The ultimate sound and groove workstation

USER MANUAL

SampleTank 3

Contents 2

Table of ContentsContents 2

English 6Chapter 1 SampleTank 3 Overview 61.1Introduction 61.2Features 9

Chapter 2 Getting started with SampleTank 3 102.1-UsingSampleTank3asastandaloneapplication 102.1.1-AUDIO/MIDISettings 112.1.2-PREFERENCESSettings 122.1.3-Computerkeyboardkeys 132.1.4-CPUMonitor 132.2-UsingSampleTank3asaplug-in 142.2.1-Syncingtothehostapplicationstempo 14

Chapter 3 The PLAY page 153.1-Overview 153.1.1-ThreeTypesofInstruments 163.1.2-LoopInstrumentsandGlobalPlay 173.1.3-SyncingLoops 183.2-TheMULTItab 183.2.1-MultiMenu 193.2.2-SearchMultis 193.2.3-RescanMultis 193.3-TheINSTRUMENTStab 203.3.1-InstrumentsMenu 203.3.2-TheINFObutton 223.3.3-SearchInstruments 233.3.4-RescanInstruments 233.4-ThePATTERNStab 243.4.1-LoadingPatterns 243.4.2-SelectingPatterns 253.4.3-RemovingPatterns 253.4.4-GLOBALPlayButton 253.4.5-PatternINTENSITYSlider 253.4.6-PatternKEY 253.4.7-PatternQUANTIZE 253.4.8-PatternAuditionPlayButton 253.4.9-OctaveShiftButtons 263.4.10-SearchPatterns 263.4.11-RescanPatterns 263.5-TheLIVEtab 273.5.1-SetLists 283.5.2-TheSongColumn 283.5.3-TheMultiColumn 28

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3.5.4-MemoryManagementinLIVEmode 283.6-QuickAccessPanel 29

Chapter 4 The MIX page 304.1-Overview 304.1.1-INSTRUMENTandMULTIMenus 314.1.2-InstrumentIconDisplay 314.2-TheMIXChannelStrips 324.2.1-InsertEffects 334.2.2-EffectsLock 334.2.3-Save/LoadEffects 334.2.4-EffectSends 344.2.5-PanSlider 344.2.6-MuteandSoloButtons 344.2.7-VolumeSlider 354.2.8-MasterChannel 35

Chapter 5 The EDIT page 365.1-Overview 365.1.1-INSTRUMENTandMULTIMenus 375.2-ThePARTStrip 375.2.1-MIDIChanneldrop-downmenu 375.2.2-Polyphony 375.2.3-Transpose 385.2.4-NoteRange 385.2.5-VelocityRange 385.2.6-Pan 385.2.7-Volume 385.2.8-MuteandSolobuttons 385.2.9-Zonebutton 385.3-TheSAMPLEStrip 395.3.1-Pitch 395.3.2-Fine 395.3.3-Bend 395.3.4-SamplePan 395.3.5-SynthesisTypes 395.3.6-RoundRobinFreeze 405.3.7-ElementSelector 405.4-TheFILTERStrip 415.4.1-FilterTypeMenu 415.4.2-FilterFrequency 415.4.3-Resonance 415.4.4-Overdrive 415.5-TheVELOCITYStrip 425.5.1-VelocitytoAmpknob 425.5.2-VelocitytoPitchknob 425.5.3-VelocitytoResonanceknob 425.5.4-VelocitytoFilterknob 42

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5.5.5-VelocitytoLFO1Depthknob 425.5.6-VelocitytoEnv2Sustain 435.6-TheLFOStrip 445.6.1-LFOSelector 445.6.2-LFOSync 445.6.3-LFOFree 445.6.4-LFORate 445.6.5-LFODepth 445.6.6-LFOPhase 455.6.7-LFOFade 455.6.8-LFOWaveform 455.6.9-LFOtoPitchknob 455.6.10-LFOtoFilterknob 455.6.11-LFOtoLevelknob 455.6.12-LFOtoPanknob 455.7-TheENVELOPEStrip 465.7.1-Envelope1toLevelknob 465.7.2-Envelope2toFilterknob 465.7.3-Envelope2toPitchknob 465.8-TheKEYStrip 475.8.1-KeyboardModemenu 475.8.2-Portamento 475.8.3-Curve 47

Chapter 6 MIDI control 486.1-TheLEARNbutton 486.2-TheCONTROLbutton 486.2.1TheControllerPARTMenu 49

