Bounced Down’ audio file con-taining the results of all realtime processing), which is used for the CD Burningphase. Use this mode if your machine is not fast enough to use the ”Burn onthe Fly” mode.This mode calculates all .WAV files (including fades, crossfades and volumeautomation, etc.) into a new audio file. Any other realtime processing is alsopart of the newly-created audio file.The original .WAV files used in the VIP remain unchanged – the procedure isnon-destructive.

Importanv note: you must have enough free hard disk space for the image file (ap-proximately 700MB for an entire CD)

TOC formatSamplitude creates a Table of Contents (TOC) file before Burning the CD. TheTable of Contents (TOC) file is named in accordance with the current VIP, andis placgd in the same folder. Therefore, you MUST Save the current VIP beforeBurning a CD!

Use UNI Code for TOC: This is the default TOC format (used by Samplitudeand the 32-bit version of Point CDAudio).

Use ASCII Code for TOC: This format should only be chosen when creatingTOC files for use with the 16-bit version of Point CDAudio.

Call Ext. CD Audio Software: This option should only be enabled if you donot want to use Samplitude’s internal CD Burning process!If you have Point CDAudio installed on your system, enabling this option al-

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Menu CDlows Samplitude to automatically open the CDAudio program, and load theTOC file. You can then use CDAudio to Burn the CD.

Note: As Samplitude already contains the relevant Point CD Audio components,there is really no need to use the external version.

Print TOC: Click on this button to open the TOC Printer application. Thisapplication allows you to print the TOC - in Text or Jewel Case formats.

Show TOC: Click on this button to view the TOC (as text) in the Table Of Con-tents for CD Window. You can copy and paste to/from this window.

Cancel: Click on this button to close the Make CD window, without Burning aCD.OK: Click on this button to start the CD Burning process.

Show CDR Drive Information....Choose this option to display information about your CD-R Drive. A CD mustbe in the Drive for this option to work.

Among the information displayed is the manufacturer, Drive name, hardwarerevision, cache size, and the features supported by the Drive mechanism.The ‘Disc At Once’ feature is extremely important, as it is needed for Red Book-compatible Audio CD production. CD’s burned in this way are accepted asMasters by CD Manufacturing facilities.

Show CDR Disc Information....Choose this option to display information about vhe CD currently in the CD-RDrive.The most important information is the maximum length. This cannot be ex-ceeded during the production (i.e. 74 minutes and 5 seconds).

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CD Track Options....Choose this option to open the Marker/CD Index Manager window. See the”Tools” menu section for details!

CD Disc Options....This option opens the CD Disk Options window, allowing you to configureseveral parameters for the CD.

CD Title: This line allows you to enter a Title for the CD. The Title is written tothe CD, and is used when printing the TOC.

UPC/EAN Code: This line allows you to enter a UPC/EAN Code for the CD.The UPC/EAN Code is written to the CD, and can be requested by special CDplayers.

Number of first CD Track: Under certain circumstances (e.g. Track-At-Onceburning), the number of the first track can be determined with this setting. AsSamplitude burns Red Book Audio CD’s in one pass (Disc At Once), you willprobably never need to adjust this setting. (It has no bearing when BurningDisk at Once.)

Allow Bonus Tracks before Track 1: This option allows you to insert ‘hid-den’ or bonus tracks before Track 1.

Set Pause Time....Choose this option to set the default Pause Time between tracks. The amountof time can be entered in Samples, Milliseconds, SMPTE, or Bars:Beats:Pulseformats.

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Menu CDThe Pause length is required for the grid function, allowing sample Objects to”snap” to the edges of other Objects + the Pause time. A Pause time of 2 sec-onds is normally used.

Note: The SMPTE frame rate can be set in the View > Units Of Measurement menu.The Bars/Beats format can be defined by the View > Snap and Grid Setup > BarDefinitions options.

Set Start Pause Time....Choose this option to set the default Pause Time at the start of the CD. Theamount of time can be entered in CD frames (75 frames = 1 second). Impor-tant!!! This setting must be set to a value of 150 frames (2 seconds) to meet Red Bookaudio CD requirements! It is recommended that you set this parameter to 150frames (two seconds) and leave it there.

CD Arrange ModeWhen you activate this menu item, Samplitude rearranges newly inserted Ob-jects, and inserts pauses (conforming to the Red Book Standard) between theObjects.We recommend the following procedure:– Open a new VIP which contains 4 tracks so you will be able to mix down

later, if required.– Activate the Special CD Arrange mode via the CD menu.– Open a new VIP.– Load wave files, audio tracks, or make a recording uskng a microphone.

You will see gaps between the individual Objects in the VIP – these are theinserted pauses. The length of the inserted Pause(s) can be defined in the ”SetPause Time” dialog.

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Track Bouncing....This option opens the Track bouncing dialog.

This window allows you to ‘Bounce Down’ a Multi-Track Virtual Project (VIP)to a single Stereo audio file. This file can then automatically be opened in a VIP,or saved as an HD Wave file. All Tracks and all realtime processing (Fades,Effects, Volume and Pan Automation, Object Effects, etc.) will be included inthe Bounce.‘Track Bouncing’ can require a large amount of storage space, depending onthe length of the VIP.Four track projects are internally mixed to two tracks - for playback on eachchannel. To prevent clipping, an amplitude reduction of 6 dB is applied (whichcorresponds with a 50% representation of the source material).For eight track projects, the reduction is normally 12 dB, but you can changethe value in the File > Properties > Project Info (shortcut: i) dialog.Clipping cannot technically occur when bouncing a 24-bit project (32-bit Floatformat).

There are four ways that the Bounce Range can be selected:Only marked Range: Choose this option to limit the Bounce to the Left andRight boundaries of the currently marked Range.

From VIP Start to last Object end: Choose this option to limit the Bounce tothe endpoint of the last Object.

Complete Project: Choose this option to Bounce the entire Project.

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Only active track: The selected/marked track(s) is (are) bounced.

Note: When selecting this option, ensure that no (or little) blank space exists at theend of the VIP (i.e. after the endpoint of the last Object). Blank space will be includedin the Bounce down! This can result in very long Bounce processing times. You caneasily delete the blank space by selecting it as a Range, and pressing the Delete key.

There are four options for determining the Project structure to be gen-erated for the Bounced file:Only a Wave Project: The Bounced file is saved as an HD Wave file. A VIPwill not be generated for the new Bounced file.

New separate Object in actual VIP: The Bounced file is saved as an HDWave file, and a new Object which references this file is created on a separateTrack in the open VIP.

Replace Objects in actual VIP: The Bounced file is saved as an HD Wave file,and a new Object which references this file is created by replacing the originalObject(s) in the open VIP.

New VIP: The Bounced file is saved as an HD Wave file, and a new Objectwhich references this file is created, and placed, in a new VIP.

Note: In all cases, the original HD Wave files are not changed. That said, however, assome of the options result in changes to the VIP, we recommend that you save andbackup the VIP before using the command.

FormatCalculate maximum Amplitude: Click on (enable) this option and (when theBounce process has finished) Samplitude will display the maximum Ampli-tude reached by the ‘Bounced’ audio file.

Save in 32-Bit (Float) Format: Click on (enable) this option to save the‘Bounced’ audio file in 32-bit Float format.

Tip: You may wish to enable this option, even when Bouncing Down 16-bit audio.(Summing of the Tracks in 32-bit Float format will yield higher resolution.)Important note: If the ‘Bounced’ 16 bit audio file contains Clipping, press the I key(to open the Project Info window), reduce the Volume parameter by 6dB , and repeatthe Bounce process.

Exclude Master Effects from Bouncing: This option disables all effects inthe Mixer’s stereo Master Output Buss (Channel).

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Menu ToolsSamplitude Pro: Track Bouncing can also be used with 5.1 SurroundProjects as follows:Active: This enables the surround Track Bounce functionality. The other op-tions in this section will not be available until the ‘Active’ box is checked. Con-versely, this will disable some of the other options in the dialog.

Generate new VIP: When this option is checked, Samplitude will create a newVIP, featuring the surround sound Tracks/channels. Dependent on whetheryou choose to create 6 mono or 3 stereo Tracks, the Track number of the newVIP will change.

Generate 6 Mono Tracks: Samplitude will separate the 5.1 channels into 6independent Tracks, corresponding with the surround sound channels. If the‘Generate new VIP’ option is"not checked, only the HD Wave Projects for eachof the channel signals will be created.

Generate 3 Stereo Tracks: Samplitude separates the 5.1 channels into 3 inde-pendent stereo Tracks, which correspond with the surround sound channels. Ifthe ‘Generate new VIP’ option is not checked, only the HD Wave Projects forthe channel signal pairs will be created.

Call ‘A PACK AC3 Encoder’: Samplitude will call the A Pack AC3 Encoder foruse within the Bounce process. Use the Path button to locate the relevant ex-ecutable file.

OKClick on this button to start the Bounce Down process.

CancelClick on this button to close the Track bouncing window, without performing aBounce Down.

Bouncing Sub Mix BussesYou can also bounce a Sub Mix bus. Every track routed to the Sub Mix bus willbe included in the bouncing process, even if the track sending to the bus is abus itself!This is handy when you want to mixdown all tracks sent to a specific bus (groupedstrings, a drum kit etc.).If you bounce several tracks, or just the active track (Option: only marked tracks/active track) with the ”New Object in actual VIP” or ”replace Objects” functions- and this selection includes a Sub Mix bus - then it is possible that the resultingObject will be placed at just this Sub Mix bus. It’s actually pretty likely, in fact,because busses usually don’t contain Objects (although they can), and the Ob-ject will be placed in the first empty track it finds. In this situation, the track FX(including pan/volume automation) of the Sub Mix bus will be excluded fromthe bouncing process. This prevents the effects from being applied twice (onceby the bounce, and once from the realtime track fx).

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Menu ToolsYou cannot bounce Aux Busses in this way. You ned to include the tracks beingsent to these busses, in order to obtain the desired result.

Bouncing (internal Mixdown)Use this function to ”convert” (i.e. mix) the Objects within a selected Range toa new .WAV file. Selected Objects are replaced with the track-bounced version.This is very useful for combining multiple Objects into a single Object, allow-ing the use of the automatic track Marker creation functions.

Note: This option is NOT the function to use when Track Bouncing normally (i.e.during mixdown, processing etc). Use this function only when preparing stereo CDWriting VIP / HD Wave Projects. For normal Track Bouncing, select Track Bounc-ing !

If the VIP contains 32/24-bit Objects, a dialog box will ask you whether the newfile should be created as a 32-bit Float or 16-bit file.

16-bit (Integer): The resulting file is a 16-bit resolution audio file. This ismost useful if creating a CD from a project that that doesn’t contain any 24-bitObjects.If 32/24-bit Objects are used in the project, the bouncing process converts themto 16-bit material (using the active Dither settings).

32-bit (Float): The resulting file is 32-bit (Float) resolution audio file. Use thisoption if the VIP contains 32/24-bit Objects that you wish to maintain at thishigher resolution.

Remove unused SamplesThis command is one of Samplitude’s ‘File Management’ tools.Objects represent segments of audio by referencing relevant HD Wave or RAPfiles. Here’s the important rule to understand and remember:Objects can reference sectional Ranges of HD Wave files, but all of the audiorepresented in an Object MUST be present in an HD Wave file for the Projectto open successfully.As an example, an Object might only refer to 2 mins of a 5 minute Track. Whenopening the VIP containing the Object, the 2 minute section referred to by theObject must be present. If a single sample is removed from the 2 minute sec-tion of the HD Wave file, Samplitude will generate an ‘Object Entry Behind Physi-cal Sample’ error message when opening the VIP. This message means thatsome of the HD Wave file is missing, and can no longer be recreated virtuallyin the Object.Obviously, this is a situation which must be avoided!Portions of a partly-referenced HD Wave file, which are not contained in Ob-jects, are not necessary for work with the VIP. In other words, if done properly,you can delete portions of an HD Wave file which are not referenced by theVIP.

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Menu ToolsThis is handy for removing redundant audio files from the Project, in order tosave hard disk space, and enabling the creation of compact back ups.If a VIP is open, Samplitude will not allow the editing commands to alter theduration of any referenced HD Wave files. Similarly, Samplitude will refuse todelete any HD Wave files which are referenced by the Project.This is the reason for the Remove Unused Samples command (RUS). Whenthe RUS command is used, Samplitude will remove all HD Wave audio mate-rial that is not directly referenced by the Objects in the VIP. In other words,Samplitude will remove all audio, except for that used by each Object.

Warning: This process is destructive and cannot be undone! As with all destructiveprocessing, we recommend that you back up all HDP Files before use of this com-mand!

There are some important caveats which need to be rememberedwhen using this command:1. If any sections of audio within the Project’s HD Wave files are also refer-

enced by other VIP Projects, Samplitude will not know this unless the otherVIP(s) are open at the time. As an example, you may use different sections ofa drum Track as a rhythm bed in two or three VIP’s. If only one of thoseVIP’s is open when using the RUS command, the other VIP’s will generatethe ”Object Entry Behind Physical Sample” error message, when next opened.

2. Once the RUS command has been completed, you will not be able to extendthe duration of any Objects within the Project, as the audio beyond the Ob-ject boundaries is now gone.

3. The RUS command will not remove any redundant files in the Project direc-tory which are no longer referenced by the VIP.

Here are some tips for safe use of the Remove Unused Samples Com-mand:1. Back up, back up, back up! You never know when you might accidentally

delete portions of a file you will need later.2. Files which are referenced by multiple Objects (e.g. loop banks, drum beds,

Foley/FX sounds, broadcast tags, ID’s etc) can be flagged as Read Only byusing the Windows File Properties options (within your chosen OperatingSystem’s file management utilities). This will prohibit Samplitude from al-tering the files. As all functions within the VIP only require the reading offiles (with the exception of the RUS command), flagging files as Read Onlywill not otherwise affect the functions of Samplitude.

3. Always use the Project Information dialog (shortcut – i) to check which filesare referenced by the VIP. This can also be useful if you want to clean up aProject directory that contains redundant HD Wave files, that have been com-pletely deleted from the VIP (i.e. the HD Wave file still exists, but is no longerreferenced by any Objects).

4. If the Project directory for a large multi-track Project contains many redun-dant HD Wave files (i.e. Tracks which have been entirely deleted from the

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Menu ToolsVIP), there are two safe ways to quickly identify and eliminate these filesfrom the Project directory:

A. Save the complete Project to a new folder (File > Save Complete VIP in....).The VIP is now located with the complete contents (i.e. all the audio files) inan unaltered form (WAV, RAP, etc.) in the same folder that the VIP wassaved to. Next, use the RUS command. The new folder will now only containthe audio data or samples that are actually used by the archived VIP.

B. If you are removing redundant Track files during a session (to create extrahard disk space), use the Tiling function of the Window menu, immediatelyafter deleting the redundant Track Object from the VIP. This will tile allHDP Files, allowing you to delete the audio component of the HD Wave file.This will not delete the file entirely, but it will dramatically reduce the filesize! Here’s how:

– Make note of the name of the HD Wave referenced by the Object to be de-leted.

– Select the Object and delete it.– Press the Enter key to show all file title bars used in the Project, then Tile

each file by clicking on the maximize button, while holding down the Enterkey.

– Identify the redundant HD Wave file which was referenced by the deletedObject, select the file by clicking anywhere within it’s window, Range all ofthe audio by pressing the A key, then press the Delete key.

Note: If you select the wrong HD Wave file by mistake, Samplitude will refuse todelete the audio.

– Maximize the VIP file and save the Project. In this scenario, the HD Wavefile will still be referenced by the VIP Project, but it will no longer containaudio, and will therefore be very small. This can reclaim significant harddisk space when working with 32 bit Projects.

C. An alternative to the above method is to leave a small portion (i.e. 1-5 secs) ofthe redundant Track Object in the VIP, delete the remainder of the Objectand then use the RUS command. As there is still a portion of the originalObject referencing the HD Wave file, the RUS command will identify thebalance of the HD Wave as being redundant, and will remove the redundantportion.

Note: The remaining small portion of the redundant Object can be moved anywherewithin the VIP window for convenience. Usually you would put it out of the way(somewhere on the left side, another Track etc.).

Methods B and C are only described to show that there are quick ways of deal-ing with hard disk space issues during a session. Of course, the best way oftackling the disk space issue is to get a bigger hard disk!Similarly, the fastest way is not always the best. Samplitude is designed to usethe ‘RUS’ and ‘Save Complete VIP in’ commands – we recommend that you usethese commands whenever possible, rather than methods B and C.

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Finally, the management of files within Windows is not difficult if you develop aconsistent file structure. The same is true for Samplitude – paying attention to detailssuch as the creation of Project directories, specific naming of HD Wave / VIP files,ensuring that the files are recorded in the right directories etc. will guarantee thatwhen the time comes to execute a RUS command, or delete an HD Wave file, youknow exactly what you are doing!Also read the Online Help for more information about the new Dialog for this func-tion.

Waveform GeneratorThis dialog contains a powerful generator of (several) test tones. Please activatean HD Wave Project (HDP or RAP) before opening this dialog.

The generated waveform is stored in the Clipboard. It shares the properties ofthe opened wave Project. Please rename the Clip after generating the wave-form. This will allow it’s easy inclusion into other Projects, without encounter-ing any naming conflicts.Generated samples are always fully amplified. The volume level can be reducedwith the normalizing function (Effects > Amplitude/Normalize).

Format New Wave ProjectThese options allow you to select the Type, Resolution and Sample Rate of thenew Wave Project that will contain the generated tone.

WaveformSix waveform varieties can be selected – square, pulse, triangle, sine, saw up,saw down and white noise.

LengthUse these boxes to enter the desired length of the generated tone.Waveform ParametersUse these boxes to set the frequency and amplitude of the generated tone.

SMPTE GeneratorThis dialog allows you to create audio files containing SMPTE time code. Thesefiles can then be placed into VIP tracks, and routed through any audio output ofyour PC. This ensures extremely stable SMPTE timecode output, which is sam-ple-locked to the audio material in your VIP.

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Range ManagerChoose this option to open the Range Manager window.

List: This list (upper half of the window) displays all stored, marked Ranges.

Note: Clicking on a Range (in the List) will recall the marked Range.

Play once: Click on this button to play the selected (from the List) markedRange once.

Play loop: Click on this button to play the selected (from the List) markedRange as a continuous Loop.

Name Line: This line allows you to rename each marked Range. Click on theRange (in the List) to select it, then type its new name here.

Delete Definition: Click on this button to Delete a stored, marked Range.

New Range: Click on this button to store the current marked Range, under aspecific name.

OK: Click on this button to close the Range Manager window.

Marker / CD Track Manager....This window allows you to manipulate Track Markers and Sub index Markers.All currently saved Markers of the active Project are shown, with their nameand position, in this dialog.

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Menu ToolsThe play cursor is moved to the respective Marker position by clicking on thedialog entry of the desired Marker.

You can also change Marker names, and create new Markers. In addition, thedialog allows you to delete individual, or all, Markers of a Project.

List: This list (upper half of the window) displays all Track Markers and Subindex Markers.

Note: Clicking on a Marker (in the List) will place the locator (cursor) at that posi-tion.

Name Line: (immediately below List). This line allows you to name each Track.Click on the Marker to select it, then type the desired name into the box.

CD Index Options: You can set the following options independently for eachtrack:

Preemphasis: Click on (enable) this option to enable Preemphasis for the se-lected track.

Copy Protection: Click on (enable) this option to enable Copy Protection forthe selected track.

Sec. Gen. Prot.: Click on (enable) this option to enable Second GenerationCopy Protection for the selected track.

CD Text: Opens the CD Text window, where you can enter various text detailsApply to all: If you wish to enable the same options (Preemphasis, Copy Pro-tection, and Second Generation Copy Protection) for all tracks, enable the de-sired options, and click on this button.

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ISRC Code: This line allows you to set an ISRC Code for each Track. Click onthe Marker to select it, then type the ISRC Code in this field.

New Marker: Creates a new Marker at the actual Play cursor position.

New CD Track: Creates a new CD Track Marker at the actual Play cursor posi-tion.

New CD Sub index: Creates a new CD Sub index at the actual Play cursorposition.

New CD Pause: Inserts a Pause at the actual Play cursor position

Delete selected....: Click on this button to Delete a selected Track Marker orSub index Marker.

Delete all Markers: Click on his button to delete all Markers.

OK: Click on this button to close the Marker / CD Index Manager window.

Object Manager....This option opens the Object Manager window, allowing you to search for, andselect, Objects.

List: This list displays all Objects used in the VIP window (in order of appear-ance).

Note: Clicking on an Object (in the List) will select it. You can press (and hold) Shiftor Ctrl, while clicking, to select multiple Objects.

Play: Click on this button to start playback of the VIP, from the selected Object.