Chapter 7 Effects 507.1-FULLAMPS 507.1.1-AmericanVintageT 507.1.2-AmpCombo 507.1.3-BritishTubeLead 507.1.4-JazzAmp120 517.1.5-ModernTubeLead 517.1.6-SVTClassic 517.2-AMPCOMPONENTS 527.2.1-Cabinet 527.2.2-Preamp 527.2.3-ToneControl 527.3-DISTORTION 537.3.1Crusher 537.3.2-Distortion 537.3.3-Overdrive 537.3.4-Overscream 537.4-EQ+DYNAMICS 547.4.1-Black76 54

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7.4.2-Compressor 547.4.3-EQComp 547.4.4-Limiter 557.4.5-Model670 557.4.6-ParametricEQ 557.4.7-VintageEQ-1A 567.4.8-White2A 567.5-MODULATION 577.5.1-AMModulation 577.5.2-Chorus 577.5.3-ChorusC1 577.5.4-ElectricFlanger 587.5.5-EnvFlanger 587.5.6-Flanger 587.5.7-FMModulation 587.5.8-MultiChorus 597.5.9-OptoTremolo 597.5.10-Phaser 597.5.11-RotarySpeaker 597.5.12-SmallPhazer 607.5.13-Tremolo 607.5.14-Uni-V 607.6-REVERB+DELAY 617.6.1-AcousticResonance 617.6.2-Ambience 617.6.3-ConvoRoom 617.6.4-HallReverb 617.6.5-PlateReverb 627.6.6-Delay 627.6.7-Reverb 627.6.8-ReverbDelay 627.6.9-SpringReverb 637.6.10-TapeEcho 637.7-FILTERS/OTHER 647.7.1-AutoPan 647.7.2-PianoLid 647.7.3-LFOFilter 647.7.4-EnvFilter 647.7.5-Lo-Fi 657.7.6-MultiFilter 657.7.7-Phonograph 657.7.8-Slicer 657.7.9-StereoImager 667.7.10-Wah 66

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Chapter 1 SampleTank 3 Overview

1.1Introduction

SampleTank3isa16-partvirtualinstrumentthatplayssamplesofacoustic,electricandelectronicinstrumentsincludingaudioloopsofrhythmicgroovesandmusicalperformances.ItalsoincludesaMIDIsequencerthatplaysMIDIpatternsthatcanbetriggeredbykeysonthekeyboardorviatheGlobalPlaybutton.YoucanalsodragMIDIpatternsintothetimelineofyourDAWtoplayorfurthereditthemfromthere.

SampleTank3providesanextremelyuser-friendlyconsolidatedinterfacethatletsyoubrowseandloadthesoundsyouwantfast.Thereare3maintabs:PLAY,MIXandEDIT.ThesetabsletyouquicklysetupyourSampleTank3soundsexactlythewayyouwantthemandthenallowsyoutosavethatsetupasaMULTIforfuturerecall.

PLAYgivesyouthebrowserontheleftwhereyouloadInstruments,Patterns,MultisandliveSetLists.Youcanseeanoverviewofthe16parts,eachofwhichholdsasingleInstrumentanditscollectionofPatternsthatareassignedtokeysonthekeyboard.Youcanmakequickadjustmentstovolume,panandMIDIchannel.

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MIXgivesyouaDAW-stylemixingconsoleinterfacewithonechannelperpart,eachwithitsownvolumefaderandpansliderplus5inserteffectslotsand4effectsends.Therearealso4effectsreturnchannelsatthefarright,whereyoucanloadmoreglobaleffectslikereverbanddelay,alongwithamasterfaderchannel.Theeffectreturnchannelsandmasterfaderchannelalsohave5inserteffectslots,eachformaximumflexibility.

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EDITgivesyouasynthesizerprogrammingpanelwhereyoucandialindeeperparameterslikefilters,envelopesandLFOsforextremecustomizationofyourinstruments.Hereyoucanviewthecurrentsettingsoftheinstrumentparametersandtweakthemexactlythewayyouwantthem.

AllthreetabsprovideapanelatthebottomthatisswitchablebetweenMACROandFX.TheMACROtabprovides8controlsthathavebeencustomizedforeachinstrumenttogiveyouquickaccesstothemostcommonlyusedparametersorparametersets.ThisisaquickeditpanelthatletsyoumakefastchangeswithouthavingtogototheactualEDITtab.TheFXtabletsyouselectandviewthe5inserteffectslotsfortheselectedpartanddisplayeacheffectpanelwithallitsavailableparameters.