Search: Clicking on this button will cause Samplitude to search for Objectsmatching either a name, or time (entered in the box). Matching Objects willautomatically be selected.

OK: Click on this button to close the Object Manager window.

Take Manager....Opens the Take Manager window. The Take Manager is specifically designedfor users who work with large numbers of different recording Takes.Samplitude registers the VIP position of the recorded audio material. This ‘timestamp’ is stored in the HD or RAM Wave Project, and offers the option to re-turn the recorded Object to its original position.

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Display FilterSame file only: Only Takes that belong to the same audio file as the selectedObject are displayed.

Same Track only: Only Takes that are positioned in the same audio Track asthe selected Object are displayed.

Match Time: Only Takes that match the original time position of the selectedObject are displayed.

PlayStarts Playback. Please set the Play Cursor to the desired Playback position,before opening the Take Manager.

Replace!This replaces the selected Object with the Take(s) currently selected in the TakeList.

Statistic (verbose)Creates a new VIP with the currently visible Takes in the Take List. Every Takeis listed in a new Track. The VIP can be used to audition the individual Takes,by making use of the Solo and Mute functions of each Track. This facility canbe useful in situations where Takes are confusingly named, during high pres-sure (fast) sessions.

Statistic (brief)Creates a new VIP, with the currently selected Takes in the Take List. All Takesare aligned on the same Track.This facility can be useful for burning a CD of the Takes for later listening, orgeneral archiving purposes.

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Menu ToolsTake ListThe Take List shows the VIP Objects, allowing you to search and match otherObjects with the selected Object. The list shows the Take name, time position,the HD Wave audio file associated with the Take, and the date/time stamp.

Note: You will thank yourself later if you spend the time in appropriately namingTakes and HD Wave files, during recording sessions. We understand that the creativeflow occasionally dictates that this is not possible, but the more you practise, the fasteryou will become!Your clients and musicians will thank you when you can quickly locate and audition/ keep / edit earlier Takes !

Using the Take ManagerFor this example, lets assume you have an Object in the VIP that was processed(non-destructively - ”make copy” option enabled) with the Room-Simulator. Inthis situation, the processed (wet) signal was appended to the end of the origi-nal (dry) recording. After some critical listening, you decide that the Objectsounded better dry, and now wish to swap the wet Object, for the original dryTake (Object).Here’s how it’s done:1. Select the Object that you’d like to replace (swap) by clicking on it (in the

lower half of the Track).2. Mark a Range that encompasses the currently selected Object. This is to en-

sure that playback occurs in the desired area, while auditioning changes.3. Open the Take Manager window (Tools > Take Manager, or Object > Take

Manager)4. In the lower left corner of the Take Manager window (under Display Filter),

ensure that ”Same Track only” is the ONLY enabled option.5. Look at the Take List, you should now see two Takes. The Take featuring the

red ”O” is the currently selected Object.6. Click on the name of the original (dry) Take (the one not marked with a red

”O”), and press the Replace! Button. Samplitude will now replace the wetObject (Take) with the original dry Object (Take).

7. Click on the PLAY button to audition the change made in step 6.8. Click on the PLAY button a second time to stop playback.9. Click on the OK button to accept the change you’ve made, and to close the

Take Manager.

Note: Samplitude ”Time Stamps” each HD Wave or RAP it records. This allows theObject (representing the HD Wave or RAP) to be returned to its original Start Posi-tion, if accidentally moved!

The first step in working with the Take Manager is to select an Object. Thiscould be the most recently created Object, following a punch-in recording, forexample. This (selected) Object is identified with a colored ‘O’ in the Take list.

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Note: The Take Manager window will not work on Objects that were not recorded bySamplitude! As an example, Wave files imported via the File > Import Sample op-tion, or CD Tracks loaded via the CD > Load Audio CD Track(s).... option.All is not lost….however!If you select an Object that was not recorded in Samplitude, and choose the Object >Set new original Position option, Samplitude will ”Time Stamp” the Object, allow-ing it’s use in the Take Manager.

Some examples of Take Manager use may be:– Selection of the best Take, following several Loop-punch recording passes.– Locating the best material between bars 32 and 34, from 12 Takes of a classi-

cal production.– A clear overview of all available Takes at a specific SMPTE time index (e.g.

30:00 to 35:00).

Explore the HD-Wave (HD Wave) directoryThis option launches Windows Explorer, allowing you to browse the HD Wave(Hard Disk Project) folder. With Windows Explorer and Samplitude open si-multaneously, you can drag-and-drop WAV, OBJ (Objects), HD Wave, or RAPfiles directly into the VIP window. This can even be done WHILE audio is play-ing!

Explore the RAM-Wave (RAP) directoryChoose this option to open Windows Explorer, and browse the RAP (RAMProject) folder. With Windows Explorer and Samplitude open simultaneously,you can drag-and-drop WAV, OBJ (Objects), HD Wave, or RAP files directlyinto the VIP window. This can even be done WHILE audio is playing!

Start External Program 1/2This menu item runs an external program that uses the actual Project as theparameter. This makes it easy to export a Samplitude Project to another audioapplication, for special edits.Use the ?-button to select the external program you want to run. After editingand saving the file in the external program, you can reload it into Samplitude,via the recent file list in the ‘Project’ menu.This function only works with HDP’s containing files stored in Mono or StereoWave formats!

Timestretch/Pitchshift PatcherOverviewThis tool enables wave files used in Samplitude and other MAGIX programs(e.g. MAGIX music maker) to be patched.

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Menu ToolsAdditional information and settings are written into the wave project to makethem easier to find, thus ensuring better Timestretching or Pitchshifting re-sults.The following can be patched:– Algorithms for Timestretching/ Pitchshifting– BPMs– Beat markers

Algorithms for Timestretching/ PitchshiftingDifferent algorithms (besides the standard algorithm) can be used for real-timeTimestretching and/or Pitchshifting for better results. Check Resampling/Timestretching/ Pitchshifting for more details. With the Patcher you can storethe optimal Timestretching algorithm in the wave project. This ensures thatthe “correct” algorithm is used automatically when Timestretching/Pitchshiftingis used on these projects as object effects (e.g. with the Timestretch mousemode).

Beat markerBeat markers are also saved in the wave project when using beat marker-basedalgorithms.In contrast to the Timestretching dialog, the patcher is non-modal, meaningthat if the patcher is open, you can move beat markers in a wave project whilechecking out the Timestretching result.

BPM valuePatches the BPM value (beats per minute). This is useful for when theTimestretching factor must be determined later in order to adapt the wave projectto the tempo of an existing arrangement.

Patches in briefPatches only work if you have opened the wave project in destructive wave edit-ing mode and if it is not open in a VIP simultaneously.On the right of the dialog (Patch) you can select the algorithm to be used andspecify the wave file tempo. On the left side (Test) is the control element fromthe Timestretching/Pitchshifting Dialog.It allows you to test the selected algorithm in connection with the Play/Stopand Play original buttons. Patch saves the information in the wave file.Samples from the MAGIX music maker product range soundpool contain thepatch information as of version MAGIX music maker 2003.

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Menu Playback/Record

Samplitude offers many ways to Play audio files - via the Playback menu, key-board Shortcuts, the floating Transport Control, various Toolbars, the Mixer,and the Test/Preview buttons in various processing dialogs.Although this may seem overwhelming (or overkill), on a practical level thePlayback options offered by Samplitude suit many different working methods.Once you’ve discovered the various Playback facilities, you’re sure to find theperfect combination of controls to suit your preferences, and enable a light-ning-fast workflow.

Play OnceThis option Plays the current Project (HD Wave, RAP, or VIP) one time. Play-back will start at the current Locator (cursor) position. If a Range is marked, itwill be played once.

Play LoopPlays the current Project (HD Wave, RAP, or VIP) as a continuous Loop. Play-back will start at the current Locator (cursor) position. If a Range is marked, itwill be played as a continuous Loop.

Play In RangeYet another playback choice is the Play In Range function. This will start play-back at the beginning of the audio tracks, or the current song position, andcontinues until the end of a selected Range is reached. Once the end of theRange is reached, playback then continues from the beginning of the Range.This is also a quick way of testing sample loops, for use in samplers that con-form to the MIDI sample dump standard.

Tip: When working on loops, place the startpoint of the audio sample at the begin-ning of the VIP track/Wave projec,t and select a Range that encompasses the desiredloop area. When playback starts, the VIP track/ Wave project is played back, andcontinues to loop the selected Range.

Tip: Don’t worry about destroying the preset Range when placing the position line.The Range history function ensures that the Range will be automatically restored,when you start ”play in Range”

Play With PreLoadIf you require Playback to start instantly, choose this option to preload the au-dio buffers, then click OK to start Playback. (Normally, when you press theSpacebar to start Playback, the audio buffers are loaded before Playback begins.This results in a slight delay between pressing the Spacebar, and when Play-back actually begins).

Shortcut: Shift + Spacebar

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Play only selected ObjectsOnly selected Objects will be played. All unselected Objects will be muted tem-porarily. If the play cursor is not located on the first selected Object’s time posi-tion, it will be moved to this position.

Key: ALT + Shift + P

StopChoose this option to Stop Playback (or Recording). The Playback Cursor willreturn to the point at which Playback commenced.

Stop and Go to Current PositionChoose this option to Stop Playback (or Recording), and have the Cursor re-main at the point the Stop command was issued.

Restart PlayChoose this option to Restart Playback from the original Locator (cursor) posi-tion.

Tip: You can select this option while audio is playing.

Shortcut: Backspace

Playback OptionsChoose this option to launch the Play Parameter window.

Sample RateThe sample rate can be changed here, provided that the soundcard supports thenew rate (some soundcards even support changes to the rate while playing thesample!). This is especially useful for auditioning notes within a sample Range,played in a different octave. When selecting half the sample rate, the pitch wouldbe played one octave lower.

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Menu Playback/RecordDeviceThis dialog specifies the driver of the sound card. This allows you to define thedevice used for Playback - e.g. a single sound card device (non Multi-Card Mode).This is especially important if multiple output devices are installed in the com-puter.

AutoscrollThe ‘Autoscroll’ section activates the autoscroll feature, which is especially use-ful when working with long disk files. The HD Wave project window will follow(scroll) the Play cursor during Playback.When working in ‘2’ or ‘3’ section display mode, the autoscroll feature causesthe individual sections to follow the Play cursor. If you have zoomed into any ofthe sections, the Play cursor will move through the section faster, resulting inadditional screen redraws.There are two auto scrolling options:

Soft: The ‘Soft’ option smoothly scrolls the entire waveform, with the Playcursor remaining centered in the display. This mode requires a fast graphicscard, as the entire screen is scrolled between marker steps.

Page: The ‘Page’ option performs a page by page scrolling.

Please note that auto scrolling processing power requirements are based on your CPU,graphic card, and display resolution. Given these requirements, you may encountersmall interruptions to audio playback. Should this occur, simply disable the autoscroll feature, or raise the buffer size (select ‘Setup > System’).

You can switch on/off auto scroll mode via the “AutoScroll” (“Scroll” key) menuoption. The “Auto Scroll Soft” (Shift + “Scroll” key) menu option toggles be-tween “page” and “soft” mode.

ScrubbingYou can ”scrub” audio by press+holding the 0 key, on the numeric keypad(with Numlock active), and moving the mouse left<->right. Playback starts at avery low speed, with the mouse position - relative to the Play cursor – respon-sible for control over the scrubbing speed.There are two scrubbing modes available via this dialog:

Jogging: The distance between the Play cursor and the mouse determines thePlayback speed.

Two Speed: Scrubbing takes place at two speeds. Normal playback speed oc-curs when you drag the mouse quickly over the project. When you drag it slowly,the alternate (second) speed is used. You can specify a playback speed factor(for the second speed) in the numeric field. The default is 0.125, i.e. 1/8th ofnormal speed.

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Menu Playback/RecordAbsolute: The position of the mouse in the window determines the Playbackspeed. At the left window border, Playback speed is 200% backward, at theright border - 200 % forward, in the middle of the window, the speed is 0.Realtime resampling is performed when changing the Playback rate. This oc-curs without changing the sample rate of the sound card. For best performance,use small Play buffer sizes, and a fast processor (Pentium III/IV recommended).

Note: When working with smaller buffer sizes (4000, 2000 samples), scrolling be-comes ‘softer’. Please verify the performance of your computer system at smaller buffersizes to avoid any interruptions to playback. You may need to experiment with sev-eral of these small settings, to ensure error-free Playback.

VaripitchSamplitude supports smooth changes to pitch during Playback, even in multi-track projects.Activate the Varispeed mode (with the ‘active’ button). This will allow you toadjust the Playback speed in the following ways:

Vertical slider: Changes the Playback speed from -200% to +200%

Pitch Factor: Lets you manually specify a pitch factor

Halftones: Lets you specify a value for halftones. Playback will be transposedby the user defined number of halftones.

Internal Rate: This setting defines the sample rate used for the Varipitch cal-culation. If you wish to play a 48 kHz WAV file, but your sound card onlysupports rates up to 44.1 KHz, simply set the internal rate to ”48”, and activateVarispeed. The audible results are identical to those you would hear if you wereplaying back via 48 KHz hardware.This function is also very useful for digital playback to DAT, at 44.1 KHz, andvice versa.

BPM: Use these two boxes to enter the original BPM value of your material,and a destination BPM value. The destination BPM value is then achieved viathe Varipitch function.

Shortcut: P

Playback Mode > Change Playback DirectionChoose this option to change the direction of Playback (i.e. reverse).

Playback Mode > O-Tone ModeThe O-Tone mode is a special live Playback mode that fulfils the requirementsof radio editors, but is also useful in other situations.

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Menu Playback/RecordWhen O-Tone mode is activated, the Objects on the first Track of the VIP willbe played back sequentially. When Playback is started, an area comprised (pre-cisely) of the first Track Object will be marked, and played back.When Playback stops, the next Object will be marked. When Playback is re-started, the next Object will be played back a.s.o. Following playback of the lastObject, the first Object will be marked again.This facility allows separate audio Objects positioned on the Track (and sepa-rated by pauses) to be played back one after another, at the push of a button.You can also play back multi-track projects in O-Tone mode - e.g. surroundsound for theatres, or other live projects. Only Objects on the first Track will beused for the start/stop markers, so please ensure that the desired Objects areplaced on the first Track.O-Tone mode can also be used when the Object Manager is activated. In thisscenario, the Object list can be used for quick selection of the next Object youwish to play.This is perfect for mixing live speech with pre-recorded material (the ‘originaltone’).

Playback Mode > Auto scrollSwitch Auto scroll on/off. For more information on auto scroll, please read the“Auto scroll” section, in the Playback parameters chapter.

Shortcut: Scroll

Playback Mode > Auto scroll softSwitch Auto scroll between “page” and “soft” modes. For more information onauto scroll, please read the “Auto scroll” section, in the Playback parameterschapter.

Key: Shift + Scroll

Play CutThis functionality offers a variety of options for simulating Cuts, via Playback.

Play cut > Play to Cut startWhen simulating a Cut using a marked Range, choose this option to play backa short segment of audio, before the marked Range (Cut Start). The markedRange can be in the VIP window, or directly in an HD Wave or RAP.

Play Cut > Play from Cut startWhen simulating a Cut using a marked Range, choose this option to play backa short segment of audio, from the beginning of the marked Range (Cut Start).

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Menu Playback/RecordThe marked Range can be in the VIP window, or directly in an HD Wave orRAP.

Play Cut > Play to Cut endWhen simulating a Cut using a marked Range, choose this option to play backa short segment of audio that stops at the end of the marked Range (Cut End).The marked Range can be in the VIP window, or directly in an HD Wave orRAP.

Play Cut > Play from Cut endWhen simulating a Cut using a marked Range, choose this option to play backa short segment of audio that starts at the end of the marked Range (Cut End).The marked Range can be in the VIP window, or directly in an HD Wave orRAP.

Play Cut > Play over CutWhen simulating a Cut using a marked Range, choose this option to hear howthe Cut will sound. Playback will start slightly before the marked Range, thenwill skip the marked Range (Cut), and end just after the Range. The markedRange can be in the VIP window, or in an HD Wave or RAP.

Punch InThis option activates the Punch mode. Punching In and Out allows realtime, orautomatic, commencement and suspension of recording, at specific points inthe timeline.

Once the Punch mode is active, Punch-In Record can be used to Record audiosegments, without stopping Playback.The ability to predetermine, and automate, this process is very useful for musi-cians or composers who work alone. In addition, Punch In and Out points canbe determined at a single sample level, allowing incredibly accurate position-ing of entry and exit points.The Punch In Mode Toolbar (shown below) is very useful when working inPunch In Mode.Punch In Mode requires one or more Tracks to be armed for Recording. TheTracks need to be configured in the same way as for multi-track recording – i.e.each Track requires a specific device selection. Right-click on the ‘R’ button ofeach Track to make your Input Device selection(s).Punch Recording can be done in two ways:

Punch-In/Out ‘On-The-Fly’This allows you to start the Recording (punch in) at any time during playback.Once Recording commences, it can be stopped at any time (punch out), withplayback continuing.

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Menu Playback/RecordThis is very similar to tape based multi-track recorders, which allow you to cor-rect mistakes, made during previous Recording passes, by overwriting segmentsof the tape.Simply start playback with the Spacebar. Punch-In Recording can be started byclicking on the Punch Record button on the Toolbar. The same button punchesout of Record mode, with playback continuing. To stop playback, press theSpacebar.

Punch-In/Out with MarkersThe second method involves punching in/out of Record mode through the useof special markers. This is a more automated way of dealing with punch-in/outRecording, and is very useful for musicians or composers who work alone.By predetermining In/Out points, this method also eliminates the risks attachedto misplaced manual ‘punches’. Punching In and Out with markers allows youto specify (down to single-sample level) the exact points where the Recording isto start and stop.As you are working in a non-linear, non-destructive environment, any mistake,or unwanted take, can be removed or undone without problems. Any existingmaterial in the Track will still be there.To operate in this mode, it is helpful if a Range (that defines the beginning andend of the Recording), is selected. This instructs Samplitude to stop Playback atthe end of the Range. (If a Range is not selected, you will have to manually stopPlayback, after the Recording has ‘punched out’)The Set Punch-In Marker and Set Punch-Out Marker functions are used to in-struct Samplitude where to punch in/out.Position the Play cursor appropriately (prior to the punch-in point), and startPlayback/Recording with the Punch Record button, found in the Punch Toolbar.Note: When working with punch in/outs, it is useful to have the Auto Crossfade modeactivated (by clicking on the corresponding button in the Samplitude toolbar). TheAuto Crossfade will create smooth transitions between takes, automatically.

Deleting or repositioning punch in/out markersThe In/Out markers can be relocated by repositioning the cursor, and clickingon the appropriate Toolbar button. To delete puch in/out markers, click on theRemove Punch In / Out Marker Toolbar button.

Looping Punch In RecordingSamplitude can also perform looped punch-in Recording. Simply select a Rangeover the desired punch region. The Range is played back until you stop play-back with the Spacebar.Each time the program loops through the Range, new takes are recorded at thepunch markers. Make use of the Take Manager to find the best take after Re-cording has completed.This method is very useful for keeping the creative flow happening during Re-cording. It also makes life a lot easier for tired engineers, or people who oftenwork alone!

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Live Input ModeThe Live Input Mode is another very powerful feature of Samplitude.It allows you to mix live inputs from the sound card channels, via the realtimeMixer.This turns Samplitude into a full-scale digital realtime Mixer with unlimitedchannels, internal 32-bit processing, external 24-bit I/O (requires compatibleaudio cards) and effects, including third-party plug-ins!

The BasicsThe Live Input Mode is somewhat similar to Recording with multiple soundcards. All channels/Tracks that are to be used for live mixing need to be armedfor Recording – i.e. each Track must be configured with the correct Recordingdevice, and the Track arming buttons need to be active.Once playback of the VIP is started, live signals on the inputs of the audiodevice(s) are routed through the Mixer. Mixer window controls are used to cre-ate a mix. VIP Objects are also played back while the live inputs are processed.

LatencyAudio processing in Samplitude obviously takes time. This may lead to smalldelays at the outputs, when heard alongside the incoming signal. This delay(latency) is very much dependent on the VIP Buffer size, and can be reduced byusing smaller VIP buffer settings.You should use settings that enable the realtime processing of audio withoutintroducing errors, or audio artefacts. A setting of 4 buffers, at a buffer size of8000 stereo samples, creates a delay of 0.7 seconds. A reduction in buffer size(to 2000 samples) results in a delay of only 0.2 seconds.Experiment with the buffer settings to find the optimal settings for your sys-tem.In some systems, the latency may make it impossible to use the Live InputMode as an analog mixing console replacement.

ApplicationsThe Live Input Mode may be used for the following:

Digital Mixer for ADATs (or other multi-Track tape machines).During Playback of an ADAT tape, 8 Tracks are transferred via a digital audiocard, such as the Prodif Gold, and processed by the Samplitude Live Mixer. Asthe material is transferred digitally, there is no quality loss, and the latency isinconsequential, as the ADAT tape does not have any ‘live’ relevance.

Effects and Mix Down during RecordingUse the ‘Mix to File’ function in the Mixer to create a new WAV file from themaster signal. This allows Samplitude to record an audio file via the Mixer.Don’t forget to rename the newly created audio file after recording, or you willwill overwrite the contents of the previous take, during the next ‘Mix to File’process.

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Samplitude as Live Effect ProcessorIf you are looking for processes that are not offered by effect units in your rack,you can make use of some of Samplitude’s integrated effects. A live signal canbe processed with the FFT Filter, the Multi Band Dynamics processor, and theStereo Enhancer. You may also use the many plug-ins available. There is nolimit to your creativity!

RecordThis menu item starts recording, immediately.

A note about multi-track recording: Samplitude is able to simultaneously record asmany files (Tracks) as your Sound Card/s and System can deliver.Before starting recording, you need to select the appropriate wave input device foreach Track. This can be done via the Track Info dialog, or by right-clicking on the ‘R’button in the VIP Track.Select the Tracks you wish to record to with a mouse click.Recording then occurs as per stereo/mono recording.

Record OptionsThis menu option opens the Record window. All recording settings can be madehere. Once set, you don’t need to reopen the dialog, and can start recording bypressing the Record button on the transport control, or by clicking the toolbaricon.

Recording and playing are now two independent threads, allowing you to close therecording dialog, after recording has commenced. When live updating of the recordedObject is enabled, you will see your recorded audio material appear in the VIP, inrealtime. As mentioned earlier, you can freely play and edit your project, while re-cording is taking place!

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Menu Playback/RecordAttention: As you can start/stop the playback of the VIP, independent of recording inthe background, you cannot stop recording by pressing the space bar! To do so, youmust click the Record button / icon again, or reopen the Record dialog, and click”Stop”!

Shortcut: R

This dialog is one of the most commonly used dialogs in Samplitude. The set-tings for most Recording tasks can be made here.

Record FormatYou can specify the format to record in. This allows you to record directly inmp3, for example. The Format options dialog allows you to select the data for-mat you wish to save in - e.g. bit rates or sampling resolution. Some Internetformats (e.g. Real audio) can only be recorded as is - i.e. they are “non editable”.Normally, you won’t use these non-editable formats in projects, and will recordaudio in the wave format, and export it to the compressed format, after the fact.By recording in a compressed format (e.g. “.wma”), you avoid the extra conver-sion step. It is not possible to record in compressed audio formats when multi-track recording.

Record ModeThe radio buttons in this section are used to select either Stereo or Mono, whetheryou want to Record the audio into a RAM Wave project or as a HD Wave project,and whether you want to Record in 32-bit Float or 16-bit format.Note: If you haven’t already noted, Samplitude does not record in strict 24 bit format.The 32 bit Float format used by Samplitude is effectively only 24 bit at the point ofrecording, with the extra 8 bits being ”digital zeroes,” reserved for scaling informationetc., during subsequent processing. The exception is when recording 32 bit files from a32 bit soundcard (driver), such as the Yamaha DSP Factory. In this case, any infor-mation in the final 8 bits (which may all be zero anyway) is recorded by Samplitude.

Mono: Select this option to record a mono audio file - from the left input of theselected Track Record Device (audio card).

Stereo (in 1): This option allows you to record a stereo Track into a single,stereo, VIP Track slot. This option can be used for recording stereo instru-ments such as keyboards, or for recording a stereo master track.

Note: If you have set the REC button (in the Track Properties dialog) to Record froma mono, left or right device, the selection of the Stereo (in 1) radio button automati-cally resets the device selection to Stereo.

HD: Select this option to record to Hard Disk (HD Wave).

RAM: Select this option to Record to your system’s RAM (RAP).

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Menu Playback/RecordImportant note: Windows and Samplitude each need a certain amount of RAM tooperate. Samplitude’s buffering and trackspeed features require an amount of RAMto function. Be careful not to deplete your system’s RAM supply too much, or thesystem will become sluggish, and unstable.

16 Bit: Select this option to record in 16 Bit format.

Float: Select this option to record in 32 Bit Floating Point format (IEEE).

PRELoad: Click on (enable) this option to Load all Buffers before recordingbegins. This enables you to instantly start recording when the Record Button isclicked. If disabled, there will be a short pause (depending on the size of theBuffers) before recording actually begins.

Sample RateThis option allows you to select the Sample Rate of the recording. The mostcommon Sample Rates are selectable as (radio button) presets. You can alsotype the desired Sample Rate directly into the box.

Important note: Your audio card MUST support the selected Sample Rate or record-ing will not work.

Resamp. To 44.1: Select this option, and Samplitude will perform a realtimeSample Rate Conversion to 44.1 kHz. – i.e. If you have a DAT tape that wasrecorded at 48 kHz, and plan to Master its contents to a Red Book audio CD,this option can be used to convert the Sample Rate to 44.1 kHz, while Record-ing the DAT into Samplitude. This can save a great deal of time!

Note: Realtime Resampling is not always the best option. Many engineers prefer toavoid the pitfalls of Sample Rate Conversion (such as filtering used to remove Aliasingdistortion) by recording the analog output of the DAT into the analog input of thesound card. In doing so, Sample Rate Conversion is avoided.It should also be noted that higher quality Sample Rate Conversion algorithms areavailable in Samplitude. These are performed destructively, after the file is recorded(the highest quality algorithms are too maths intensive for realtime processing duringrecording).

Record Start Time/LengthWhen active, the recording starts at the specified time (referring to system time).This allows recordings to be made in your absence. You can also specify a length.

Dev.Use the drop-down list to select the desired Record Device (audio card).If necessary, you can click on the “Info” button to view the Record Capabilitiesof the currently selected Record Device (audio card).

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Menu Playback/RecordNote: If you do not see your audio card listed in the drop-down list, its driver has notbeen properly installed. See the documentation that came with your audio card forinstructions on loading its driver.

Recording Device Capabilities DialogThis dialog allows you to determine the recording capabilities of the selectedrecording device.

Sample Rate/Resolution: Boxes for supported sample rates/resolutions arechecked. For WDM drivers, the reported capabilities depend on whether or notWDM compatibility mode is set (in the System options - Key: y).

Zero Latency Monitoring (ZLM): Pressing “test ZLM support” will indicatewhether or not your device supports Zero Latency Monitoring. You can activateZero latency monitoring in the Recording Options section of the Recordingparameters dialog.

Device Info: Indicates the system name of the recording device. Also allowsyou to change the name (used by Samplitude) of the recording device, listed inthe track information/mixer panels. (“System/Global audio options” dialog -key: y). Driver version, and information, is also displayed.

Open Windows Mixer: Opens the recording mode of the Windows Multime-dia mixer panel (if your soundcard provides one), allowing you to quickly adjustthe input level.

Playback while Recording with Record OffsetThis option is only available after at least one Track has been recorded.Check (tick) this box to record the HD Wave or RAP, while listening to previ-ously recorded Tracks.

If you only have one audio card installed, it must support Playback While Recording(full duplex) for this option to work! Samplitude will generate an error message ifyour card does not support Full Duplex mode (pretty rare nowadays....)

If you have two audio cards installed, you can set the second card to be thePlayback Device.If you have a Record Offset enabled, Samplitude will automatically compensatefor the offset. The numeric box, to the immediate right of the ”Playback....”option, allows you to specify an offset, calculated in samples.On some systems, it is necessary to compensate for any delays caused by process-ing speed and other factors, such as your sound card’s ability to switch betweenPlayback and Recording mode. Delays can occur between the recording andplayback of audio, when the Playback while Recording feature is turned on. Thisoption allows adjustments if this occurs. Good values to start with are in the 20-2000 sample range – experiment to see which setting best suits your device/system.

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Read CD/DAT MarkerIf your audio device supports the input of CD or DAT Markers, Samplitude willnote the position of these Markers in the recorded Project. Check (tick) thisbox, to enable the capturing of CD/DAT Markers.

Create Vip Object with NameCheck (tick) this option to automatically create an Object (in the VIP), afterRecording a new HD Wave or RAP. Samplitude allows you to choose whetheror not you want to automatically create Objects in a VIP, once you have finishedrecording. If you check this box, a new Object is created for every recordingtake, and inserted at the Cursor location/in the Track(s) enabled for the record-ing.If the box is unchecked, Samplitude will not create an Object. A HD WaveProject, containing the contents of the recorded audio, will be created.A ”take name” (Object name) can be set for the Object, prior to starting record-ing. This can be done by either: entering a name in the text box to the immedi-ate left of the ”Create....” option, or by selecting Take numbers (i.e. Take 1, Take2, Take 3 etc.), generated when the Take button to the right of the text box isclicked.

MarkerYou can drop Markers into the Project during recording. The current Cursorposition is used to insert Markers at positions you may wish to select later, forclean-ups, or similar tasks.Each Marker can be named (if you have time!), by entering a name into theadjacent text box.

MonitorThis button activates the VU meters. Most sound cards allow you to preview theaudio signal you are about to record, and (depending on the features of thesound card) you will be able to monitor the recorded signal during recording.To minimize system requirements, you may wish to disable the Monitor func-tion, if it is not crucial to the recording. This may be necessary if you are push-ing the limits of your system.During recording, the meters will be slightly delayed in their reaction, due tothe priority level change. The most important task is to keep your recording(s)error free. As such, the updating of VU meters is a lower priority task. This is toavoid overloading the computer. The levels are still shown at their correct val-ues. If you use lower buffer settings, the meters are updated at shorter intervals(i.e. they are faster).

Tip: Adjust the Input signal’s level so that the loudest peak doesn’t quite reach 0dB.The Input signal’s level must be adjusted at the source, or with a mixer. Some audiocards also allow you to adjust the input signal.

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Menu Playback/RecordAs with all digital audio, any levels above 0dB are clipped, resulting in uglydistortions. If the red clip LED is displayed, we suggest that you lower the inputsignal level. If this happens during recording, you will probably need to re-record the take. If the take has been completed, however, we suggest listeningto the file before deciding to discard it – the clipped section may not be signifi-cantly damaged.

Note: Samplitude offers an excellent De-clipping feature in the Effects Menu. Thisallows for audio repair, in cases where re-recording is not possible. This should only beused as a last resort – it is always better to avoid clipping during recording, if possible!

Reset PkClick on this button to reset the LED Peak-Meters to the off position.

Osci/CorelClick on this button to open the Visualization window. When opened from theRecord dialog, the Visualization window offers 4 different ways to view thevarious volume properties of the incoming audio.By default, clicking the Osci/Corel button in the Record dialog opens the Visu-alization window in Oscillograph mode. The Phase Correlator (stereo display-device), the Spectroscope and the realtime Spectrogram are available by click-ing on the Setup button, to the top left of the Visualization display.The Visualization tools are only suitable for previews. You must close the Visu-alization window prior to completing any other tasks (such as recording) inSamplitude.

Warning: When using the Visualization tool (i.e. prior to Recording), do not use theVisualization Peak Meter display. Doing so will disable the Peak Meter in the Recorddialog, and may make Samplitude unstable.

Record InformationThis display contains 3 numerical counters which show the following data forRecording:

Record Time: This counter indicates the length of the actual Recording in hours,minutes, seconds, and milliseconds.

Remain. Time: When a fixed Recording Length has been specified (see below),this counter displays the time remaining before the specified length is reached.This counter is updated in realtime during Recording.

Disk Space: This counter displays the remaining space available for Recordingon the specified partition in hours, minutes, seconds and milliseconds. Thiscounter is not updated during Recording, but is refreshed at the end of eachtake.

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Menu Playback/RecordRecord Length: This box enables selection of a specific duration for Record-ing in hours, minutes, seconds and milliseconds. The Recording take will auto-matically disengage when the specified duration is reached. To enable this func-tion, check (tick) the active box, and enter the desired take length in the nu-meric box. Note that Remain. Time is also activated (see above)

File Path: This dialog allows the user to determine the name, and hard diskdestination, of the HD Wave Project. The path to the left of the button indicatesthe destination of the audio file to be recorded. If you click on the yellow folderbutton, you may enter a new name, or location, for the audio file. This is an easyway to redefine a target directory, or hard disks, as the destination for the newaudio file. If you create a new name, the Wave project is renamed as well.

Record buttonStart Recording by activating this button.

StopStops the Recording process. Samplitude will ask you whether you wish to keep,or delete, the recording.Should the computer become overloaded due to data swapping or hard diskaccess issues, for example, simply interrupt the recording with a right-click, orthe Spacebar.

MonitoringNew, more flexible input signal monitoring is now available through ASIO driversupport.

Input monitoring on/offActivates/deactivates input monitoring (depending upon the “REC M” buttonon the transport console). Monitoring renders the input signal of the tracksactivated for recording (REC button in the VIP is lit) according to the selectedtype of monitoring for the output signal. The LED peak meters in the VIP andmixer react to the input signal.

Tape player monitoringThe preset method of monitoring as on a tape player and well-known fromearlier Samplitude versions:When STOP is shown, the input signal is rendered, PLAY renders the trackcontents, RECORD renders the input signal except with punch-in recordings(which renders that which is outside of the track punch markers and within theinput. If the option is deactivated, it is left to the user to choose whether theinput signal is shown. Use the “Force monitoring” button (small loudspeakersymbol beside/above the peak meter in the VIP/Mixer).

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Menu Playback/RecordHardware Monitoring / Software Monitoring / Software FXMonitoringThe input signal is only given when the monitoring type has been selected.Nevertheless, the peak meter continues to function. When the monitoring typehas been selected, audio monitoring is activated.

Hardware MonitoringWith MME drivers, this is the only possible type of monitoring withinSamplitude. In addition, the audio hardware must support ZLM (Zero LatencyMonitoring). You may of course offset a monitor signal in the Windows Multi-media mixer externally from Samplitude. However, it is incompatible with thepunch-in functions.

Software Monitoring / Software FX MonitoringFor cards with ASIO drivers, it is also possible to use software monitoring if thecard does not support hardware monitoring (ASIO Direct Monitoring).Software FX monitoring also calculates the track effects into the monitoringsignal with the exception of all high latency-afflicted FX Inserts such as FFTfilters, Dehisser or Vocoder. The Amp simulator however is applicable.Samplitude is therefore also usable as an effects device with which one can playlive directly.If you need all of the mixer effects, use the conventional Live Input Mode, whichfunctions without ASIO, but is afflicted with higher latencies.In addition, software FX monitoring must be active before VST instrumentscan be played live via the MIDI IN port.

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Menu Options

Project Properties

This item provides easy access to various modes, parameters and options.

Project Properties > Mixer SetupOpens the Mixer Setup dialog, where you can adjust the general settings for theMixer’s routing design. Please refer to the Mixer chapter for details!

Project Properties > 5.1 Surround Mode (Samplitude Pro)This activates Samplitude’s 5.1 Surround Mode. For further information, pleaseread the Surround Chapter.

Project Properties > Playback OptionsThis item launches the Play Parameter dialog (shortcut – P). Please refer to thePlayback menu section, for further details.

Project Properties > Media LinkThe Media Link dialog is one of the most powerful features of Samplitude. Thisoption allows you to synchronize media files, including MIDI and AVI files.These can be complete MIDI songs, or sequences (*.MID files), Video clips(*.AVI files), DV-AVI, MPEG Layer1 (*.MPG), Windows Media (*.WMV; *.ASF),MAGIX video format (*.MXV ), or other filetypes that have an MCI driver in-stalled in Windows.You can ecsily link a media file to a VIP by drag ‘n dropping it onto the timeline.Samplitude is an excellent tool for film music arrangements, due to it’s abilityto synchronize with Video-for-Windows movies (AVI).Film and video clips are recorded as AVI files. A Samplitude Virtual Project canthen be synchronized with it. The mwsic, original sound, voice tracks, effects,and much more can be adjusted on the time line, cnd played alongside the AVIvideo file. As the final step, the audio signal can be recorded back to the originalvideotape’s audio tracks, or mixed for broadcast.

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Menu Options

File Name: Allows you to specify the file name, and source directory of themedia file. Clicking on the folder button launches a file selection dialog thatallows you browse your hard disk(s), and specify the media file type. Once youhave located the desired media file, simply click on OK, and Samplitude willmake the link.

Offset: The Offset allows you to specify a different start time for the media file.The default is a zero position, which means that the media file will start atexactly 0 position (i.e. the beginning of the file). If the offset is varied from the0 position, playback of the media file starts at the entered position.As an example, imagine that you’re working on some audio for an AVI file, andthat this audio section does not occur until 15 minutes into the AVI file. Itwould be unnecessary to create 15 minutes of empty space at the beginning ofthe VIP, in order to line up the AVI frames and the audio.The better alternative is to specify an offset of 15 minutes – i.e. the AVI file willstart playback, 15 minutes into the video file. All audio in Samplitude, however,will start at position 0.It makes good sense to write down the offset values of each individual Projectthat you are working with.

Play Always: This checkbox allows you to specify whether or not Samplitudeshould play the media file every time you start playback, or recording. If un-checked, Samplitude will not play back the media file. This is a quick way todisable playback of the media file.

Load Always New: If this option is checked, Samplitude will always load themedia file every time you play back, or record to, your VIP or Wave Project. Ifthe box is unchecked, playback of the media file is performed from RAM. If themedia file is too large for the buffers, playback is performed from the hard disk.

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Menu OptionsSynchronization to Audio playback: Synchronizes the new media link (e.g.AVI-Files) with the existing VIP.

Extract Audio from AVI: If the file type is an AVI that contains video andaudio data, audio streams are extracted from all other information, and placedinto a Wave Project. This allows you to extract and edit the audio, in isolationfrom the other contents of the imported file.

Replace Audio in Existing AVI: This option performs a track bounce of thecurrent VIP into a single WAV file. This file is then merged with the selectedAVI file, overwriting the existing AVI audio track.

Create AVI / Audio Copy: This option performs a track bounce of the currentVIP into a single WAV file. The AVI file is copied to a new file, which containsthe new audio track. This option retains the original AVI.

Video Without Sound: This option applies to AVI files only. If the AVI filecontains audio, the playback of the AVI file and it’s audio could interfere withSamplitude’s audio playback. For this reason, it is suggested that you disableaudio playback for the AVI.

Video in Samplitude Window: This option is only applicable to AVI file play-back. Normally, the AVI file is played back in a completely independent win-dow. This means that if you maximize the Samplitude window, you will not seethe AVI playback window. You would need to minimize, or scale, the Samplitudewindow in order to display both windows onscreen.Checking this option, however, allows you to display the AVI window as an-other Samplitude-related window, which always stays ”on top”, during play-back. This allows you to display the AVI movie any time playback or recordingoccurs in Samplitude.

Show Video Tracks: This option allows you to display a video track in the VIPwindow - as individual frames of the AVI file.In the upper left-hand corner of the VIP window, the current frame is displayedwhen the play cursor is clicked/positioned at a particular location in the VIPTracks. This allows you to position audio events and other material at exactframe positions.If you zoom in to the window, the video track is also enlarged, showing thevideo frames at a lower resolution level. If you display the window at its lowestzoom level, each frame is shown in the video track.

FX: The FX option allows adjustments to the small delays that can occur onslower computer systems. The linking of media files with VIP or Wave Projectsis based on two playback processes, one for the Samplitude window, and onefor the media file window.No synchronization of material takes place during the playback process. Thismeans that on less powerful computers, the digital audio tracks and the media

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Menu Optionsfile may run ‘out of sync’. The FX option allows you to specify a factor, used forinternal sample rate conversion.Here’s an explanation of how it works :As we can not influence the playback speed of the media file, we need to adjustthe playback speed of the digital audio tracks. Imagine that a normal playbackspeed is represented by a factor of 100. If the digital tracks play ahead of themedia file, playback needs to be slowed down.This would be accomplished by multiplying the regular playback speed of 100with an FX factor just a below 1. (e.g. 0.998). This would result in a playbackspeed of 99.8, which is slightly slower than the regular speed. This way, we canalign the digital tracks with the media file.On the other hand, if the digital audio tracks lag behind the media file playback,a factor higher than 1 would need to be entered. (e.g. 1.002)The ‘rule of thumb’ for this factor is to use small value increments. The valuesshould stay around 1. You will need to experiment with this setting, as there isno ”one-size-fits-all” rule that can be applied here.If you don’t have any synch problems with the digital audio tracks and the me-dia file, you should stay away from this field!