ThetoprightofSampleTank3givesyouashoppingcartbuttonwhereyoucanpurchaseupgrades,expansionlibrariesandrelevanthardwareproducts.Nexttothat,thegeariconopenstheSettingswindowwhereyouchooseyouraudioandMIDIpreferences,makeoutputassignmentsandsetyourmasterdiskpathforyoursoundlibraries.Nexttothat,theinfobuttonopensawindowtellingyouwhichversionofSampleTank3youarerunningalongwithcopyrightinformation.Andfinally,thepadlockiconletsyouauthorizeandregisteryourcopyofSampleTank3withIKMultimedia.

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ThebottomrowofSampleTank3providesyouwithvariousutilityfunctions.LEARNletsyouassignSampleTankparameterstoMIDIContinuousControllernumbers.CONTROLopensawindowwhereyoucanviewandedityourControllerassignments.ThePanicButton(the!icon)stopsallMIDInotesandpatternplaybackincaseofstucknotesorotherproblemsinyoursetup.TheSYNCbutton(clockicon)setsthemastertempoofSampleTanktomatchtheDAWhost.TheTempoIndicatorletsyousetthemastertempoyourselfwhenSYNCisoff.NexttotheTempoIndicatoristheKeyMatchcontrolwhereyoucansetallloadedMIDIPatternstoplayinasingleglobalmusicalkeywithoutneedingtotransposethemindividually.Andfinally,theGlobalPlaybuttonletsyoustartandstopmultipleMIDIpatternsandaudioloopinstrumentswithasinglebutton.

1.2Features

Intuitiveinterfacewith3mainenvironments:Play,Mix,Edit,retainingtheease-of-useandfastoperationthathasalwayscharacterizedSampleTank

16-channelmulti-partPlayinterfacewithquickmixerandeasylayering,soundbrowserwithkeywordsearchesandintegratedMIDIplayer/mixer

All-in-onesoundEditpagewith3sampleengines(includingformantpreservingpitch-shift/time-stretch),14filtertypes,roundrobinandarticulationswitchingplus8macrosperinstrumentforquickmulti-parameterediting

Familiarconsole-likeMixinterface,with5inserteffectsperchannel,4stereoFXreturnswith5inserteffectseach,masterchannelwith5inserteffects(upto30effectsperinstrument)

NewLivemodeallowssampleloadinginthebackgroundandinstantaneoussoundswitchinginastructurebasedonSetListsandSongs.

Integratedmulti-effectswithover50high-qualityprocessorsderivedfromtheAmpliTubeandT-RackSproducts.

Accurate3Drepresentationsofinstrumentsforinstantidentificationandrecall

Availableasstandaloneandasa64-bitplug-inforAAX,VSTandAUplatformsonMacOSandWindows

CompatiblewithallpreviousPoweredbySampleTanksoundmodulesandsounds

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Chapter 2 Getting started with SampleTank 3SampleTank3canbeusedasastandaloneapplicationorasaplug-in.

2.1-UsingSampleTank3asastandaloneapplication

Instandalonemode,launchSampleTank3fromyourapplicationsfoldertouseitwithoutahostapplicationsuchasadigitalaudioworkstation(D.A.W.).Infact,thisallowsSampleTanktohaveallthefunctionalityandflexibilityoftheplug-ininaself-containedsoftwareinstrument.Forexample,youcanuseSampleTank3forliveperformanceswhenthereisnoneedforacomplexsequencersetuporinasecondcomputerthatisdedicatedtovirtualinstrumentsaseachPARTcanbetriggeredfromanindividualMIDIinput.

WhenlaunchingSampleTank3standaloneforthefirsttime,youneedtosettheaudiooutputandMIDIinputaswellasthediskpathwherethelibrarycontentisstored.ThisisaccomplishedintheSettingswindowthatcanbeopenedbyclickingthegeariconatthetopright.TherearetwotabsintheSettingswindow:AUDIO/MIDIandPREFERENCES.

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2.1.1-AUDIO/MIDISettings

ClicktheAUDIO/MIDItabtosetupyouraudiooutputandMIDIinput.SampleTank3iscompatiblewithanyASIOorDirectSoundaudiointerfaceinWindowsandanyCoreAudio-compatibleaudiointerfaceinMacOSX.

Device

ChoosewhichavailableaudiointerfaceyouwanttousewithSampleTank3.

Windows

TherearetwodropdownmenustoselecttheAudioDriver.Thedrop-downmenuontheleftselectsthetypeofdrivertouse,suchasASIOorDirectX.Thedropdownmenuontherightselectstheactualaudiointerface.ItwillbeeitherASIO(preferred)orDirectSound.AnASIOcompatiblesoundcardwillperformwithfasterresponseandlowerlatencythanaDirectSoundone,westronglyrecommendtheASIOsettingwhenusingVirtualInstrumentssuchasSampleTank3.