Remove Link: This button will unlink the media file from the Samplitude win-dow. This effectively stops all association with the media file. Use this option ifyou no longer need to reference the media file.

Preview: The Test button allows the current link to be tested. Clicking on thebutton should commence playback of the media file. If no playback is visible ina Samplitude window, you may need to check the ”Video in Samplitude win-dow” option. Other media file types should play back via the Windows multi-media extension, in utilities such as the MIDI file player.

Show Actual Frames: This option shows the actual video frames in the pre-view windows of the video track.

Project Properties > Project Information > Project Options

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Menu OptionsSample RateThe sample rate can be changed here, provided that the soundcard supports thenew rate (some soundcards even support changes to the rate while playing thesample!). This is especially useful for auditioning notes within a sample Range,played in a different octave. When selecting half the sample rate, the pitch wouldbe played one octave lower.

Snap/GridObject: This option activates the Object Grid.

Range: Range activates the area Snap, and enables you to use the currentlymarked area (for the Snap) by selecting ”Get current range for snap”.

Grid/Bars: Activates a Snap based on measures. You can enter the tempo inBPM and additional measure attributes in the Bar/BPM area. The tempo canalso be detected from the current range selection via “Get BPM from CurrentRange”. You can define the number of beats that the current area selectioncorresponds to - e.g. 4, if a complete 4/4 measure has been marked. The pro-gram now automatically displays the tempo (bpm) for the marked area. Divi-sion Markers are used to divide the Snap per beat, i.e. a value of 4 = 1/16 notesin a 4/4 measure.

Snap Offset to project start: Lets you define a starting point for the snap andgrid.

Use Snap Offset also for Grid: When this box is checked (ticked), the SnapOffset (if set) is applied to the Grid.

Snap On: When this box is checked (ticked), the Snap feature is turned on.

Bar/BPMHere you set the meter (numerator/denominator), the tempo in beats per minute(bpm), and the timer resolution in peaks per quarter (clicks/pulses per quarternote – often shown as PPQN).

RecordingLock Recorded Objects: This option locks the newly recorded Objects as soonas the recording is over. This is useful if you do not want to accidentally movethe new Objects in a VIP.

Note: An Object can be unlocked by first selecting it (click on the Object in thelower half of the Track), then selecting Object > Lock Objects > Unlock Objects.

EditingAutoSave Mode: This group of settings activates Samplitude’s AutoSave modefor VIP Projects. This is a very useful tool which will automatically create backupcopies of open VIP’s, during a Samplitude session.

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Menu OptionsSamplitude will not interrupt playback or recording to instigate a backup! TheAutoSave process is activated during brief periods of inactivity, and only backsup the actual VIP (usually a very small file).The backup tool can be set to overwrite the open file, or to sequentially savecopies of the open file. Samplitude will automatically name the backup VIP’s,and place them in the Project directory.The Save Interval can also be set by the user.We cannot think of a reason why you would leave AutoSave Mode inactive, butyou can if you wish!

CD Arrangement Mode: When you activate this menu item, Samplitude rear-ranges newly inserted Objects, and inserts pauses between the Objects (con-forming to the Red Book Standard).Please refer to the CD > CD Arrange Mode section for more details.

VolumeWhen combining multiple audio tracks with peaks at, or near 0dB, it is veryeasy for the combined Master Output Level to exceed 0dB. If Samplitude is setto operate at an internal precision of 32Bit (Float), this isn’t a problem.If Samplitude is set to use an internal precision of 16Bit (Integer), this is mostdefinitely going to cause clipping! The Volume parameter provides a quick wayto scale back the Master Output Level, so as to avoid exceeding 0dB.You can select from four different attenuation values by clicking on (selecting)one of the following radio buttons :0dB: This option provides no Input Attenuation, and can be considered the”Off” setting.-6dB: This option provides 6dB of Input Attenuation.-12dB: This option provides 12dB of Input Attenuation.-18dB: This option provides 18dB of Input Attenuation.

Theoretically, each track of a 4-track stereo Project must be reduced by 2 bits(12 dB). In the real world, tracks are often not recorded or played back at themaximum level, allowing reductions to be made accordingly. Raising the vol-ume reduction setting may, however, result in clipping.Please keep in mind that Samplitude reduces the volume of Wave Projects tothe setting defined in the Virtual Project (that uses the Wave Project). Thisallows you to switch between the VIP and Wave Project without the usual issueof volume differences between the Project types. If a Wave Project is opened inisolation (without using the Wave Project in a VIP), Samplitude automaticallyuses the maximum volume playback level.

Project Properties > Text CommentsYou can enter text comments to the current Project via a simple text editor. Thistext can be displayed each time the Project is opened. This will preserve impor-tant information about the Project, along with the audio material.So you have no excuses for forgetting session information!

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Menu Options

Set Globals: Click on this button to save the information you added (typed in)as a Global setting.

Get Globals: Click on this button to recall the saved information (Global set-ting), and add it to the current active Project. This allows you to quickly add thesame information to every Project you work on.

Cancel: Click on this button to close the Project Information window, withoutaccepting changes to the settings.

OK: Click on this button to accept the current settings, and close the ProjectInformation window.

Read Only: Click on (enable) this option to make the HD Wave or RAP a ”ReadOnly” file. You can play the audio file, but cannot alter it in any way.

Project Properties > Broadcast Wave ExtensionBroadcast wave information can be edited for each VIP and WAV.When used in VIP’s, the resulting WAV’s (e.g. after Track bouncing) have broad-cast wav information added to them. The Broadcast Wave Extension enablesyou to directly store relevant information for a wave file in the file itself.

Project Properties > Snap and Grid SetupThis opens the Snap/Grid setup dialog. Please refer to the View > Snap andGrid Setup section for more details.

Project Properties > CD Arrange ModeWhen you activate this menu item, Samplitude rearranges newly inserted Ob-jects, and inserts pauses between the Objects (conforming to the Red BookStandard).Please refer to the CD > CD Arrange Mode section for more details.

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Menu Options

Project Properties > Units of MeasurementThis dialog determines the timing method used for the display / grid.Please refer to the View > Units Of Measurement section for more details.

Project Properties > Project InformationShortcut: I

Select this option to display Project Information (an ”overview”) about the cur-rently active Project (HD Wave, RAP, or VIP).This includes creation date, memory size, path and file names.For Virtual Projects, a list of all included physical files (including linked HDWave Projects) is displayed.The Project Information window displays information in one of the followingtwo ways :

1. Project Information window (HD Wave, RAP)For Hard Disk and RAM Projects (HD Wave, RAP), the Project Informationwindow will display: Path (location on hard disk), File Name, Number of StoredRanges, Number of Stored Cursors (Markers), Date the File was created, Datethe File was last edited, Size of the File (in samples), and Amount of Hard Diskspace (Memory) the File requires. You can also add (type in) the following in-formation: Name, Comment, Subject, Artist, Engineer, Technician, Keywords,Software, and Copyright.

Note : This is a very useful option for users who work with banks of loops, Foley /library sounds, station ID’s etc. These ‘sound libraries’ can often appear in multipleVIP’s and can also be used by multiple engineers / producers. By setting importantfiles as Read Only, multiple users can work, without the risk of altering importantfiles or library files. Additionally, when using the Remove Unused Samples option(Tools > Remove Unused Samples), files marked as Read-Only will not be touched.

2. Project Information window (VIP)For Virtual Projects (VIP), the Project Information window will display: FileName, Path (location on hard disk), Number of Stored Ranges, Number of StoredCursors (Markers), Date the File was created, Date the File was last edited,Number of Objects in the VIP, and a List of ALL Hard Disk and RAM Projects(HD Wave, RAP) used in the VIP.You can also add (type in) the following information: Name, Comment, Sub-ject, Artist, Engineer, Technician, Keywords, Software, and Copyright. This dialogalso allows you to set automatic backup options which run while the Project isopen.

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Menu Options

OK: Click on this button to accept the current settings, and close the ProjectInformation window.

Synchronization activeThis menu item is mainly present to map a keyboard shortcut on it. You canswich the Synchronization on/off via the SYNC Button on the Transport con-trol. Right click on this button opens the Synchronization Setup Dialog

Key: Shift + G

Synchronization SetupShortcut: G

Select this option if you wish to internally synchronize Samplitude to anothersoftware application (i.e. a MIDI sequencer), or externally to a hardware device(i.e. a multi-track tape machine). Samplitude can be either the Slave or Master,and can sync to MIDI Clock or SMPTE/MTC. Full Chase Lock Sync is sup-ported via software or hardware (if using the SEK’D ARC series cards).

Synchronizing SamplitudeSynchronization, in a classic sense, requires two Objects or components to matchtheir actions and timing processes. In an audio environment, Synchronizationis crucial for matching the playback or recording speed of one component withthat of another.Synchronization in Samplitude is straightforward, although there are a few fac-tors that can complicate things. When considering a Synchronized environ-ment, one component takes on the role of the leader (this component is consid-ered the ‘Master’), while other components follow the leader (these compo-nents are considered the ‘Slaves’).Samplitude can be configured as the Master or Slave device. When operating asthe Master device, the program will generate the desired timing information

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Menu Optionsfor other components in the system to follow. Samplitude can also operate as aSlave device, following incoming Synchronization signals.The Synchronization format is another important aspect of any functional Syn-chronization setup. This ‘language’ is spoken by all of the components. Actu-ally, in most cases, it’s just the ‘Master’ saying (transmitting) something, whilethe rest of the system listens.The Synchronization format allows the slave devices to find information aboutthe start position, start/stop signals, and (in extended formats) the exact timinginformation that is being continuously transmitted.The Synchronization formats Samplitude understands, and transmits, are: MIDIClock, MTC (MIDI Time Code), and SMPTE (which needs to be converted toMTC by the software of your MIDI interface card).MIDI Clock only contains the SPP (Song Position Pointer) and Start/Stop sig-nals. There is no continuous timing information embedded or transmitted inthe MIDI Clock signal. This is why this Synchronization type is viewed as a‘transmit and forget’ format – once a combination of the two signals has beentransmitted, no more information is passed until the next event (start or stop)takes place.The most important drawback of this Synchronization type is that Samplitudeis unable to verif{ whether or not it’s audio Tracks are played back in perfectSynchronization. There is no continuous timing information that Samplitudecan compare with it’s own internal position. We only recommend the use ofthis type of Synchronization if your setup does not introduce major timingvariations, or if the Synchronization is only needed once, for a ”dump” of audioor MIDI Tracks into Samplitude.If you are looking for tight integration of MIDI tracks from your favouritesequencer, with Samplitude’s audio tracks, then MTC is the format of choice.MIDI Time Code, or MTC, contains an additional layer of timing information,beyond the signals transmitted by the MIDI Clock format. This continuoustiming information allows Samplitude to verify it’s own position with that ofthe incoming time code. If variations in speed occur, Samplitude can be told tocompensate, and ‘chase’ the time code. This is called ‘Chase Lock’, and can beset in the Synchronization dialog.Dependent on the speed of the computer and audio hardware in use, this op-tion offers the tightest possible Synchronization.There are several other aspects to synchronizing Samplitude with the outsideworld. We will explain the two most common ways to synchronize Samplitude– external Synchronization and internal Synchronization.

External SynchronizationThis type of Synchronization is used when you need to synchronize Samplitudewith a tape-based recorder, video machine, external sequencer, or other equip-ment that sends Sync signals to Samplitude. Most of these situations/deviceswill work best by setting up Samplitude as the slave, and the external Syncsource as the master.Once Samplitude has been told to expect the Synchronization signals at a par-ticular interface port, you do not need to do anything else in Samplitude to start

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Menu Optionsplayback or recording. Once Samplitude detects the incoming signal, it willattempt to locate the song position pointer, and jump to that location. Playbackis started automatically. The same holds true if you need to record in Samplitude,while synced to an external device. Simply open the Record Parameter window,and make all necessary adjustments. Now, press the record button. Once youhave made the necessary changes in the window, simply start the external de-vice. Samplitude will lock to the incoming signal, and will start the recordingprocess. It’s that simple!There are several things to consider when working with an external Sync source:1. Make sure that the Synchronization interface can convert a SMPTE signal

into MTC. A software utility should allow this, or the card’s device drivermay do it for you automatically.

2. When striping analog or digital tape with a SMPTE Track, ensure that thesignal is strong enough to provide a continuous, uninterrupted Sync signal.Samplitude will stop playback or recording as soon as a drop out occurs.

3. You might need to use Samplitude’s offset settings when working with aSync source that starts in the middle of a tape (for example).

4. Make sure you are using the proper Sync protocol!

Internal SynchronizationThis type of Synchronization is used when you need to synchronize Samplitudewith another program running on the same computer. This will probably be asequencing program that handles your MIDI configuration. In this scenario,Samplitude can be the slave or master.As with external Synchronization, once the setup has been configured properlyin Samplitude, you do not need to do anything else in the program, if set up asa slave. Once Samplitude detects the incoming Sync signal, it will attempt tolock up to the correct song position, and will start playback or recording.Generally, you will choose the MIDI Time Code (MTC) format as the Synchro-nization protocol. The advantage of MTC over MIDI Clock is that the MTCSync protocol is not dependent on the speed specified in the BPM setting. Thetempo in the sequencer can be changed, and Samplitude will follow suchchanges. This is not possible with MIDI Clock. There are also a number ofthings to consider when trying to Sync two programs:1. Ensure that sufficient system resources are available for the provision of ac-

curate Synchronization for both programs. On a slow computer system, youmay encounter track drifts if the system is not fast enough to deal with theload of processing digital audio, and sequencing. You might need to reducethe number of tracks used in Samplitude, or move to a more powerful com-puter.

2. When using cable connections to Sync two programs, ensure that you arenot setting up a MIDI loop. As an example, this can occur by using MIDIOut 1, and plugging the end of the cable into MIDI In 1. The software driverfor your MIDI interface can be confused in this situation (a MIDI loop), thuspreventing successful Sync.

3. You may need to disable Virtual Memory in Windows (95, 98, 98SE) to com-pensate for Synchronization inaccuracies. Most realtime functions in older

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Menu Optionsversions of Windows are difficult to achieve when Virtual Memory is ena-bled. Please refer to your Windows manual on turning off Virtual Memory.It should be noted that Windows 2000/XP memory settings should be leftalone.

Note : The safest way to ensure system stability, with Virtual Memory disabled, is tohave plenty of RAM !

4. Make sure that the BPM in Samplitude and your sequencing program match.This is important when dealing with time references in both programs.

The Synchronization dialog

MIDI Clock InputIf you want Samplitude to Slave to MIDI Clock, use this section. This sectiontells Samplitude to look for MIDI Clock signals (Start, Stop, Continue, SongPosition Pointer) on the specified MIDI Input Device. Set the section to ‘Ac-tive’, if you wish to use this format.

Note: MIDI Clock does not carry any continuous timing information. It is a ‘Setand Forget’ format, which does not allow Samplitude to monitor it’s lock with theexternal device. Use the SMPTE/MTC Input if you require extremely tight Syn-chronization.

Device: Use the drop-down list to select the Device that will receive MIDI ClockSynchronization signals. This will be an active MIDI port (either Virtual orhardware).

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Menu Options

BPM: Enter the tempo, in Beats Per Minute (BPM), of the audio that you wantto synchronize with. This parameter doesn’t affect the playback speed of thedigital audio tracks, but is responsible for the Grid display.

Active: Click on (enable) this option to activate Synchronization to incomingMIDI Clock signals.

MIDI Clock OutputIf you want Samplitude to Generate MIDI Clock as the Master, use this section.When active, Samplitude becomes the MIDI Clock Master, meaning that it willsend out the following MIDI Clock signals: Start, Stop, Continue, and SongPosition Pointer. No additional timing information is transmitted. This is oftena quick solution for a Synchronization setup which does not require tight Syncbetween the components.

Device: Use the drop-down list to select the Device that will send MIDI ClockSynchronization signals. This will be an active MIDI port (either Virtual orhardware).

BMP: Enter the tempo, in Beats Per Minute (BPM), that Samplitude will sendvia MIDI Clock. This parameter will determine the tempo of the Slave - i.e. Ifthis parameter is set to 120, a sequencer slaved to Samplitude will play back ata tempo of 120 BPM.

Active: Click on (enable) this option to have Samplitude generate MIDI ClockSynchronization signals.

MTC InputIf you want Samplitude to Slave to SMPTE/MTC, use this section. When active,Samplitude becomes a SMPTE/MTC slave device. It will listen for incomingtime code signals, including timing information, on the specified MIDI InputDevice. If you require extremely tight Sync, you should also activate the ChaseLock Sync option.

Note : Samplitude only understands MTC (the digital counterpart to SMPTE in-formation). It is therefore necessary to utilize a MIDI interface that is capable ofconverting any possible SMPTE signals into MTC (MIDI Time Code).

Device: Use the drop-down list to select the Device that will receive SMPTE/MTC Synchronization signals. This will be an active MIDI port (either Virtualor hardware).

Active: Click on (enable) this option to activate Synchronization to incomingSMPTE/MTC signals.

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Menu OptionsMTC OutputIf you want Samplitude to generate MTC as the Master, use this section.Samplitude can also generate MTC signals, making it the master device in aSynchronization setup. MTC signals are sent to the specified output devicewhenever Samplitude starts/stops playback or recording.

Device: Use the drop-down list to select the Device used for the transmissionof MTC Synchronization signals. This will be an active MIDI port (either Vir-tual or hardware).

Active: Click on (enable) this option to have Samplitude generate MTC Syn-chronization signals.

SMPTE SettingsThese settings tell Samplitude what timing format to use for Synchronization.Different settings are available for various applications such as; the Europeanand American video and film formats.Select the proper frame rate. Use 24 frames for cinematic Synchronization, 25frames for PAL video and audio Synchronization, 30 frames for NTSC video.Note that the 29.97 Frames (Drop and Non Drop) settings are also available!Use the Preroll Frames option to allow for time code lock-up delays of externalequipment.

Type: This parameter allows you to specify the SMPTE/MTC type used for Syn-chronization.

Preroll Frames: This parameter allows you to specify the number of framesthat Samplitude should ignore before Synchronization occurs. Many devicesneed time to ”Lock up” to the Synchronization signal, and this parameter al-lows you to compensate for this delay.

SMPTE OffsetThis parameter allows you to specify a SMPTE Offset time, in either Millisec-onds or SMPTE format. As an example, if you have a multi-track tape machine(as the Master), striped with SMPTE, and you want your Samplitude Project tostart Slaving to the tape machine at exactly 30 minutes, simply enter 30:00:00in the SMPTE box.The offset is removed from the incoming SMPTE time code signal to align thedifferences between the tape material and samples recorded in Samplitude.With an offset of ’60:00:00' (1 hour), a tape that was previously striped can besynchronized if the recording/playback startpoint is set to 1 hour.

Millisec.: This numeric display shows the SMPTE Offset in Milliseconds.

SMPTE: This numeric display shows the SMPTE Offset in SMPTE format (Min-utes : Seconds : Frames).

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Menu OptionsFX: This option, similar to the Pitch (multiplication factor) parameter (of theVaripitch section of the Playback Parameter window), allows adjustments forsmall Sync problems that can occur, when dealing with long audio material.This feature alters the playback speed of the audio by the entered multiplicationfactor. Values above 1 cause an increase in playback speed. Values below 1 causea decrease in playback speed.

Chase Lock SyncSamplitude can perform Chase Lock Sync to incoming MTC signals. This isaccomplished by manipulating the sample playback rate ”on the fly”, to adjustto fluctuations in the incoming MTC Synchronization signals.

Note : This feature is extremely important when Synchronizing to an analog tapemachine, because its transport will introduce wow and flutter. If the timingchanges are too big, Samplitude produces heavy pitch changes, which may be re-duced by entering smaller Sync Velocity values in the Sync dialog (see below). Tryvalues of 200 or more when you need fast pitch changes in Sync mode. The lowerright status bar allows you to read the actual/maximum pitch change in cents (1cent = 1/100 halftone).Chase Lock Sync performs realtime resampling (if not using ARC44), which re-quires a certain amount of processing power, so be careful on slow machines!

Sync Velocity: This parameter allows you to specify how closely Samplitudefollows fluctuations (in speed) of incoming MTC signals. In other words, thisparameter will determine how quickly Samplitude follows a pitch change (causedby speed fluctuations in the MTC Synchronization signals), generated by theMaster device. The default value is 100, which will generally perform well. Ifyou require a quicker response to pitch changes, increase this value to 200 or300. If you require a slower response to pitch changes, decrease this value to 50or 30.

Active: Click on (enable) this option to have Samplitude Chase Lock to incom-ing MTC Synchronization signals.

Use Hardware Pitching (ARC cards): If you are using an ARC 44 or anARC 88 audio card, click on (enable) this option to allow the card’s hardware tovary the sample playback rate.