Mac OS X

SampleTank3iscompatiblewithCoreAudioaudiointerfacesinMacOSX..AnyAudiointerfacesupportedbycomputersoperatingsystemwillworkwithSampleTank3.Thereisonedrop-downmenutoselecttheaudiointerface.

Output Routing

TheOutputRoutingisusedtoassigntheoutputofSampleTank3toaspecificchannelpaironyourselectedinterface.ThisletsyoudeterminewheretheSampleTankoutputisroutedinyoursystem.

SampleRateandBufferSize.Thesamplerateandbuffersizesdrop-downmenusletyouchooseyoursettingsforSampleTank3.Thesesettingsaredependentontheaudiointerfaceasnotallaudiointerfacesprovidethesamesamplerateorbuffersettingoptions.ForthebestperformanceinSampleTank3standalone,setthebufferaslowaspossiblewithouthearingclicksandpops.Thiswillprovidethelowestamountoflatency,thedelay

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betweenplayinganoteandhearingthesound.Highersampleratessuchas96kHzwilldeliverbettersoundqualitybutattheexpenseofahigherCPUload.

MIDI Input

Thisdrop-downmenudetermineswhichMIDIinputofyourcomputerthatSampleTankwillrespondto.AnyMIDIinterfacesupportedbycomputersoperatingsystemwillworkwithSampleTank3.

2.1.2-PREFERENCESSettings

ClickthePREFERENCEStabtosetthediskpathforSampleTank3andhowyoupreferittohandleaudioloopsandMIDIpatterns.

Disk Path

YoumustspecifywheretheSampleTanksoundlibraryisstoredonyourharddisk.Theharddiskmaybeinternalorexternal.ClickBROWSEtonavigatetothelocation.ThedefaultdiskpathisUser/Documents/IKMultimedia/SampleTank3.

Always Sync Loop Instruments

TurnthisontocauseallaudioloopstosynchronizetoSampleTank3smastertempowhichisdisplayedinthelowerrightofallwindows.Notethataudioloopscansoundbadiftheirtempoischangedtooradically.Toalwayshearaudioloopsattheirnativetempo,turnthisparameteroff.

Latch MIDI Patterns

Latchmeansthatyoupressakeyoncetostartapattern,andthepatternwillcontinuetoplayonitsownuntilpressthekeyagaintostopit.TurnthisparameterontoalwayslatchMIDIpatterns.Turnitoffifyoujustwantthepatternstoplaywhileyouholddowntheirassignedkey.

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Latch Audio Loop

LikeMIDIpatternsabove,youcansetSampleTanktolatchaudioloopssothattheycontinuetoplayafterthefirstkeypressregardlessofhowlongyouholdthekey,andthentheywillonlystopwhenyoupressthekeyagain.Ifyouwantyouraudioloopstoonlyplaywhileyouholdthekeydown,turnthisparameteroff.

2.1.3-Computerkeyboardkeys

InStandalonemode,youcanuseyourcomputerkeyboardtoplayMIDInotestotriggertheInstrumentsinSampleTank3.

Clickthekeyboardiconinthelowerlefttoseethelegendthatdescribesthefunctionofeachkeyonthecomputerkeyboard.

2.1.4-CPUMonitor

InStandalonemode,youcanmonitorhowmuchofyourCPUpowerSampleTank3isusingwiththeCPUmeteratthelowerright.ToreduceCPUusage,increaseyourbuffersize(notethatthiswillalsoincreaselatency).

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2.2-UsingSampleTank3asaplug-in

Inadditiontoastandaloneapplication,SampleTank3alsoworksasanAudioUnits,AAXorVSTplug-ininstrumentinmajorhostapplicationssuchasLogic,ProTools,Cubase,DigitalPerformerandothers.

Consultyourhostapplicationsuserguideforspecificinstructionsonhowtousevirtualinstruments.

2.2.1-Syncingtothehostapplicationstempo

WhenSampleTank3isusedasaplug-inwithinaD.A.W.orotherhostapplication,itautomaticallysynchronizesitsglobaltempotothatofthehostapplication.TooverridethisandchangethetempoofSampleTank3independentofthehostapplication,clicktheclockiconinthebottomrownexttothetempoBPMindicator.