Cancel: Click on this button to close the Synchronization window, withoutaccepting changes to the settings.

OK: Click on this button to accept the current settings, and close the Synchroni-zation window.

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Menu OptionsTo Synchronize Samplitude (internally) to a software MIDI sequencerwith Samplitude as the Master:1. To Synchronize Samplitude internally (using no cables) with a software

sequencer, you must have a Virtual MIDI port installed. If you already havea Virtual MIDI port installed, proceed to step 2. If you do not have a VirtualMIDI port installed on your system, there is one called Hubi’s MIDI Loopbackon the Samplitude install CD-ROM. Please install it before proceeding.

2. Open a new VIP by clicking on the NEW VIP icon3. Select the number of Tracks you’d like the VIP to start with, and click on OK.4. Press the G key to open the Synchronization window.5. We want Samplitude to be the Master Synchronization device, so open the

MTC Output section, select the Virtual MIDI device from the Device drop-down list, and click on Activate.

6. Browse to the SMPTE Settings section, and choose the desired SMPTE type.7. Click on OK to close the Synchronization window. The Time Display win-

dow will now appear onscreen.8. ALT-TAB between Samplitude and your MIDI sequencer.9. Load the desired song (MIDI based composition) into the MIDI sequencer.10. Set the MIDI sequencer to receive MTC via the Virtual MIDI port, and make

sure that you choose the same SMPTE/MTC format as that used inSamplitude - in step 6. (e.g. 30 Frames/Second). Refer to the MIDIsequencer’s manual if you are not sure how to set these parameters.

11. If necessary, press the Spacebar to prepare the MIDI sequencer for MTCreception. Some sequencers may require this step.

12. ALT-TAB (out of your MIDI sequencer) back to Samplitude. When you startthe transport in Samplitude, the MIDI sequencer should now follow.

To Synchronize Samplitude (Internally) to a software sequencer withSamplitude as the Slave1. To Synchronize Samplitude internally (using no cables) with a software

sequencer, you must have a Virtual MIDI port installed. If you already havea Virtual MIDI port installed, proceed to step 2. If you do not have a VirtualMIDI port installed on your system, there is one called Hubi’s MIDI Loopbackon the Samplitude install CD-ROM. Please install it before proceeding.

2. Open a new VIP by clicking on the NEW VIP icon3. Select the number of Tracks you’d like the VIP to start with, and click on OK.4. Press the G key to open the Synchronization window.5. We want Samplitude to be the Slave Synchronization device, so open the

SMPTE/MTC Input section, select the Virtual MIDI device from the Devicedrop-down list, and click on Activate.

6. Browse to the SMPTE Settings section, and choose the desired SMPTE type.For audio only applications, 30 Frames/Second (non-drop) is appropriate.

7. Click on OK to close the Synchronization window. The Time Display win-dow will now appear onscreen.

8. ALT-TAB between Samplitude and your MIDI sequencer.9. Load the desired song (MIDI based composition) into the MIDI sequencer.

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Menu Options10. Set the MIDI sequencer to transmit MTC via the Virtual MIDI port, and

make sure that you choose the same SMPTE/MTC format as that used inSamplitude - in step 6. (e.g. 30 Frames/Second)Refer to the MIDI sequencer’s manual if you are not sure how to set theseparameters.

Note: Some sequencers may not be able to transmit MTC, and will therefore notfunction as a Sync Master. Check with your sequencer manufacturer for details.

11. When you start the transport in the MIDI sequencer, Samplitude shouldnow follow.

Tip: In most cases, the application playing Audio should be the Master Synchroni-zation device. It is MUCH easier for MIDI to chase to Audio than vice versa.

To Synchronize Samplitude (externally) to a hardware device withSamplitude as the Master1. To Synchronize Samplitude externally (using MIDI cables) with a Hardware

Device (e.g. Akai MPC 2000 sampling drum machine), you MUST have aMIDI interface installed. If you already have a MIDI interface installed, pro-ceed to step 2.

2. Open a new VIP by clicking on the NEW VIP icon3. Select the number of Tracks you’d like the VIP to start with, and click on OK.4. Press the G key to open the Synchronization window.5. We want Samplitude to be the Master Synchronization device, so open the

MTC Output section, select a MIDI port from the Device drop-down list, andclick on Activate.

6. Browse to the SMPTE Settings section, and choose the desired SMPTE type.7. Click on OK to close the Synchronization window. The Time Display win-

dow will now appear onscreen.8. Prepare the Hardware Device (IE: Akai MPC2000) to receive MTC via its

MIDI In port, and make sure that you choose the same SMPTE/MTC formatas that used in Samplitude - in step 6. (e.g. 30 Frames/Second)

Refer to the Hardware Device’s manual if you are not sure how to set theseparameters.

9. A MIDI cable must be connected between the MIDI Output port (selected instep 5) and the Hardware Device’s MIDI Input. This is the cable that willcarry the Synchronization signals.

10. When you start the transport in Samplitude, the MIDI sequencer shouldnow follow.

To Synchronize Samplitude (Externally) to a hardware device withSamplitude as the Slave1. To Synchronize Samplitude externally (using MIDI cables) with a Hardware

Device (e.g. Akai MPC 2000 sampling drum machine), you must have aMIDI interface installed. If you already have a MIDI interface installed, pro-ceed to step 2.

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Menu Options2. Open a new VIP by clicking on the NEW VIP icon.3. Select the number of Tracks you’d like the VIP to start with, and click on OK.4. Press the G key to open the Synchronization window.5. We want Samplitude to be the Slave Synchronization device, so open the

SMPTE/MTC Input section, select a MIDI port from the Device drop-downlist, and click on Activate.

6. Browse to the SMPTE Settings section, and choose the desired SMPTE type.7. Click on OK to close the Synchronization window. The Time Display win-

dow will now appear onscreen.8. Prepare the Hardware Device to send MTC via its MIDI Out port, and make

sure that you choose the same SMPTE/MTC format as that used inSamplitude - in step 6.

Refer to the Hardware Device’s manual if you are not sure how to set theseparameters.

9. A MIDI cable must be connected between the MIDI Input port (selected instep 5) and the Hardware Device’s MIDI Output. This is the cable that willcarry the Synchronization signals.

10. When you start the transport on the Hardware Device, Samplitude shouldnow follow.

Track InformationThis item launches the Track Info dialog. Refer to the VIP Window – A DetailedLook chapter, for further details regarding the track Properties dialog.

Program PreferencesThese items allow you to select a variety of settings, allowing you to customizeSamplitude to meet your working preferences and/or system.

Program Preferences > VIP Mouse ModeThe following options allow you to select from a variety of Mouse modes. Thesemodes determine the functionality of the mouse in VIP Projects.

Universal Mouse ModeThis option enables the Universal Mouse Tool. When using the Universal MouseTool, the upper half of a Track is used to mark Ranges, and position the Locator(cursor). The lower half of a Track is used to Select and Move Objects. Object

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Menu Optionshandles, and volume and panorama curve events take precedence, and can bemodified at any position within the Track. The Universal Mouse Tool (defaultMouse Tool) is the one you’ll use most often.

Tip: You can also select the Universal Mouse Mode by clicking on (enabling) theUniversal Mode icon in the upper toolbar.Universal Mode Mouse Functions :

Right Mouse Button: Displays a context-sensitive pop-up menu.Left Mouse Button:1. Upper Track Pane:Range: Selecting and moving Ranges (with Shift key).

Play Cursor: Single click sets the realtime cursor anywhere in the Track.

Zoom: Double-click outside of a selected Range (or no Range) zooms out.Double-click inside a selected Range zooms in.

2. Lower Track Pane:Selecting Objects: Single click selects Objects (or group of Objects.)Single click + Shift selects multiple Objects, including all Objects that fall be-tween the two clicked Objects.Single click + Ctrl selects multiple single Objects.

Moving Objects: Dragging moves Objects or Object groups.Dragging + Shift moves Objects, or Object groups, up or down the Track list,without changing the time position.

Duplicating Objects: Dragging + Ctrl duplicates one or more Objects.Dragging + Shift + Ctrl duplicates one or more Objects, while allowing theObjects to be moved up or down the Track list, without changing the time posi-tion.

Object Editor: Double-click opens the Object Editor

Lasso Function: Clicking beside an Object, while right-dragging the marquee(lasso) across multiple Objects, selects all Objects within the marquee.Clicking beside an Object, while left dragging the marquee (lasso), selects mul-tiple volume or panorama curve events.

3. Complete TrackObject Handles: The upper handle changes the Object volume. The changedlevel is shown in dB in the upper left-hand corner of the VIP.The upper left and right handles change the Fade In/Out of the Object. Fadecurve parameters can be set in the Object Editor.The lower handles resize the Object.

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Menu OptionsVolume and Panorama Automation Curves: Single click on the automationcurve creates a new curve event. Double-click on the same curve event deletesthe event.Single click on an event selects the automation curve event.Single click + Ctrl allows selection of multiple events.Dragging of a curve event moves the selected event.Dragging + Ctrl moves several events.To delete events, select them, and use Edit- > Delete .... Handle.

Ranges Mode (Secure Mode)Select this option to enable the Range Mouse Tool. When using the RangeMouse Tool, the left mouse button can only be used to mark a Range. A Rangecan be marked no matter where (in the Track) the Mouse pointer is located.Additional functionality is available through use of the following keys:

Period Key (.): If the period key is pressed, Samplitude temporarily changes toObject Mode. Once in Object Mode, you can easily select and manipulate Ob-jects.

Minus Key (-): If this key is pressed, Samplitude temporarily changes to CurveMode. In Curve Mode, you can change the volume and panorama automationcurves.These special functions provide a quick way of reaching all important func-tions, while protecting an Object from accidental movements. This is why thismode is also called ‘Secure Mode’.

Tip: You can also select the Range Mode by clicking on (enabling) the Range Modeicon in the upper toolbar.

Range Mode (Secure Mode) Mouse Functions :Right Mouse Button: Displays context-sensitive pop-up menu.

Left Mouse Button:Range: Selecting and moving Ranges (with Shift key). Objects or automationcurves can not be changed by accident (therefore called ‘Secure Mode’).

Play Cursor: Single click sets the play cursor anywhere in the Track.

Zoom: Double-click outside of a selected Range (or no Range) zooms out.Double-click inside a selected Range zooms in.

Select Object Mode temporarily: Using the (.) Period key temporarily switchesto Object mode, allows Objects to be moved.

Select Curve Mode temporarily: Using the (-) Minus key temporarily switchesto Curve mode, which allows movements and manipulation of automation curveevents.

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Menu Options

Curve ModeSelect this option to enable the Curve Move And Grab Mouse Tool. When us-ing the Curve Move And Grab Mouse Tool, the left Mouse button can ONLY beused to Create, Delete, and Move Handles on Custom Volume or Pan Curves.

Tip: You can also select the Curve Move And Grab Mouse Tool by clicking on(enabling) the Curve Mode and Grab Mode icon in the upper toolbar.

Curve Mode Mouse Functions :Right Mouse Button : Displays context sensitive pop-up menu.

Left Mouse Button:Lasso Function: Dragging the marquee or lasso selects multiple volume orpanorama automation curve events.

Volume and Panorama Automation Curves: Double-click on the automa-tion curve creates a new curve event. A further double-click on the same curveevent deletes the event.Single click on an event selects the automation curve event.Single click + Ctrl allows selection of multiple events.Dragging of a curve event moves the selected event.Dragging + Ctrl moves several events.To delete events, select the events and use Edit- > Delete .... Handle.

Objects ModeSelect this option to enable the Object Mouse Tool. When using the ObjectMouse Tool, the left Mouse button can only be used to Select and Move Objects.An Object can be Selected and Moved no matter where (in the Track) the Mousepointer is located.

Tip: You can also select the Object Mouse Tool by clicking on (enabling) the OB-JECT MODE icon in the upper toolbar.

Object Mode Mouse Functions :Right Mouse Button: Displays context sensitive pop-up menu.

Left Mouse Button:Selecting Objects: Single click selects Objects (or group of Objects.)Single click + Shift selects multiple Objects, including all Objects between thetwo clicks.Single click + Ctrl selects multiple single Objects.

Moving Objects: Dragging moves Objects or Object groups.Dragging + Shift moves Objects or Object groups up or down the Track listwithout changing the time position. Dragging + key ‘k’ move the Object underthe Mouse pointer, plus all Objects behind on the same Track.

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Duplicating Objects: Dragging + Ctrl duplicates one or more Objects.Dragging + Shift + Ctrl duplicates one or more Objects, while allowing theObjects to be moved up or down the Track list without changing the time posi-tion.

Object Editor: Double-click opens the Object Editor

Lasso Function: Clicking next to an Object while right dragging the marquee(lasso) across multiple Objects selects the Objects within the marquee.Clicking next to an Object while left dragging the marquee (lasso) selects mul-tiple volume or panorama curve events.

Object Handles: The upper handle changes the Object volume. The changedlevel is shown in dB in the upper left-hand corner of the VIP.The upper left and right handles change the Fade In and Fade Out of the Ob-ject. Fade curve parameters can be set in the Object Editor.The lower handles resize the Object.

Volume/ObjectsSelect this option to enable the Object And Curve Mouse Tool. When using theObject And Curve Mouse Tool, the left Mouse button can only be used to Selectand Move Objects and Select and Move Handles on Custom Volume or PanCurves. An Object can be Selected and Moved no matter where (in the Track)the Mouse pointer is located.

Tip: You can also select the Object And Curve Mouse Tool by clicking on (ena-bling) the Object and Curve Mode icon in the upper toolbar.Object and Curve Mode Mouse Functions :

Right Mouse Button: Displays context sensitive pop-up menu.

Left Mouse Button:Selecting Objects: Single click selects Objects (or group of Objects.)Single click + Shift selects multiple Objects, including all Objects between thetwo clicks.Single click + Ctrl selects multiple single Objects.

Moving Objects: Dragging moves Objects or Object groups.Dragging + Shift moves Objects or Object groups up or down the Track listwithout changing the time position.

Duplicating Objects: Dragging + Ctrl duplicates one or more Objects.Dragging + Shift + Ctrl duplicates one or more Objects, while allowing theObjects to be moved up or down the Track list without changing the time posi-tion.

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Menu OptionsObject Editor: Double-click opens the Object Editor

Lasso Function: Clicking next to an Object while right dragging the marquee(lasso) across multiple Objects selects the Objects within the marquee.Clicking next to an Object while left dragging the marquee (lasso) selects mul-tiple volume or panorama curve events.

Object Handles: The upper handle changes the Object volume. The changedlevel is shown in dB in the upper left-hand corner of the VIP.The upper left and right change the Fade In and Fade Out of the Object. Fadecurve parameters can be set in the Object Editor.The lower handles resize the Object.

Volume and Panorama Automation Curves: Double-click on the automa-tion curve creates a new curve event. Another double-click on the same curveevent deletes the event.Single click on an event selects the automation curve event.Single click + Ctrl allows selection of multiple events.Dragging of a curve event moves the selected event.Dragging + Ctrl moves several events.To delete events, select the events and use Edit- > Delete .... Handle.

Mouse Mode Studio 4.0If you’ve upgraded to Samplitude from Samplitude Studio 4.0x, you may wishto select this option to use the Studio 4.0 Mouse Mode. In this mode, the leftMouse button is used to mark Ranges and position the Locator (cursor), andthe Right Mouse button is used to select and move Objects.

Right Mouse Button:When using the Mouse Mode Studio 4.0 option (under File Menu > Prefer-ences) and also restricting the mouse’s function (Range Mode, Object and CurveMode, Draw Volume, Draw Panorama, Object Mode, or Curve Mode), you canselect this option to return the Mouse function to normal. (The right Mousebutton will Select and Move Objects, the left Mouse button will mark Ranges.)Studio 4.0 Mouse Functions (Right Mouse Active) :

Right Mouse Button:Selecting Objects: Single click selects Objects (or group of Objects.)Single click + Shift selects multiple Objects, including all Objects between thetwo clicks.Single click + Ctrl selects multiple single Objects.

Moving Objects: Dragging moves Objects or Object groups.Dragging + Shift moves Objects or Object groups up or down the Track listwithout changing the time position.Dragging + key ‘k’ move the Object under the Mouse pointer, plus all Objectsbehind on the same Track.

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Menu Options

Duplicating Objects: Dragging + Ctrl duplicates one or more Objects.Dragging + Shift + Ctrl duplicates one or more Objects, while allowing theObjects to be moved up or down the Track list without changing the time posi-tion.

Object Editor: Double-click opens the Object Editor

Lasso Function: Clicking next to an Object while right dragging the marquee(lasso) across multiple Objects selects the Objects within the marquee.Clicking next to an Object while left dragging the marquee (lasso) selects mul-tiple volume or panorama curve events.

Object Handles: The upper handle changes the Object volume. The changedlevel is shown in dB in the upper left-hand corner of the VIP.The upper left and right handles change the Fade In and Fade Out of the Ob-ject. Fade curve parameters can be set in the Object Editor.The lower handles resize the Object.

Volume and Panorama Automation Curves: Double-click on the automa-tion curve creates a new curve event. Another double-click on the same curveevent deletes the event.Single click on an event selects the automation curve event.Single click + Ctrl allows selection of multiple events.Dragging of a curve event moves the selected event.Dragging + Ctrl moves several events.To delete events, select the events and use Edit- > Delete .... Handle.

Left Mouse Button:Range: Selecting Ranges and moving Ranges (with Shift key).

Play Cursor: Single click sets the play cursor anywhere in the Track.

Zoom: Double-click outside of a selected Range (or no Range) zooms out.Double-click inside a selected Range zooms in.

Open Wave Project: Double-click on VIP Object opens the correspondingRange in the associated Wave Project.

Cut ModeSelect this option to enable the Cut Mode Mouse Tool. When using this modein a VIP, the Mouse pointer appears as a pair of scissors. Each click on a Objectwill split (Cut) the Object.

Note : You can also easily Cut (Split) Objects by selecting an Object and pressingthe T key.

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Menu OptionsPitchshift- / Timestretch ModeSelect this option to enable the Pitchshift / Timestretch Mouse Tool. This is aninnovative Mouse Mode which makes realtime Timestretching and Pitch Shift-ing easy.

Before selecting this Mouse Mode, it is preferable to select the Object you wishto process. Once you select the Mouse Mode, a Tabbed vertical line appears inthe Object, and the lower right boundary of the Object becomes a TimestretchTab. The lower right Tab allows compression or stretching of an Object. A timestretching effect is created - the Object is not played as a loop or shorter version,but simply at a different tempo.Using the centre tab, the pitch can be altered using pitch shifting.

Tip: You can also select the Pitchshift- / Timestretch Mouse Tool by clicking on(enabling) the Pitchshift-/Timestretch icon in the upper toolbar.

Draw VolumeSelect this option to enable the Draw Volume Mouse Tool. When using theDraw Volume Mouse Tool, the left Mouse button can only be used to DrawCustom Volume Curves. Notice the Mouse pointer appears as a pencil whenlocated in a Track. When you click and drag the Mouse to Draw a CustomVolume Curve, the slower you move the Mouse, the more Handles are created.

Tip: You can also select the Draw Volume Mouse Tool by clicking on (enabling)the Draw Volume Mode icon in the upper toolbar.

Draw PanoramaSelect this option to enable the Draw Panorama Mouse Tool. When using theDraw Panorama Mouse Tool, the left Mouse button can only be used to DrawCustom Pan Curves. Notice the Mouse pointer appears as a pencil when lo-cated in a Track. When you click and drag the Mouse to Draw a Custom PanCurve, the slower you move the Mouse, the more Handles are created.

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Menu OptionsTip: You can also select the Draw Panorama Mouse Tool by clicking on (enabling)the Draw Panorama icon in the upper toolbar.

Scrub ModeSelect this option to enable the Scrub Mouse Tool. A speaker icon appears nextto the Mouse Pointer – the left Mouse button can now be used to Scrub audio inrealtime by click / dragging in the desired Scrub direction.This functions as a Pre-listen facility with control over play tempo. The Projectwill be played forward or backward, with tempo controlled by the distance ofthe Mouse pointer from the actual play cursor position. The larger the distancethe faster the play tempo.

Tip: You can also select the Scrub Mouse Tool by clicking on (enabling) the Scrubicon in the upper toolbar.

Zoom ModeSelect this option to enable the Zoom Mouse Tool. In this mode, the Mousepointer becomes a magnifying glass which enables rapid horizontal Zoomswithin the VIP. Left clicking Zooms In, right-clicking Zooms Out.

Tip: You can also select the Zoom Mouse Tool by clicking on (enabling) the Zoomicon in the upper toolbar.

Program Preferences > Wave (HDP/RAP) Mouse Mode

RangeWhen working directly in HD Wave or RAP windows, this mode (the defaultmode) allows the left mouse button to mark Ranges.

Draw WaveWhen working directly in HD Wave or RAP windows, this mode allows you toDraw over existing waveforms (using the left mouse button), thus creating newaudio. As an example, you can use this mode to remove clicks. Simply Zoom-In on a click (it will appear as a spike), and Draw a line across the bottom thatconnects its beginning and end points. In other words, you will be removingthe click by Drawing the audio without the spike.

Note: To use this mode, you must be Zoomed-In to a resolution where 1 pixel = 1sample. You can quickly Zoom-in to this resolution by going to the View Menu andselecting Horizontally > 1 Pixel = 1 Sample.

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Draw VolumeWhen working directly in HD Wave or RAP windows, this mode allows you toadjust the height (Volume) of a very small portion of the waveform. As an ex-ample, you can use this mode to decrease (destructively) the Volume of a plo-sive. Simply Zoom-In on a plosive, and click and drag the mouse from left toright (or vice versa) beneath the plosive. The height of the waveform will de-crease, reflecting the Volume change.

Tip: The position of the mouse pointer (above or below the waveform, when youclick and drag), will determine whether the height (Volume) of the waveform isincreased or decreased and by what amount. The further the mouse pointer is aboveor below the waveform, the more radical the height (Volume) change will be. Themiddle of the display is volume 100%, the lower border is volume 0%, and the up-per corner is volume 200%.

Note: To use this mode, you must be Zoomed-In to a resolution where 1 pixel = 1sample. You can quickly Zoom-in to this resolution by going to the View Menu andselecting Horizontally > 1 Pixel = 1 Sample.

Scrub Mode / Zoom ModeThese two options are functionally identical to the equivalent VIP Mouse Modes.Please refer to the VIP Mouse Modes section for further details.

Program Preferences > Object ModeThis feature is similar to the Group option (under the Object Menu), but pro-vides a much quicker way of Selecting all the Objects (either on in a singleTrack or all Tracks).

Lock all Audio in Time: All audio Tracks are locked in time.

Normal: If you’ve previously selected (enabled) any of the Linking options,you can select this option to unlink all Objects.

Link Curves to Objects: Select this option and all Custom Volume and PanCurves will be Linked to their respective Objects. In other words, when youmove an Object, the Custom Volume and Pan Curves (above the Object) willmove with it.

Link until Silence: All Objects of a Track, starting with the mouse positionup to the next silence, are selected and moved together. This way parts of a

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Menu Optionsproject – if separated by pauses – will stay unaffected by move operations madein the middle.

Link one Track: Select this option to quickly link all Objects in a Track. As anexample, You can use this feature to quickly move all the Objects (simultane-ously), while preserving their relative time positions.

Link all Tracks : Select this option to quickly link all Objects in all Tracks. Asan example, You can use this feature to quickly move all Objects in the VIP(simultaneously), while preserving their relative time positions.

Program Preferences > Edit Keyboard ShortcutsSelect this option to open the Edit Keyboard Shortcuts window. This windowallows you to create your own Shortcut Keys for any of the Menu options.

This makes it possible to assign your popular commands to specific keys andkey combinations for quick recall.The shortcut settings are saved to the file Samplitude.ini in the Windows direc-tory when exiting the program. The next time the program is loaded, the cus-tomized shortcuts will be retained.You can also customize the menus and hide menu items you infrequently ornever use, e.g. Import & Export of unusual file formats or the Surround Func-tions.

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Menu OptionsYou can also save and load your keyboard shortcut and menus to/ from a file.The most important aspect of the dialog is the display of the Samplitude menutree. You can select which menu option is to be reassigned a new key. To ac-complish this, simply click on the desired menu option in the tree and then onthe ‘New Shortcut’ box.Next, press the new key or key combination and press or click on the ‘Assignnew Shortcut’ button. Any possible combination of Shift, Alt, and Ctrl withother keys is possible.

Note : Please do not use the space bar, ESC, or the Insert key. These functions arehard coded into Samplitude and can not be changed!

In the upper left side of the window is a list of ALL Menu options. You can usethe scrollbar to scroll through them. Any of the Menu options can be Selected(highlight) by clicking on its name in the list.

Description: When you click on a Menu option to Select it, the function of theselected option will be shown here.

New Shortcut: After Selecting a Menu option, you can place the cursor inthis box and type in the key (or combination of keys) that you want to use as aShortcut.

Assign Shortcut: After typing in the key (or combination of keys) that youwant to use as a Shortcut, Click on the Assign new Shortcut button to assign theShortcut. You should now see the Shortcut key (or keys) in the box above theDelete button.

Delete: After Selecting a Menu option, you can click on the Delete button todelete the Shortcut key (or keys), thereby removing the Shortcut.

Save Shortcuts: Click on the Save button to Save your custom Shortcuts. Astandard Windows ”Name File” dialog will appear. Name the File and click OK.Your Shortcuts are now Saved.

Load Shortcuts: Click on the Load button to load a previously saved ”list” ofcustom Shortcuts. A standard Windows ”Open File” dialog will appear. Select(click on) the File containing the desired custom Shortcuts, and click OK. Thecustom Shortcuts will now be loaded.

Show Shortcut List: Click on the Show Shortcut List button and a List of as-signed Shortcuts window will open showing all assigned Shortcuts.

Restore Default: Click on the Restore Default button to restore the ”list” ofShortcuts to their initial (default) settings.

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Menu OptionsShow Menu Items: The selected menu item in the menu item list will be shownin the Samplitude menus.

Hide Menu Items: The selected menu item in the menu item list will be hid-den in the Samplitude menus.

Menu Items > Restore Default: This option restores the default menu view(all items will be shown)

Menu Items > Load / Save: These two buttons function identically to the Loadand Save buttons for Keyboard Shortcuts (see above)

OK: Click on this button (upper right corner of the window) to accept the currentsettings and close the Edit Keyboard Shortcuts window.

Program Preferences > Change Toolbar StyleThis menu switches between old (non editable) and new (editable) toolbar style.Samplitude will need to be restarted for the change to be enacted.

Program Preferences > Edit ToolbarsThis dialog allows you to determine which Toolbars will be visible in Samplitude.The dialog is simple to use – choose a Toolbar from the available selection andeither add or remove it from the current selection, then click close.

Individual Toolbars and Separators between Toolbar sections can be movedusing the Move Up / Down buttons. The Reset button resets all Toolbars to thedefault view.All Toolbars can be floated and/or docked in accordance with standard Win-dows conventions.The name/function of any Toolbar can be easily discovered within theSamplitude workspace by hovering the mouse pointer above the Toolbar – aTool tip will appear enclosing the Toolbar name.

Shortcut: right-click directly on the Toolbar

Program Preferences > Reset ToolbarsThis menu item allows you to reset specific Toolbar sections (Main, Positions,Punch etc) to the default view.

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Menu Options

Program Preferences > Enable VIP Tool tipsThis option enables Samplitude’s informative Tool tips. To disable the Tooltips, uncheck this item.

Note : Although the Tool tips are very informative and useful, they are drawn di-rectly by the CPU (due to Windows design). There is therefore a very small over-head associated with using the Tool tips. If your PC is under-powered, you maygain a small benefit by disabling Tool tips.

Program Preferences > Grid Lines

This option allows you to select from 5 different Grid display options whenworking with the Grid. To switch off the Grid display, select None.

Program Preferences > Video HeightIf an AVI file is Linked to a Samplitude Project (VIP, HD Wave, RAP), selectthis option to adjust the Height of the AVI display. The different choices are: 25Pixels, 50 Pixels, 100 Pixels, and 200 Pixels.

Program Preferences > Font SelectionSelect this option to change the Font that is used for general display purposesin Samplitude.

Note: If you notice words that are ”cut off” when displayed, try using a differentFont or a smaller Font Size.

Program Preferences > Font for Time DisplaySelect this option to change the Font that is used for the Time Display windowin Samplitude. The Time Display window must be open or this option will haveno affect. You can open the Time Display window by going to the WindowMenu and selecting Time Display.

Note: The Time Display window can be Resized, so the Size of the Font is notnearly as important as choosing a legible Font.

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Program Preferences > MIDI / Metronome Options

The MIDI Options found in File- > Preferences- > MIDI Options and in the TrackInfo dialog allow you to set specific MIDI related parameters in Samplitude.Among them are the Global Playback and Record Devices, which can differfrom the choices available in the Track Info dialog for each VIP track.Global MIDI Devices: These settings determine the global MIDI Input andOutput devices - for any MIDI track in Samplitude that is not specifically as-signed an input or output device. This can be considered the default setting forthe MIDI playback and record device of your system.

Audio / MIDI Synchronization: This setting determines how closelySamplitude matches the MIDI tracks with the audio tracks. On systems thathave plenty of resources and faster CPU’s, the values entered here can be ad-justed close to 100% to force a perfect match. However, if your system seems tohave problems coping with a higher setting, you may need to experiment withsmaller values. The lower the percentage setting for the Sync Velocity, the moreeasily Samplitude matches the audio with the MIDI tracks.

Record Options: Samplitude allows you to compensate for any delays thatmay be introduced by your MIDI setup. It may be necessary from time to timeto adjust the Record Offset here if you notice slight offsets between your audio

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Menu Optionstracks and your MIDI tracks. If you do not notice any problems, leave the de-fault value at 0 ms.

Info: This section gives you information about what type of MIDI Engine isused to reproduce the MIDI tracks in Samplitude. Most systems will read 16-bit. Emerging sequencing technology is just now introducing 32-bit MIDI en-gines, which are a better match for pure 32-bit environments such as WindowsNT.You can also disable all MIDI functions for troubleshooting purposes by check-ing the option ‘Disable all MIDI functions’. Samplitude will then refrain fromreproducing any MIDI data in any of its project windows.

Program Preferences > Draw SetupPlease refer to ”Menu View”, ”VIP Display Mode”!

Shortcut: Shift + Tab

Program Preferences > Color SetupSelect this option to change the Colors of many of Samplitude’s displays.You can select any color for options such as; Sample foreground and back-ground, Curves, VIP Arrangement backgrounds, Oscilloscope colors and soon.

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Menu OptionsSamplitude’s default colors have been carefully chosen to complement mostworking situations, but many variations are possible, to suit almost any taste.The best way to find out how changing the colors affects the working environ-ment is to spend a little time experimenting.Please remember that some variations are also available in the View > VIP Dis-play Mode > Definitions menu item.

Note: Be careful when choosing your custom Colors; it’s possible to choose colorswhich will result in a screen that is unreadable. As an example, If the Text andBackground share the same Color, you won’t be able to see the information in thewindow.

The default Color scheme can be restored at any time by choosing the Reset AllColors To Default option.

Program Preferences > Undo DefinitionsSelect this option and the Undo Options window will open. The Undo Optionswindow allows you to specify the number of Undo Levels, and whether or notUndo is enabled.

The depth of undo can be specified when working with VIP’s and HDP’s. Avalue of ‘20’ means that the last 20 changes can be undone.

Note : Undo file sizes can become very large with HD Wave files. When workingwith RAM based (RAP) Projects, use the Undo RAM as HD option to store RAPUndo Wave files on the hard disk.

Virtual Action: Undo and the number of undo steps can be defined. It’s alsopossible to disable Undo step creation when changing DirectX plug-in’s set-tings. This will remarkably increase graphic performance when editing largerprojects with many DirectX plug-ins used.

Wave(Destructive): Undo and the number of undo steps can be defined. Youcan disable the creation of HDP-based undo files for RAM Projects for the sakeof performance.

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Menu OptionsCancel: Click on this button to close the Undo Options window without ac-cepting changes to the settings.

OK: Click on this button to accept the current settings and close the Undo Op-tions window.

Program Preferences > Dithering OptionsSelect this option to open the Dithering Options window. Dithering is used (inrealtime) when converting audio from 32Bit Floating-Point format to 16Bit (of-ten to burn a Red Book audio CD). The Dithering process adds a very smallamount of noise to the audio signal, which prevents low level audio from beingdistorted by quantization errors (truncation artefacts). The tiny bit of noise in-troduced by this process is less distracting to the ear than quantization error,and is thus a good trade-off.

Dithering Mode (Realtime Conversion from Float to 16Bit)No Dithering math rounding of sample value: This Mode uses a math-ematical Rounding Process to convert the audio; no Dither is applied. Evenwithout Dither, this Mode offers an audible advantage over simply Truncating(lopping off) the extra Bits.

Dithering with linear spread noise: This Mode converts the audio usingvery low-level noise, which is spread over all sample values. The level of thenoise can be adjusted with the Dithering Depth in Bits parameter (below).

Dithering with triangular spread noise: This Mode converts the audiousing very low-level noise, which is spread over all sample values in a Triangu-lar shape. This usually results in a more ”de-centralized” noise than LinearDithering, leading to smoother results. The noise is not modulated by the sig-nal, producing merging of a fading signal with the noise signal. The level of thenoise can be adjusted with the Dithering Depth in Bits parameter (below).

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Menu Options

Dithering depth in bits (0.01 - 16.0): This parameter allows you to adjustthe level of noise (in Bits) when applying Dither. Generally speaking, values of0.5 – 2.0 will yield good results. But, you are advised to use your ears!

Tip: When applying Dither, you want to use the least amount of noise necessary toprevent audible quantization artefacts.

POW-r DitheringPOW-r offers three distinct dithering modes.

POW-r #1: uses a special dithering curve to minimize quantization noise.

POW-r #2: (Noise Shaping): uses additional noise shaping over a wide frequencyRange which can extend the dynamic Range by 5-10 dB.

POW-r #3: (Noise Shaping): uses additional, optimized noise shaping whichcan extend the dynamic Range by 20 dB within the 2-4kHz Range - the Rangethe human ear is most sensitive to.

Note: Noise Shaping minimizes side effects caused by bit reduction, by spectrallydisplacing the quantization noise above 10 kHz - the Range the human ear is leastsensitive to.

The mode which will sound the best to you is primarily dependent on the pro-gram material and on your personal taste. The “right” setting is best deter-mined by auditioning the audio material with each of the dithering modes.

How Does Dithering Work?When an audio signal is quantized, the signal ends up with a ‘stair step’ formbased on the reduction of the possible amplitude values. This is the case for AD(Analog-to-Digital) conversion and when converting from a higher resolutionto a lower resolution. An 8-bit signal contains only 256 amplitude values. Thistype of stair step form leads to a deformity and therefore a distortion of thesignal.If a low level noise signal is added to the audio signal, the decay can be signifi-cantly reduced in respect of human ear perception.Some excellent information regarding Dither can be found at www.digido.comPOW-R dithering stands for “Psychoacoustically Optimized Wordlength Re-duction”. For more information on POW-r read under:http://www.mil-media.com/docs/articles/powr.shtml

When is Dithering used in Samplitude?Dithering is always used when converting from a 32-bit Float format to a 16-bitformat. This is the case for the following situations:1. Playback of Virtual projects on 16-bit cards when using an Internal Precision

setting of 32-bit Float or if the VIP uses 24-bit Wave projects.

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Menu Options2. Playback of 24-bit Wave projects on 16-bit sound cards.3. Creating audio CDs in realtime when using an Internal Precision setting of

32-bit Float or if the VIP uses 24-bit Wave projects.4. Using Track Bouncing of Virtual projects that contain 16-bit WAV files and

the Internal Precision is set to 32-bit Float.5. When converting 24-bit Wave projects to 16-bit Wave projects.

Program Preferences > Track Speed SettingsThrough the Track Speed technology the number of simultaneously playablehard disk Tracks can be increased considerably.

Track Speed uses the fast PC RAM to intelligently and effectively preload theaudio data into sequential buffers.When Track Speed is used with a large number of Tracks Samplitude’s internalaudio engine can still deploy small audio buffers (e.g. 8000 samples or less)and keep the performance up. Reaction times for user actions at the mixer andat the different Object handles are therefore very short.The following settings can be used to customize Track Speed to your own re-quirements:

Cache size up to 8 (16, 32, 32) Tracks: Depending on the number of Tracksused, you can set the amount of cache memory which is to be used for harddisk acceleration. Generally, when starting with cache sizes of 0.25 MB perTrack (e.g. 2 MB for 8 Tracks) playback is accelerated distinctly. Optimum per-formance is generally achieved with 1 MB per Track. With 32 Tracks this wouldbe 32 MB cache.

Note : Please make sure that your PC has enough RAM! Never reserve more thanhalf of the PC‘s RAM for the file cache, e.g. not more than 32 MB on a computerequipped with 64 MB RAM. If you often Multitask (i.e. run other applicationssuch as C-Console at the same time as Samplitude), you may want to use only 25%-30% of your RAM for Track Speed.

HD Access: Allows you to set a balance between optimum hard disk workloadand cache headroom.The ”Best stability” setting part of the cache memory will be used as auxiliarymemory in cases when short overloads occur.

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Menu Options

Optimize Play Start and Scrubbing: When this flag is activated, Track Speeduses about half of the memory assigned for storing the sections played last.Within limitations, this allows fast scrubbing (using the 0 key of the numberpad) even if the projects use many Tracks.

Preload File Cache: When this option is activated and you reposition the Playcursor, the file cache is always preloaded. In the status line the message ”CachePreloaded” appears. Playback will be commence very quickly, as all the audiodata required is already available in RAM.

Show Cache during Playback: During playback this option illustrates thefunctioning of Track Speed – each Track shows (in different colors) which sec-tion is currently being loaded into the cache. On the status line additional infor-mation is displayed like the ”hit rate” of the cache and the current size of harddisk accesses.

Program Preferences > Resampling Quality OptionsUse this dialog to set the resampling options used for– record resampling: If you record audio data in 48,1 kHz format from a DAT

tape into a 44,1 VIP the audio data will automatically be resampled bySamplitude.

– playback resampling (Scrubbing, chaselock)– object resampling (with the object editor).

Program Preferences > Object Lock DefinitionUse this dialog to set Object Lock Definitions. Please refer to the Object > LockObjects > Lock Definitions menu item for more details.

Program Preferences > Set PreRoll TimeThis option sets the pre-roll time for the cut simulation functions. (The cutsimulation functions are located on the Punch-In Toolbar.)

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Menu Options

The pre-roll determines how far prior to the selected Range the playback starts.

SystemUse this option for a direct access to several items of the ”Options” menu.

Shortcut: Y

System > Playback/Record Devices

Naming and rearranging devicesYou can:– disable several non used input/output device by unchecking the box– reorder the devices with the ”Order” buttons– name your devices to be more expressive by pressing ”Rename”– obtain capability info by clicking ”Device info”

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Menu Options

Internal resolutionSelect this option to set the Bit Depth that Samplitude will use for all internalcalculations. (IE: Mixing, Fades/Crossfades, Effects, etc.) The choices are 32Bit(Float) or 16Bit (Integer).

Note: 32Bit (Float) will require roughly twice the system ”through-put” of 16Bit(Integer). However, most modern DAW’s can easily cope with 32 Bit Float internalresolution – the audio quality is significantly superior in this mode.

This setting creates two situations:1. For the higher resolution, Samplitude attempts to communicate with sound

cards in the 24-bit format. If a respective sound card does not support theformat, the output obviously continues in the 16-bit format. You can forceSamplitude to a specific resolution for soundcard communication with thesetting in Device Resolution/Driver Communication. The lower right-handstatus bar indicates which format is chosen.

2. In the higher resolution all realtime processing is done in the 32-bit Floatformat. Among them are fades, panorama and volume automation, ObjectEditor effects, and all calculations in the Mixer window. Among them are:

– Mixing of tracks– Fades/Crossfades between Objects– Object effects– Volume and panorama faders– Volume and panorama automation curves– Realtime Mixer effects– Plug-ins

The effects are always processed with the 32-bit Float resolution, no matterwhat precision is chosen.Please remember when working with 24-bit Wave projects that you should chosethe higher setting to maintain the high resolution. When working with 16-bitWave projects you may also benefit from the higher resolution setting.Depending on the float processing capabilities of the CPU, the performancemay be compromised when working with a large number of tracks. However,the CPU load during processing of realtime effects is not affected.For systems without a fast math-coprocessor, we suggest using the 16-bit reso-lution. 24-bit samples are automatically converted to 16-bit before furtherprocessing.

Device Resolution / Driver CommunicationYou can select, which bit resolution the audio device driver should handle. Nor-mally, the driver should be capable to handle all resolution by itself, i.e.. if thedevice is not capable to play back 24bit audio, it will playback the audio in 16 bit.Under some circumstances, when the driver is not able to handle it correctly,you can force a 16 bit playback here.