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Chapter 3 The PLAY page

3.1-Overview

ThePLAYpageiswhereyoubrowseandloadInstrumentsandPatternsforthe16PARTSandmakequickadjustmentstovolume,panandMIDIchannel.APARTholdsasingleSampleTankInstrumentsuchasapiano,drumsetorgrooveconstructionkitalongupto5inserteffectsthataresolelydedicatedtothatinstrumentalone.Youcanalsoloadupto128PatternsloopingMIDIsequencesthatareassignedtokeysonthekeyboardineachPart.Thecollectionofall16partswiththeirInstruments,effectsandPatternsiscalledaMULTI.YoucanbrowseandloadMultisinthesamewayyouloadInstrumentsandPatterns,rightfromthebrowserontheleftsideofthePLAYpage.TherightsideofthePLAYpagecontainsthePartViewerwhereyoucanviewandeditthecontentsofeachofthe16PartsthatarestoredwiththeMulti.

ThetopleftofthePLAYpagehasfourtabsforthedifferentkindsofobjectsthatyoucanbrowseandload:Multis,Instruments,PatternsandLiveSetLists.

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3.1.1-ThreeTypesofInstruments

MultiscancontainthreedifferentkindsofInstrumentsinSampleTank3:First,therearestandardInstrumentslikepianos,organsandsynths.Thentherearemulti-articulationInstrumentsthatusekeyswitching,velocityswitchingormodwheelswitchingtochangebetweendifferentperformancesofthesamesoundsuchasaviolinthatisplayedwithsustainingnotes,staccatonotesorpizzicatonotes.ThearticulationswitchesareindicatedbygrayiconsnexttotheInstrumentname:KSforkeyswitch,VSforvelocityswitchandMWformodwheelswitch.KeyswitchingInstrumentsletyoupressspecifickeysinthelowregistertoactasbuttonsthatchangethearticulations.TheyareindicatedinredontheSampleTank3keyboard.VelocityswitchingInstrumentsplaydifferentarticulationsselectedbyhowhardyoupressthekey.Andmodwheelswitchingmovesbetweendifferentarticulationsdependingonthepositionofthemodulationwheel.

KeySwitchInstrumentsshowtheswitchingkeysasredordarkgrayontheSampleTank3keyboard.Redindicatestheactivearticulation.ToseeadescriptionoftheavailablearticulationswithinaKeySwitchInstrument,clickanyofthecoloredkeystoopentheKeySwitcheswindowthatshowseacharticulationlabeledontheswitchingnotes.Thisexampleshowsamulti-articulationViolaInstrumentwiththeDetachearticulationselected.

Finally,thereareLoopinstruments,audiogroovesthatareplayedbackinSampleTank3assinglenotesonthekeyboard.Loopinstrumentshaveagrayloopiconnexttotheirname.TherearetwokindsofLoopinstruments:Drum/PercussiongroovesthatprovideseveraldifferentperformancesperInstrumentinthesamestyleand

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tempo,andConstructionKitInstrumentsthatprovidethebuildingblocksforacompletegroovewithdifferentinstrumentloopsoneachkey.

3.1.2-LoopInstrumentsandGlobalPlay

YoucansetspecificLoopInstrumentnotestostartplayingautomaticallywhentheGlobalPlaybuttonispressed.ToassignLoopInstrumentnotestorespondtoGlobalPlay,firstpresstheGlobalPlaybutton,thenplaythenotesfortheloopsyouwanttoassign.PresstheGlobalPlaybuttonagaintostop,andsavethecurrentMulti.TheMultiwillthenrememberwhichloopnotesyouassigned,andthenexttimeyoupressGlobalPlay,thoseloopnoteswillplayautomaticallyandinsyncwithanyassignedMIDIPatterns.Youcandothistomix-and-matchaudioloopswithMIDIPatternsonmultiplePartssothatGlobalPlaycanstartandstopanentirearrangementofaudioloopsandMIDIPatterns.

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3.1.3-SyncingLoops

InstrumentsintheLoopscategoryhavetheiroriginaltempointhename.Forexample,Dubstep1140bpm.WhenyouloadaLoopInstrument,youwillseeaSYNCbuttonontherightsideoftheMACROpanel.ClickthisbuttontochangetheLoopInstrumentstempotomatchtheglobaltempothatisdisplayedinthebottombar.Whenusedasaplug-in,thiswillusuallybethetemposetbyyourD.A.W.orhostapplication.

3.2-TheMULTItab

ClicktheMULTItabtobrowseandloadSampleTank3Multis.AMultiisthecollectionofall16PartswiththeirInstruments,effectsandPatterns.WhenaMultiisloaded,youwillseethecontentsofthe16PartslistedinthePartBrowserontheright.

ThelistofMultisisattheleft.DoubleclicktoloadaMulti.