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Menu OptionsBuffer settingsThe Buffer settings in Samplitude are an important aspect of customizing yourdigital audio workstation. For most part, your CPU and hard disk speed willdetermine the maximum number of tracks and realtime processing inSamplitude. However, the buffer settings in Samplitude are used as an internalcache, allowing the program to operate with a higher number of tracks thanusual applications.Buffers are used extensively to cache the written and read data. As the compu-ter does not always deliver the audio data in the right sequence, Samplitude hasto do some shuffling in order to play back and record the audio data properly.This ‘organizing’ of the audio data is done in the internal cache for each of thebuffer types.It is important to remember that the larger the buffer size, the more ‘sluggish’Samplitude will react. As the buffers are larger, it takes more time to reset orload them when a playback or record command is initiated.The buffer number is multiplied with the individual size of each buffer type. Asan example, a VIP buffer size of 8000 samples would result in a total VIP cacheof 40000 samples, if the buffer number is set to ‘5’. This is close to one secondworth of audio material (44100 samples / second for a 44.1 kHz, 16-bit audiofile).If you own an extremely fast computer system with a fast hard disk for audiorecording, you may safely decrease the number of buffers, not necessarily thebuffer sizes."It is recommended that you change the buffer number first, be-fore increasing or decreasing the individual buffer sizes. Also, note that somesound cards may not work very well with buffer sizes larger than 8000 sam-ples!Use the settings in this dialog to customize Samplitude. Especially the buffersettings take a little experimentation to find the best combination of buffersizes and buffer numbers. The status bar in the lower right-hand corner of theSamplitude screen helps you with this task. The buffer activity is displayed inthis status bar and a display of ‘Buf: 2/8 Max: 2 Err:0’ means that you are cur-rently using 2 out of a maximum of 8 buffers (setting in ‘Buffer Number’), thatthe maximum number of buffers used is ‘2’, and that no errors occurred dur-ing the playback or recording. If you notice that Samplitude never goes beyonda certain number of buffers, you may safely reduce the setting in the SystemProperties dialog.It is difficult to give suggestions for the buffer settings. Each computer systemis completely different. The CPU speed and the hard disk performance deter-mine in large part, how the overall system performs. Based on this perform-ance, the buffer settings need to be customized. For faster systems, you will notneed to make any setting changes. Unless you are seeing performance prob-lems in Samplitude, we would suggest sticking with the default settings.RAM Buffer: This parameter allows you to control the size of the RAM Buffer.The RAM Buffer is used to record and playback audio from RAM Projects. Thedefault size is 4000 and will generally perform well, but you can try smallersizes for quicker response time. To alter the RAM Buffer’s size, click on eitherthe – or + buttons (left or right of the parameter box).

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Menu Options

HD /Scrub Buffer: This parameter allows you to control the size of the HD(hard disk) / Scrub Buffer. This Buffer is used to playback audio from HardDisk Projects (HD Wave). The default size is 4000 and will generally performwell. However, you can try smaller sizes for quicker response time, or largersizes if you experience drop-outs or errors. To alter the HD Buffer’s size, clickon either the – or + buttons (left or right of the parameter box).

VIP Buffer: This parameter allows you to control the size of the VIP (VirtualProject) Buffer. The VIP Buffer is used to playback and manipulate audio whenin the VIP window. The default size is 8000 and will generally perform well.However, you can try smaller sizes for quicker response time, or larger sizes ifyou experience drop-outs or errors. To alter the VIP Buffer’s size, click on ei-ther the – or + buttons (left or right of the parameter box).

Realtime Buffer: This parameter allows you to control the size of the RealtimeBuffer. The Realtime Buffer is used when applying realtime mixing Automa-tion and realtime Effects or DSP. The default size is 8000 and will generallyperform well. However, you can try smaller sizes for quicker response time, orlarger sizes if you experience drop-outs or errors. To alter the Realtime Buffer’ssize, click on either the – or + buttons (left or right of the parameter box).

Buffer Number: The number you specify here is a factor by which all of theabove Buffer sizes are multiplied, to determine their final cache sizes. The de-fault is 4. As an example, if you specify 4 as the Buffer Number and each of theabove Buffer sizes is 8000, here is the equation used to determine the finalcache for each Buffer. 4 (Buffer Number) * 8000 (Buffer size) * 4 bytes per stereosample = 128Kb for each Buffer.

HD Record Buffer: This parameter allows you to control the size of the HD(hard disk) Record Buffer. The HD Record Buffer determines the block size ofthe data written to disk when recording Hard Disk Projects (HDP’s). The de-fault size is 16000 and will generally perform well. If you wish to change theblock size written to disk, alter the Realtime Buffer’s size by clicking on eitherthe – or + buttons (left or right of the parameter box).Use Record Buffer Size....: This option determines at which point Samplitudewill use the HD Record Buffer. As an example, if 16 is selected, the RecordBuffer will not be used until a Track Count of 16 has been reached.

Monitor settingsPlease refer to chapter “Menu Playback/Record”, “Monitor”!

System > MIDI OptionsPlease refer to ”Menu Options > Program Preferences > MIDI/MetronomeOptions”!

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Menu Options

System > Program Options

Show Project ToolTips: This switch enables Samplitude’s informativeToolTips in VIP window on / off. You can choose between simple and extendedToolTips. Extended ToolTips show detailed information on the selected ele-ment and available keyboard shortcuts.

Note: In difference to earlier ToolTips implementations these ToolTips are not ”ge-neric” windows ToolTips and don’t create that additional overhead, on which usersoften complain. You can use them without any noticeable loss of performance.

Performance Display: This menu option allows you to enable the DSP powerdisplay in the lower left corner of the screen. Always be sure to use less than100% to avoid the system hanging during playback.If your project needs too much processing power, you can:– Reduce the number of DSP effects in the Mixer or in the Object Editor.– Reduce the number of Tracks with audio Objects.– Increase the VIP buffer size in Menu ‘System>Playback/Record Devices” to

16000 or 32000 samples.

The status bar will display suggestions to remedy problems if the processingcapabilities of the CPU are exceeded (for example during use of the Noise Re-duction or FFT Analyze Filter ).

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Menu OptionsDisable Menus and Buttons if Function is not available: Click on (en-able) this option and Samplitude will ”gray out” functions that are not available.IE: Some of the functions under the Effect Menu are not available while work-ing in the VIP window (they can only be applied destructively). In this case, thefunctions that are unavailable will appear ”grayed out.” If this option is notenabled, ALL functions will be listed ”normally” whether they are available ornot. It is recommended that you enable this option.

Opens VIP and Record Window on Program Start: Click on (enable) thisoption and Samplitude will automatically open a VIP and Record window whenthe program is started. This option is enabled by default.

Open Wave Projects in destructive editing mode: Samplitude 6.0 offers anon-destructive editing mode for Wave Projects which is pre-set. That means:All cut operations, effect settings, volume level changes, fades, and more arecompletely virtual in VIP’s and in Wave Projects (WAV, RAP, HDP), meaningthat the audio material is not destroyed! This allows you to select the proper cutposition, cut length, volume level, effect setting, etc. by experimenting withoutloosing audio material or alter it. The ”workspace” menu at the bottom left ofthe Wave Project screen allows you to select between ”destructive editing” and”Wave editing” (non-destructive editing).If you prefer the destructive editing, you can select this option for openingWave Projects in destructive editing mode.

Check Space Key for Playback Stop also in Background: Click on (enable)this option and Samplitude will continue checking the Spacebar (to stop play-back) while multi-tasking in another program. If you wish to use the Spacebarin the other program (without stopping playback), do NOT enable this option.

Pentium III Optimizations: Samplitude is designed to utilize the PIII algo-rithm extensions. If your PC has a PIII, enable this option.Preview Time (Seconds): This parameter allows you to specify the length ofALL calculated Previews (in seconds). As an example, if you set this parameterto 10 seconds, when you click on the Preview button in the Room Simulator,Samplitude will calculate a 10 second Preview of the results.

Preroll time: When you perform cut simulations (play from/into cut start/end, play over cut in the “Playback” menu), then playback will start this timespan before the chosen reference point.

Maximum Reverb time for Objects without fadeouts: The time span the fxcalculation will be continued after Object end to avoid cutting of reverb.

Treat knobs like faders: When active, you adjust the value of a knob by click-ing on it and dragging the mouse up and down (as faders do). When inactive,you can “turn” a knob by dragging the mouse around it. For a finer resolutionof the control, you can increase the radius of the circle.

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Menu Options

Hide Wave Projects loaded into VIP: The windows of the Wave Projectsloaded directly into the VIP were hidden by default (to maintain clarity on theprogram desktop, because the program assumes that you want to work withthem only inside the VIP). You can change this behavior here.You can unhide all Wave Projects by “Window >Iconise all Wave Projects” andhide it again by “Window>Hide all Wave Projects”.

Reset all “Don’t show this message again” boxes: In a “fresh installed” stateSamplitude shows a lot of security questions at several places of the program.You can disable each of them by checking a little box named “Don’t show thismessage again!” at the lower edge of the message box. If you want to see thesemessages again, press this button.

Dithering Options/Trackspeed Settings/Undo Definitions/Object Lock

Definitions: You have a direct access to this menu items. Please refer to thecorresponding chapters of the menu ”Options”!OK: Click on this button to accept the current settings and close the Systemwindow.

System > Path/Skins

PathsThis dialog is the place to set the default folders for the HDP, RAP, VIP andSession files. Samplitude uses these folders to store the various files. Unlessyou assign a different path and folder to a project, Samplitude will use the set-tings specified by you in this dialog.

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Menu Options

New Virtual Projects: This parameter allows you to specify the default Path(location) for Virtual Projects (VIP). Click on the folder-labelled button (to theright of the parameter box) to browse to the desired Path.

Project files: This parameter allows you to specify the default Path (location)for all RAM and Hard Disk Projects (HD Wave). Click on the folder-labelledbutton (to the right of the parameter box) to browse to the desired Path.

Temporary Files: This parameter allows you to specify the default Path (loca-tion) for all temporary files. Click on the folder-labelled button (to the right ofthe parameter box) to browse to the desired Path.

SkinsYou can choose between two alternate Skins for VIP, Mixer and Transport con-trol.

Shortcut: Shift + y

System > View OptionsPlease refer to ”Menu View > VIP Display Mode”!

System > ColorsPlease refer to ”Menu Options > Program Preferences > Color setup”!

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Menu Window

CascadeChoose this option to Cascade all open windows.

TileChoose this option to Tile all open windows.

Shortcut: Return

Untile(shortcut key - Shift + Return) - If you previously chose the Tile option, you canchoose this option to return all open windows to their original locations.

Arrange IconsChoose this option to organize all Icons (minimized windows) at the bottom ofthe screen.

Main ToolbarSelect (enable) this option to display the Main Toolbar. Unselect (disable) thisoption to hide the Main Toolbar.

Position barSelect (enable) this option to display the Position bar. Unselect (disable) thisoption to hide the Position bar.

Punch/Play barSelect (enable) this option to display the Punch/Play bar. Unselect (disable) thisoption to hide the Punch/Play bar.

Mouse Mode ToolbarSelect (enable) this option to display the Mouse Mode Toolbar. Unselect (dis-able) this option to hide the Mouse Mode Toolbar.

Range barSelect (enable) this option to display the Range bar. Unselect (disable) this op-tion to hide the Range bar.

Workspace barWorkspaces should help you to organize the huge amount of menu items andtoolbar buttons to get a better overview over the functions of Samplitude. Thereare several items in the menus, toolbars and toolbar entries, that you never use,or only use at a certain point of your workflow.The possibilities to hide menu items (Menu ”Options>program preferences>EditKeyboard shortcuts and menu....” and toolbars (Menu ”Window”) and reorgan-ize the contents of the toolbars (”Options>Program preferences>Edit toolbars”

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Menu Windowor simply right-click a toolbar) are present in former versions of Samplitude. Aworkspace brings this all together and offers the ability to save such a setupunder a certain name.Several workspaces are predefined by the Samplitude team for different work-ing tasks like recording, editing or CD mastering. The workspace Power Usershows every toolbar and menu item, use this if you are an experienced user orif you want to build your own custom workspace.

New workspace: Create a new Workspace with ”New Workspace”, the cur-rently chosen settings are copied to this workspace and all changes from noware stored in this workspace, you don’t have to save the workspace explicitly.

Edit workspace: The upper area allows you to select the toolbars to show, themiddle area allows you to customize the toolbars, Edit menu calls the Menu”Options > program preferences > Edit Keyboard shortcuts and menu....” com-mand.

Button barShows or hides the Button bar on the lower part of the display. The buttons onthe button bar allow you to open / close the main windows of Samplitude.

Status barSelect (enable) this option to display the Status bar. Unselect (disable) this op-tion to hide the Status bar.

MixerChoose this option to open the Mixer window.

Shortcut: m

Time DisplayChoose this option to open the Time Display window.Up to four rows of information can be displayed. Click the right mouse buttonon the Time Display to display a pop-up menu that allows you to choose thepreferences for the Time Display.

Start Position (St.): This line shows the current Range start position or thecurrent realtime cursor position.

Range Length (Len): If a Range is selected, this line displays the length of theRange.

Range End Position (End): If a Range is selected, this line displays the Rangeend position.

Current Cursor Position (Act): This line shows the current cursor posi-tion.

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Menu Window

VisualizationChoose this option to open the Visualization window.See Quick start Guide, chapter ”VIP window – a detailed look” for more details!

Transport ControlChoose this option to open the floating Transport Control.

Shortcut: Shift + t

Close all WindowsChoose this option to close all windows.

Shortcur: h

Iconise all Wave ProjectsChoose this option to Iconise (minimize) all HD Wave windows.

Hide all Wave ProjectsChoose this option to hide all Wave Projects.

Half HeightChoose this option to reduce the program display to half height. This is usefulwhen multitasking.

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Menu Help

HelpChoose this option to open Samplitude’s online Help. By default, the onlineHelp will open with information about Projects (HDP, RAP, and VIP) with anemphasis on the VIP window.

Help Index....Choose this option display a list of available Help contents.

Context Help....Choose this option to enable context based Help. The mouse pointer will dis-play a question mark, allowing you to click on any item or function to displayrelevant information.

Shortcut: Shift + F1

About Help....Choose this option to display information on how to use online Help.

TutorialChoose this option to open the excellent online Tutorials for Samplitude.

Tip of the dayChoose this option to display the ‘Tip of the Day’ function.

About Samplitude....Choose this option to display information about Samplitude.

System Information....Choose this option to display information about your computer system.

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Index

A

About Help.... 265About Samplitude.... 265Absorption 133, 138Activate next 62Activate previous 62Active 188Actual format 24Add Drive 178Add Time 170Advanced 16Advanced Dynamics 99, 105Algorithms for Pitchshifting / Timestretching 149Algorithms for Timestretching/ Pitchshifting 199Algorithm’s Internal Parameters 132Alias 178All edits 75Allow Bonus Tracks before Track 1 184Amp Model 145, 149Amplitude/Normalize > Fade In/Out 79Amplitude/Normalize > Normalize 77Amplitude/Normalize > Normalize (quick access) 78Amplitude/Normalize > Set Zero 80AmpSimulation 145Analysis Accuracy Noise 91Analysis Accuracy Tones 91Analysis Precision High 91Analysis Precision Normal 91Analysis Time (s) 91Analyze > Filter 89Analyze all 89Append Projects 39, 42Apply to all 194Arrange Icons 262Arrange Objects 71Arrangement Text 55Arrow up/down 82Artefact Suppression 133Assign Shortcut 244Assign tracks to 5.1 Surround playback devices (Sa 17Attack 107Audio / MIDI Synchronization 247Auto Crossfade 75Auto Crossfade Active 45Auto Crossfade Mode 16Auto Number 168Auto scroll 204Auto scroll soft 204

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IndexAutoSave Mode 220Autoscroll 202

B

Background 54Band Separation 159Bar/Beat 51, 220Base Width Fader (Vertical fader) 159Batch Processing 31Beat marker 199Beat marker-based slicing 150Beat marker-based stretching 150Beat recognition threshold 151, 154BMP 228Bouncing (internal Mixdown) 189Bouncing Sub Mix Busses 188BP 1 110BP 2 110, 111BPM 203, 228BPM value 199Bright 146, 149Buffer Number 257Buffer settings 256Build Loop Object 70Build Physical Loop 155Burn ”On The Fly” 181Burn Project Backup on CD 21Button bar 263Buttons/Slider 54Bypass 86, 104, 121, 139Bypass all 113Bypass dyn. 113

C

Cache size up to 8 (16, 32, > 32) Tracks 252Calculate maximum Amplitude 187Call ‘A PACK AC3 Encoder’ 188Call Ext. CD Audio Software 182Cancel 170, 183Carrier signals 147Cascade 262CD Arrange Mode 185CD Disc Options.... 184CD Drive Options 178CD Index Options 194CD Text 194CD Title 184CD Track Options.... 184Change Mouse Cursors 55Change Playback Direction 201Change Sample Rate 152

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IndexChannels Both 91Channels Left 91Channels Right 91Check Space Key for Playback Stop also in Backgrou 259Circle 93Circle/Direct 93Clipping Definition 127Close all Windows 264Comp Max 102, 112Comparisonics Audio Search 171Comparisonics colors 53Complete Project 186Compressor 102, 111Compressor /Expander 103, 112Configuration 178Connect to the Internet 34Context Help.... 265Convert Audio 23Convert Audio > 1 Mono > LR Wave 26Convert Audio > 2 Mono > Stereo/LR Wave 26Convert Audio > Change Bit Resolution 24Convert Audio > LR Wave > 1 Mono 26Convert Audio > LR Wave > 2 Mono 26Convert Audio > OLD RR 24 Float to IEEE Float 26Convert Audio > Save In Format 23Convert Audio > Stereo Wave > 2 Mono 25Convolution (Samplitude pro) 143Convolution Sample 143Copy 37Copy Mode Burst 178Copy Mode Normal 178Copy Mode Sector Synchronization 178Copy only samples used in VIP 20Copy Protection 194Copy Selected Tracks 177Copy to all 113Copy Track(s) 59Copy/paste 82Create AVI / Audio Copy 218Create Copy 82, 86, 90, 104, 126, 128, 134, 139, 144Create copy 114Create Empty Track(s) 60Create project subdirectory 15Create Vip Object with Name 212Crossfade Editor 43Crossfade Length 43Crossfade off 44Current Cursor Position (Act) 263Curve Display 87Curve Mode 236Curve Numbers 92Curve types 44

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IndexCut 36Cut Mode 239Cut Track(s) 59Cutting Objects > Copy Objects 64Cutting Objects > Cut Objects 64Cutting Objects > Delete Object 64Cutting Objects > Duplicate Objects 64Cutting Objects > Duplicate Objects multiple.... 65Cutting Objects > Extract Object 64Cutting Objects > Insert Objects 64Cutting Objects > Split Object On Project Marker P 65Cutting Objects > Split Object On Track Marker Pos 65

D

DB lin / log 131, 138DB lin/log (to the right of Freq lin/log) 89De-activate preview 19De-clipping 126De-clipping Mode 128Default color settings 53Default Project Length 15Dehissing 137Delete All Markers 170, 172Delete all Markers 195Delete Curve Handles 41Delete Curve Handles > Delete Panorama Handle 42Delete Curve Handles > Delete Surround Handle 42Delete Curve Handles > Delete Volume Handle 41Delete Definition 193Delete Marker 172Delete Matching Markers 170Delete selected.... 195Delete Track(s) 60Delete Undo Levels 42Delete Virtual Project 22Delete Wave Project(s) 22Deleting or repositioning punch in/out markers 206Delta Time 65Deselect All Tracks 177Deselect Objects 71Destination files 34Destination format 33Destructive 78Dev. 210Device 202, 227, 228, 229Device Info 211Device Resolution / Driver Communication 255Direct / Match 89Direction Pan Mode 158Disable Deleting 67Disable DirectX while Scrubbing/Jogging 83Disable Fade-In/Out 67

270

IndexDisable invisible Object Handles 55Disable Length Changes 67Disable Menus and Buttons if Function is not avail 259Disable Moving 67Disable Volume Changes 67Disk Space 213Display Filter 196Distortion 104, 144, 146, 149Dithering depth in bits (0.01 - 16.0) 251Dithering Mode (Realtime Conversion from Float to 250Dithering Options/Trackspeed Settings/Undo Definit 260Dithering with linear spread noise 250Dithering with triangular spread noise 250Draw Envelope 53Draw Grid 92Draw Mode 131Draw mode 138Draw mode (below the Zoom buttons) 88Draw Panorama 240Draw Samples 51Draw Volume 240, 242Draw Wave 241Draw while move 55Drive Name 178Dry 125Duplicating Objects 234, 237, 239Duration 65Dynamic end 89Dynamic filter parameters 147Dynamic parameters 107Dynamic reduction 147, 150Dynamic scope 105Dynamic start 89Dynamics 98Dynamics (Compressor / Expander....) 101Dynamics Options/Bypass 113Dynamics Setup 111

E

Early Reflect 120Echo/Delay/Reverb 124Edit a copy of Wave Content 75Edit Mode 89Edit Objects 67Edit Objects > Move Objects 67Edit Objects > Object Move Step 1 and Step 2 68Edit Objects > Object/Fade Step Settings 68Edit Range 163Edit Range > 0 > Range < 0 165Edit Range > Beginning of Range < 0 165Edit Range > Beginning of Range > 0 164Edit Range > End of Range < 0 165

271

IndexEdit Range > End of Range > 0 165Edit Range > Flip Range Left 164Edit Range > Flip Range Right 164Edit Range > Range to Beginning 164Edit Range > Range to End 164Edit Time Display 173Edit workspace 263Effects 32Effects and Mix Down during Recording 207Enable asymmetric crossfade 45Enhanced Options 121Envelope 103, 113Envelope Curve Duration 121Envelope Curve Duration (“Enhanced options”) 120Envelope only 53EQ-Section 145, 149EQ1, EQ2, EQ3, EQ4 85Evaluating patched markers 151, 154Exclude Master Effects from Bouncing 187Exit 34EXP 79Expander 102, 112Explore the HD-Wave (HD Wave) directory 198Explore the RAM-Wave (RAP) directory 198Export Audio 26Export Audio > 16 / 24 / 32 Bit Float Aiff 30Export Audio > 32 Bit Float as 16 / 20 / 24 Bit 30Export Audio > AIFF File with Quicktime 29Export Audio > Export as Dump 31Export Audio > Export MIDI File 31Export Audio > MP3 28Export Audio > MP3 with external Encoder 28Export Audio > MPEG 28Export Audio > Real Audio (*.ra) 29Export Audio > Wave 28Export Audio > Wave > Options 28Export Audio > Windows Media (*.wma) 28Export MAGIX playR file 31External Synchronization 225Extract 38Extract Audio from AVI 218

F

Fade Curve 79Fade End in % 79Fade In 80Fade Offset 44Fade Out 80Fade Start in % 79Faders 88Fast 107Fast Beats / Percussion 132, 135

272

IndexFeedback 124FFT Filter / Analyzer.... 86FFT-EQ 120File list 22File Name 216File Path 15, 214File selection 22Filter 89Filter curves 146, 150Filter Mode 89Filter Settings 110Find beat marker 151, 154Fix Vertically 48Float 210Formant 147, 151Format 187Format New Wave Project 192Format Settings Button 177Format Settings button 28Freq lin / log 131Freq lin/log (to the right of Hz/Notes) 88Freq. 85Freq. lin / log 138From VIP Start to last Object end 186FTP Download 27, 34FX 218, 230

G

Gain Db 85Gate 103, 113Gate level 107Generate 3 Stereo Tracks 188Generate 6 Mono Tracks 188Generate a complete new file 182Generate new VIP 188Get Globals 222Get Level from height 127Get Marker 169Get Noise Sample 129Get parameters 78Get Position and Zoom Level 56Get Range 44, 167Get Range Length 168Get Zoom Level 57Global Get 44Global MIDI Devices 247Global Set 44Gramophone 1 Medium (e.g. 132, 135Gramophone 2 Hard (e.g. 132, 135Graphic Display Curves 137Green 119Grid 16

273

IndexGrid Lines 49Group created Objects 65Group loaded objects automatically 19Group Number 54Group Objects 72

H

Half Height 264Halftones 203Halve 52Hard 105Hard Broadband Noise (e.g. 132, 135Hard Tonal Noise (e.g. 132, 135Hardware Monitoring 215Hardware Monitoring / Software Monitoring / Softwa 215HD 209HD /Scrub Buffer 257HD Access 252HD Record Buffer 257Heal/Unsplit Objects 66Help 106, 265Help Index.... 265Help Menu 265Hide all Wave Projects 264Hide Menu Items 245Hide Submix/AUX busses 48Hide Wave Projects loaded into VIP 260High Freq 120Horizontal 57Host Adapter Number 178Hz/Notes (to the right of Draw Mode) 88

I

Iconise all Wave Projects 264Import audio 22In/Out Meters 85Independent normalization 78Info 248Init Panorama and Play/Record Devices for Mono Wav 16Init Play/Record devices for Multi Card Mode 16Input display 105Input monitoring on/off 214Insert new Tracks > Add one Track 59Insert new Tracks > Add several Tracks 59Insert new Tracks > New AUX Bus 59Insert new Tracks > New Submix Bus 59Insert Silence 39Insert Track(s) 59Interleaved 53Internal Rate 203Internal resolution 255Internal Synchronization 226

274

IndexInverse Dehissing 139Invert Filter 89Invert Phase 160ISRC Code 195

J

Jobs 32

L

Large Object Handles 54Lasso Function 234, 236, 237, 238, 239Late Reverb 120Latency 121, 207lay With PreLoad 200Length 120, 192Level 104, 105Limiter 102, 112Limiter 100 102, 112Limiter level 106, 107Limiter On (Only in the Mixer Master section) 115LINEAR 79Link 125Link all Tracks 243Link Bands 113Link Curves to Objects 242Link one Track 243Link until Silence 242List 193, 194, 195Live Input Mode 207Load 104, 114Load / Save 245Load all files from top to bottom 18Load Always New 217Load Audio CD Track(s) 175Load Files onto the sync positions (timestamp in t 18Load Session 20Load Setup 126, 128, 135, 140, 144, 178Load Shortcuts 244Lock all Audio in Time 242Lock Objects > Lock Definitions 66Lock Objects > Lock Objects 66Lock Objects > Unlock Objects 66Lock Recorded Objects 16, 220Lock VIP size against Zoom Out 55LOG 79Looping Punch In Recording 206Low Broadband Noise (e.g. 132, 135Low Freq 120

M

MAGIX playR table export 27MAGIX video format support (*.mxv) 27

275

IndexMain Toolbar 262Make CD.... 180Make up 107Marker 212Marker / CD Track Manager.... 193Marker on Range Borders 169Master Section 75Match Time 196Max Range (dB) 92Maximize Track 61Medium Broadband Noise (e.g. 132, 135Medium Tonal Noise (e.g. 131, 135Menu CD 175Menu Edit 35Menu Effects 76Menu File 15Menu File Save in format 75Menu Items 14, 245Menu Object 63Menu Options 216Menu Playback / Record 200Menu Range 161Menu Tools 186Menu Track 59Menu View 46Menu Window 262MIDI Controllers (Samplitude Pro) 61Millisec 229Min Level of clipped samples ( 127Min Number of clipped samples 127Min Range (dB) 92Min. Time (ms) 170Minimize none 62Minimize Track 61Mix 121, 144Mix (Reduction) 133Mix Balance in % 125Mixer 263Mode 124Modulator/Exchange carriers 148, 151Monitor 212Monitoring 214Mono 209Monophone Voice 151More > Clear 40More > Copy + Clear 40More > Copy as.... 40More > Cut with Ripple 40More > Delete with Ripple 39More > Mix with Clip 41More > Overwrite with Clip 40More > Paste with Ripple 40

276

IndexMouse Behaviour 55Mouse Mode Studio 4.0 238Mouse Mode Toolbar 262Move Crossfade 45Move Play Cursor 161Move Play Cursor > Left Move in Page Mode 162Move Play Cursor > Left Move in Scroll Mode 162Move Play Cursor > Marker left 163Move Play Cursor > Marker right 163Move Play Cursor > Object border left/right 163Move Play Cursor > Right Move in Page Mode 162Move Play Cursor > Right Move in Scroll Mode 162Move Play Cursor > to Beginning 161Move Play Cursor > to End 161Move Play Cursor > to Range End 162Move Play Cursor > to Range Start 161Move range end left 163Move range end right 164Move range start left 163Move range start right 163Move Thresh 55Moving Objects 234, 236, 237, 238Multi Band Mode 158Multi-Band Dynamics 109Multiband Dynamics 99Multiple selection 78Multitap 124Mute 82Mute Objects 66

N

Name 15Name Line 193, 194Naming and rearranging devices 254New CD Pause 195New CD Sub index 195New CD Track 195New File with Drag and Drop 75New Format 24New Marker 195New Object 63New Range 193New Sample Rate 152New separate Object in actual VIP 187New Shortcut 244New VIP 187New Virtual (Multitrack) Project (VIP) 15New Virtual Projects 261New workspace 263No Dithering math rounding of sample value 250No Indices on Object Crossfades 180Noise Gate 102, 112

277

IndexNoise Reduction 130Noise Reduction Tips 136Noise Sample 131Noise(dB) 148, 151Normal 139, 142, 242Normalize to 77Number of Bands 110Number of first CD Track 184Number of Objects 65Number of steady samples after clip (1....10) 128

O

O-Tone Mode 208Object 50, 220Object Background Color 72Object Editor 73, 234, 237, 238, 239Object Foreground Color 72Object Handles 234, 237, 238, 239Object Lasso 174Object Lock Button 54Object Manager 74Object Manager.... 195Object Name 54, 72Object Properties 54Object To Original Time Position 70Object To Play Cursor Position 69Objects 54Objects Mode 236Offset 217Only a Wave Project 187Only active track 187Only marked Range 186Open Audio CD Track(s) 20Open Project 17Open Project > Edit List (*.EDL) 19Open Project > HD Wave (HDP) 19Open Project > MIDI (*.mid) 19Open Project > Object (*.Obj) 19Open Project > RAM Wave (RAP) 19Open Project > Session (*.SAM) 19Open Project > Table Of Contents (*.TOC) 19Open Project > Virtual Project 17Open Project > Wave (*.wav) 17Open Wave Project 239Open Wave Projects in destructive editing mode 259Open Windows Mixer 211Opens VIP and Record Window on Program Start 259Optimize Play Start and Scrubbing 253Orchestral Instruments 132, 135Orig 121Original (%) 144, 148Osci/Corel 213

278

IndexOut (All) 115Out (Band) 115Output display 105, 106Overlap 139

P

Pan 159Parametric Equalizer.... 84Paste/Insert Clip 38Patcher 198Patches in brief 199Pause 177PEAK 107Peak change 78Peak maximum 77Peak Meters 54Pentium III Optimizations 259Performance and Quality options 121Performance Display 258Period Key (.) 235Phase Correlation 158Pitch (Filter shift) 147, 151Pitch Factor 203Pitch-Shifting/Timestretching 149Pitchshift- / Timestretch Mode 240Play 131Play Always 217Play Cursor 234, 235, 239Play Cut 204Play Cut > Play from Cut end 205Play Cut > Play from Cut start 204Play Cut > Play over Cut 205Play Cut > Play to Cut end 205Play cut > Play to Cut start 204Play In Range 200Play Loop 200Play loop 193Play Once 200Play once 193Play only selected Objects 201Play Orig 135Play Orig. 140Play original 90Play/Stop 86, 114Play/Stop button 45Playback Options 201Playback while Recording with Record Offset 211Plottable envelope curves 120Plug-ins.... 80Position bar 262POW-r #1 251POW-r #2 251

279

IndexPOW-r #3 251POW-r Dithering 251Precision 92, 133, 136Precision Real Time 92Precision Realtime 133, 136Predelay 120Preemphasis 194Prefix 170PRELoad 210Preload File Cache 253Preroll Frames 229Preroll time 259Presets 104, 106, 114, 131Prevent Clip. 90Preview 82, 107, 113, 114, 128, 134, 140, 144, 158, 219Preview Time (Seconds) 259Print TOC 183Process only left/right stereo channel 160Program Preferences 236Program Preferences > Change Toolbar Style 261Program Preferences > Color Setup 251Program Preferences > Dithering Options 252Program Preferences > Draw Setup 251Program Preferences > Edit Keyboard Shortcuts 246Program Preferences > Edit Toolbars 248Program Preferences > Enable VIP Tool tips 249Program Preferences > Font for Time Display 250Program Preferences > Font Selection 249Program Preferences > Grid Lines 249Program Preferences > MIDI / Metronome Options 250Program Preferences > Object Lock Definition 256Program Preferences > Object Mode 245Program Preferences > Paths 251Program Preferences > Reset Toolbars 249Program Preferences > Set PreRoll Time 256Program Preferences > Track Speed Settings 255Program Preferences > Undo Definitions 252Program Preferences > Video Height 249Program Preferences > VIP Mouse Mode 236Program Preferences > Wave (HDP/RAP) Mouse Mode 244Project files 261Project Information 223Project list 22Project Name 54Project Properties 216Project Properties > 5.1 Surround Mode (Samplitude 216Project Properties > Broadcast Wave Extension 222Project Properties > CD Arrange Mode 222Project Properties > Media Link 216Project Properties > Mixer Setup 216Project Properties > Playback Options 216Project Properties > Snap and Grid Setup 222

280

IndexProject Properties > Text Comments 221Project Properties > Units of Measurement 223Project Template 16Publish to Web 34Punch In 205Punch-In/Out ‘On-The-Fly’ 205Punch-In/Out with Markers 206Punch/Play bar 262

Q

Quality 121, 153Quick Access 78

R

RAM 209RAM Buffer 256Range 50, 220, 234, 235, 239, 241Range all 161Range bar 262Range Editor 172Range End Position (End) 263Range end to right Object border 166Range end to rigjt marker 166Range Length (Len) 263Range Length to 166Range Manager 173, 193Range over aln selected Objects 166Range start to left marker 166Range start to left Object border 166Ranges Mode (Secure Mode) 235Ratio 106Read CD/DAT Marker 212Read Only 222Realtime Buffer 257Rebuild Graphic Data 46Recall last Range 168Record 22, 208Record button 214Record Format 209Record Information 213Record Length 214Record Mode 209Record Options 208, 247Record Start Time/Length 210Record Time 213Recording Device Capabilities Dialog 211Red 87Red/Blue alternation 53Redo 36Reducing the CPU Load 117Reduction 138Reduction display 105

281

IndexRelease 107Remain. Time 213Remove 82Remove All Indices 180Remove DC Offset 129Remove Index 180Remove Link 219Remove unused Samples 189Rename Project 22Replace Audio in Existing AVI 218Replace Objects in actual VIP 187Replace! 196Resamp. To 44.1 210Resample / Timestretching 148Resampling 148Reset 85, 89, 105, 106Reset all “Don’t show this message again” boxes 260Reset filter 147, 150Reset Freehand Drawing 120Reset Pk 213Resolution 132, 135, 139Resolution (Number of filter bands) 147, 150Response time (Release) 147, 150Restart Play 201Restore Default 244, 245Result (dB) 144, 148Resume 177Rev Time 125Reverb 121, 125Reverb Color 125Reverb Properties 125Reverse 155Rich Media Authoring 27Right 140Right (lower) fader 88Right (upper) fader 88Right Mouse Button 234RMS (Root Mean Square) 107Room Simulation: Tips and Tricks 122Room Simulator (Samplitude pro) 118Room Size 125

S

Same file only 196Same Track only 196Sample (dB) 147, 151Sample Data *2 155Sample Data /2 155Sample Manipulation 155Sample Rate 15, 201, 210Sample Rate/Resolution 211Sample selection list 147, 151

282

IndexSamplitude as Live Effect Processor 208Save and Load 82Save complete VIP in 20Save in 32-Bit (Float) Format 187Save, Load, Delete Setup 158Save Object 21Save Project as 20Save Project as EDL 21Save Project as Template 21Save Projects 20Save Session 21Save Setup 126, 128, 135, 140, 144, 178Save Shortcuts 244Scale with Fades/Curves 51Scrub Mode 241Scrub Mode / Zoom Mode 242Scrubbing 202SCSI-ID 178SCSI-LUN 178Search 195Sec. Gen. Prot. 194Sections 46Sectors per Read 178Select All Tracks 177Select Band 111Select Curve Mode temporarily 235Select next Object 71Select Object Mode temporarily 235Select Objects > Select All Objects 71Select Objects > Select Objects 71Select Objects > Switch Selection 71Select previous Object 71Selecting Objects 234, 236, 237, 238Separate Stereo 52Separation 111Set CD End 179Set Globals 222Set Hotspot 71Set Markers on Silence.... 169Set Original Time Position 70Set parameters 78Set Pause 179Set Pause Indices on Object Ends 180Set Pause Time.... 184Set Start Pause Time.... 185Set Sub Index 179Set Track 179Set Track Indices on Object Edges 180Set Track Indices On Object Edges – Options 180Set Track Indices On Silence 179Setting markers 151, 154Settings 90

283

IndexSettings > Analysis Parameters 91Settings > Draw Settings 92Settings > Dynamic Filter Mode 93Settings > Filter Parameters 92Settings > Load Setup 93Settings > Resolution 93Settings > Save Setup 93Setup 106Setup 1, 2 and 3 85Setup 1/2/3 158Shift 69Show Actual Frames 219Show Border 55Show Cache during Playback 253Show CDR Disc Information.... 183Show CDR Drive Information.... 183Show Grid 49Show Menu Items 245Show Project ToolTips 258Show Shortcut List 244Show TOC 183Show Video Tracks 218Singing Voice 132, 135Skins 261Smooth 139, 142Smooth Attack 133, 136Smooth Release 134, 136Smooth/normal overlapping 147, 151Smoothed 149SMPTE 229SMPTE Generator 192Snap and Grid Setup 50Snap Offset to project start 51, 220Snap On 51, 220Snap to Grid 50Snap to Objects 16Soft – Knee 105Software Monitoring / Software FX Monitoring 215Solo 82, 114, 159Solo Mode 158Songs 132, 135Sort alphabetically when loading 18Source files 32Speaker Model 145, 149Speaking Voice 132, 135Split Frequency 159Split Objects 65Split Range 166Split Range for Video 167Split VIP Objects 170Standard 53, 149, 153Start all Object related plug-ins at playback star 83

284

IndexStart External Program 1/2 198Start Number 170Start Position (St.) 263Static 89Static Filter Smooth 134, 137Statistic (brief) 196Statistic (verbose) 196Status bar 263Stereo (in 1) 209Stereo channel as carrier 148, 151Stereo Enhancer 156Stop 201Stop and Go to Current Position 201Store Marker 168Store Position and Zoom Level 56Store Range 167Store Zoom Level 56Support 13Surround (Batch processing) 121Surround Editor (Samplitude Pro) 61Switch Channels 156Sync Sectors 179Sync Velocity 230Synchronization 224Synchronization to Audio playback 218Synchronizing Samplitude 224System 256System > Colors 261System > MIDI Options 261System > Path/Skins 261System > Playback/Record Devices 256System > Program Options 261System > View Options 261System Information.... 265

T

Take List 197Take Manager 74Take Manager.... 195Tape player monitoring 214Temporary Files 261Test 170Test Mono 134, 140Test Stereo 134, 140Threshold 92, 104, 106Threshold (dB) 170Tile 262Time Display 263Time Offset for Indices on Object Edges 180Timestretch/Pitchshift Patcher 198Tip of the day 265TOC format 182

285

IndexTools Menu 186Track Bouncing 186Track Bouncing.... 186Track Delay 125Track FX > Copy/Paste Track Effects Settings 61Track FX > Dynamics/Distortion/Delay/Reverb/EQ/ 61Track FX > Plug-ins 61Track FX > Reset Track Effects settings 61Track FX > Track Routing Dialog 60Track Information 60, 233Track Information box 177Track List box 177Track Number 15Track Properties 60Transparent 53Transport Control 264Treat knobs like faders 259Trim Objects 66Tutorial 265Type 85, 229

U

Ultra High 1 153Ultra High 2 153Undo 35Undo History 36Ungroup Objects 72Unified normalization 78Units Of Measurement 49Units of Measurement 16Universal Mouse Mode 233Untile 262UPC/EAN Code 184Use ASCII Code for TOC 182Use file dialog selection sequence when loading 18Use Hardware Pitching (ARC cards) 230Use Record Buffer Size 257Use Snap Offset also for Grid 51, 220Use UNI Code for TOC 182Using De-clipping to fix a digital ‘over’ 129Using the Take Manager 197

V

Varipitch 203Vertical 58Vertical slider 203Very High 153Video in Samplitude Window 218Video Without Sound 218VIP 54VIP AutoSave Mode 16VIP Border Scroll 56

286

IndexVIP Buffer 257VIP Display Mode 51Virtual 78Virtual Action 249Visualization 264Vocoder 146Vocoder control elements 146Volume 85, 146, 148, 149, 151, 221Volume and Panorama Automation Curves 235, 236, 238, 239Volume/Objects 237

W

Wave Editing 74Wave(Destructive) 249Waveform 192Waveform Colors 53Waveform Display 51Waveform Generator 20, 192Waveform Parameters 192Wet 125Window Menu 262Working with the plug-ins 81Workspace bar 262Write DirectX log file 83

Z

Zero Latency Monitoring (ZLM) 211Zoom 88, 234, 235, 239Zoom Mode 241