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3.2.1-MultiMenu

ThemenuiconinthelowerleftletsyouperformfilemanagementfunctionssuchasSave,SaveAs,Rename,DeleteandImportMultifrompreviousSampleTankformatssuchasSampleTank2.5andPoweredbySampleTankproductssuchasMiroslavPhilharmonikandSonikSynth2.

3.2.2-SearchMultis

Tosearch,clickthemagnifyingglassiconatthebottomofthebrowser,andtypeawordorphraseinthesearchfield.Onlythesearchresultswillappearwhilethegraysearchfieldisopen.ClicktheXattherightofthesearchfieldtoclosethesearchandreturntodisplayingallavailableSampleTank3Multisinthebrowser.

3.2.3-RescanMultis

IfyouhavemodifiedthecontentsoftheMultisfolderinyourmasterdiskpath,thenyoumustrescanthefoldersoSampleTank3canupdateitsdatabaseofavailableMultis.Justclicktherescanarrowicontodothis.

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3.3-TheINSTRUMENTStab

ClicktheINSTRUMENTStabtobrowseandloadSampleTank3Instrumentsintoanyofthe16Parts.

3.3.1-InstrumentsMenu

ThemenuiconinthelowerleftletsyouperformfilemanagementfunctionssuchasSave,SaveAs,RenameandDeleteaswellasImportLegacyInstrumentsfrompreviousSampleTankformatssuchasSampleTank2.5andPoweredbySampleTankproductssuchasMiroslavPhilharmonikandSonikSynth2.HereyoucanalsousetheImportSamplesfunctiontoloadAIFForWAVsamplesintoSampleTank3tocreateyourownuserinstruments.

Import Legacy Instruments

ClickthisfunctiontouseyourpreviousSampleTanklibrariesandPoweredbySampleTankvirtualinstrumentsinSampleTank3.WhenyouclickImportLegacyInstrument,adialogwillappearaskingyoutonameyourimportedInstrumentlibrary.ThiswillbenameofthefolderthatappearsintheactualSampleTank3browserthatwillcontainalloftheimportedinstrumentsyouareconverting.

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ClicktheBROWSEbuttontosetthediskpathofthelegacylibrarythatyouwishtoimport.Forexample,ifyouareimportingMiroslavPhilharmonik,thenyoushouldchoosethemasterlibraryfolderforMiroslavPhilharmonikhere.SampleTank3willreadfromthesourcelibraryyouchooseandthenrewritethesamplesandInstrumentsintoyourspecifiedSampleTank3diskpathasitconvertsthemtoSampleTank3format.

Import Sample

ClickthisfunctiontoconvertyoursamplesintoSampleTank3Instruments.WhenyouclickImportSamples,adialogwillappearaskingyoutoselectthediskpathofyoursourcesamples.ClicktheBrowsebuttontodefinethediskpathofthesamplesyouwanttoimporttocreateanewSampleTank3Instrument.TheNAMEfieldiswhereyouenterthenameofyournewInstrument.ThisistheInstrumentnamethatwillappearinSampleTank3.TheCATEGORYfieldletsyouassignyournewInstrumenttooneoftheexistingSampleTank3soundcategories.IfyoursampleshaveacommontemposuchasacollectionofgrooveloopsentertheirtempointheBPMfield.

Lastly,theROOTNOTESELECTIONsectionletsyoudefinehowSampleTankwillmapyoursamplesacrossthekeyboard.ChooseNAMEifyouwanttomanuallynameyoursamplefilestosettheirrootnotes.Youmusttypethenotenamefirstandwithnospaceswithinthenotename.Leaveaspaceafterthenotenameforanyexplanatorytext.SampleTankwillonlylookattheinformationbeforethefirstspaceinthefilename.Forexample:C#1ElectricBass.aif.DonotuseC#1-ElectricBass.aiforC#1_ElectricBass.aifasSampleTankwillnotbeabletoreadthenoteinfowithadash,underscoreorothercharacterbeforethefirstspace.

Ifyouhaveacollectionofloopsorsoundeffects,andyoujustwanttomapthesampleschromatically,choosetheCHROMATICFROMoptionandthensetthekeyonwhichyouwantthefirstnotetoappear.Yoursampleswillbemappedfromthatnoteascendingchromatically.

WhenyouhaveenteredalltheinformationintheInstrumentImportdialog,clickIMPORTtocreateyournewSampleTank3Instrument.

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3.3.2-TheINFObutton

ClickINFOtoshowaninformationalpanelforthecurrentlyselectedInstrumentinthebrowser.ThepanelshowsauniqueiconfortheselectedInstrumentalongwiththeamountofmemorythattheInstrumentrequires.ThereisalsoatextdescriptionoftheInstrumentandaMacrofieldthatlistswhatthe8knobsareassignedtoontheMACROpanelthatisjustabovethekeyboard.NotethattheINFOpanelrepresentstheInstrumentthatisselectedinthebrowserandnottheInstrumentthatisactuallyloadedintotheselectedPart.

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3.3.3-SearchInstruments

Tosearch,clickthemagnifyingglassiconatthebottomofthebrowser,andtypeawordorphraseinthesearchfield..Onlythesearchresultswillappearwhilethegraysearchfieldisopen.ClicktheXattherightofthesearchfieldtoclosethesearchandreturntodisplayingallavailableSampleTank3Instrumentsinthebrowser.

3.3.4-RescanInstruments

IfyouhavemodifiedthecontentsoftheInstrumentsfolderinyourmasterdiskpath,thenyoumustrescanthefoldersoSampleTank3canupdateitsdatabaseofavailableInstruments.Justclicktherescanarrowicontodothis.

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3.4-ThePATTERNStab

ClickthePATTERNStabtobrowseandloadSampleTank3Patternsontoindividualkeyboardkeysineachofthe16Parts.Youcanputonepatternoneverykeyusingupto128keys(128MIDInotes)perPart.YoucanalsodragpatternsdirectlyintothearrangewindowofyourDAWproject,withalloftheireditedsettings,thiswaytheSampleTank3MIDIpatternscanbeconvenientlyusedinyourarrangementtogetherwithallothertracksinyourcomposition.

3.4.1-LoadingPatterns

ToloadaPatternontoakeyinthecurrentlyselectedPart,simplydragthePatternfromthebrowserontothekeyofyourchoice.Alternatively,youcandouble-clickthePatternname,anditwillautomaticallyloadintoC0orthenextavailablechromaticnoteaboveifaPatternalreadyexistsinC0.YoucanalsodragaPatternstraightintoaMIDItrackofyourDAWsarrangewindowwhereitwillappearasnewMIDIdatathatintegrateswithyourcompositionthatyoucaneditatwill.

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3.4.2-SelectingPatterns

SinceeachPartcanholdupto128Patterns,youmustselectwhichpatternisdisplayedinthePartViewerontherighttomakeadjustmentstoitsIntensity,TranposeandQuantizevalues.ToselectaPatternthatisalreadyloaded,justclickthekeyontheSampleTank3keyboardorselectthepatternfromthedrop-downmenu,andyouwillseeitsnameandeditvaluesappearinthePartrowinthePartViewer.

3.4.3-RemovingPatterns

ToremoveaPattern,clickthekeyboardkeytoselectitorselectitfromthedrop-downmenu,thenclicktheXintheDELETEcolumntoclearthePatternfromthekey.

3.4.4-GLOBALPlayButton

InadditiontotriggeringthePatternfromaMIDInoteonthekeyboard,youcanstartandstopthecurrentlyselectedPatternbyclickingtheGlobalPlayButton.NotethatyoucanhaveaPatternselectedinmultiplePartssimultaneously.ThisgivesyoutheabilitytotriggermanyPatternsaswellasaudioloopssimultaneouslyifyouchoose.Seesection3.1.2forhowtoassignaudioloopstoGlobalPlay.

3.4.5-PatternINTENSITYSlider

UsethisslidertoscaletheMIDIvelocitieswithinthePatterntomakethenoteslouderorsofter.TheintensityvalueisalsoappliedwhenyoudragthePatternintoyourDAWtimeline.

3.4.6-PatternKEY

ClickanddragthevalueupordowntotransposethecurrentlyselectedPattern.Pitchedpatternsaredisplayedintheiroriginalkey(C,C#,D,etc.),andnon-pitchedpatternssuchasdrumandpercussionpatternsaredisplayedwithasemitoneoffset.NotethatwhenyouselectakeyintheKeyMatchcontrolinthebottombar(nexttothetempoindicator),allloadedPatternswillautomaticallyplayintheselectedkeywithouttheneedoftransposing.

3.4.7-PatternQUANTIZE

SelectanysettingintheQUANTIZEdrop-downmenutore-quantizethecurrentlyselectPattern.Youcanturnastraightgrooveintoaswinggroove,atripletgrooveintoastraightgrooveorevenaloosegrooveintoatightergroove.

3.4.8-PatternAuditionPlayButton

ClickthisbuttontoactivatethePatternaudition.Whenactive,thePatternthatyouselectinthebrowserwillautomaticallyplaytheInstrumentloadedintothecurrentlyselectedPart.

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3.4.9-OctaveShiftButtons

The-1,=and+1buttonsletyoushifttheoctaveofthePatternpreviewwhenauditioninginthebrowser.

3.4.10-SearchPatterns

Tosearch,clickthemagnifyingglassiconatthebottomofthebrowser,andtypeawordorphraseinthesearchfield..Onlythesearchresultswillappearwhilethegraysearchfieldisopen.ClicktheXattherightofthesearchfieldtoclosethesearchandreturntodisplayingallavailableSampleTank3Patternsinthebrowser.

3.4.11-RescanPatterns

IfyouhavemodifiedthecontentsofthePatternsfolderinyourmasterdiskpath,thenyoumustrescanthefoldersoSampleTank3canupdateitsdatabaseofavailablePatterns.Justclicktherescanarrowicontodothis.

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3.5-TheLIVEtab

ClicktheLIVEtabtobrowseandworkwithSetListsforlivegigs.ASetListisusedtomanagehowsamplesareloadedforgroupsofMultisinordertofacilitatefasterswitchingbetweenMultisonstage.ThinkofaSetListliketheactualsetlistyoucreateforalivegig:Itisagroupofsongsthatyouwillplayinaparticularsetonstage.EachSetListcontainsseveralSongs.EachSongcontainsoneormoreMultis,theactualsoundsthatyouwillplaywithineachSong.YoucanchangeSongsandMultiswithintheSetListviauser-assignableMIDIProgramChangesorwithasimpledouble-click.

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3.5.1-SetLists

TheSetLististheobjectthatisstoredundertheLivetab.ASetListcontainsSongs,andSongscontainMultis.EachSetListcanstoreupto64Songs,andeachSongcancontainupto16Multis.YoumanuallyloadtheSetListintotheSampleTank3Livetabbrowser,andthenyoucanuseMIDIProgramChangemessagestoloadSongsandMultiswithineachSong.Double-clickthedesiredSetListinthebrowsertoloadit.

3.5.2-TheSongColumn

Thereare64slotsintheSONGcolumn.HereyoucanclickintheSongnamefieldandenterthenameofeachSongwithintheSetList.TheSongnumberintheleftcolumnisforyourreferenceonlyanddoesNOTcorrespondtoaMIDIProgramChangenumber.YousettheMIDIProgramChangenumberthatwillloadtheSongintheSONGMIDIPCcolumnontheright.TypetheMIDIProgramChangenumberfortheSongintheSONGMIDIPCfield.ThenwhenSampleTankreceivesthatMIDIProgramChangenumber,itwillloadtheSongandallsamplesfortheMultiswithinitalongwiththefirstMulti.

3.5.3-TheMultiColumn

Clickthedrop-downmenuontheleftofeachslottoassignanyofyourSampleTankMultistothe16slots.ThenclickintheMIDIPCcolumnontherightandentertheMIDIProgramChangenumberyouwanttoassigntotheMulti.ThenwhenSampleTankreceivesthatMIDIProgramChangenumber,itwillautomaticallyloadtheMulti.

3.5.4-MemoryManagementinLIVEmode

WhenaSongisloaded,SampleTankloadsthesamplesforallMultiswithintheSong.ThishelpstheMultistoloadmuchfasterwhichiscriticalduringliveperformanceasthesamplesarealreadyinmemorylikeahardwaresynthesizer.Withthismemorymanagementsystem,youcanevenuseasingleSongforyourentiresetifyoudontusetoomanydifferentMultis.LIVEmodegivesyouthepowertoconfiguresampleloadingthewayyouwanttobestfityourcustomneeds.

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3.6-QuickAccessPanel

All4mainpagesofSampleTank3provideyouwithaQuickAccessPanelatthebottomoftheinterfacethatletsyouaccessthemostcommonlyusedparametersforthecurrentlyloadedInstrumentaswellasallofitsassignedinserteffects.ClickMACROtoviewthe8controlsthathavebeencustomizedforeachInstrument,orClickFXtoaccessanyofthe5inserteffectslotsfortheInstrument.OntheFXpanel,selectoneofthe5inserteffectslotsbyclickingtheslot1-5buttonsontheleft.Clickthetoppartoftheslotbuttontodisableorre-enabletheeffect.TheredLEDwilllighttoindicatethestateoftheeffect.TheLEDisredwhentheeffectisactiveanddarkwhenitisbypassed.Usethedrop-downmenuabovetheslotnumberstochangetheeffectinthecurrenteffectslotorloadaneweffectintoanemptyslot.

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Chapter 4 The MIX page

4.1-Overview

TheMIXpageiswhereyouadjustthevolume,panandeffectsfortheinstrumentsloadedintothe16Parts.EachPartisrepresentedbyamixingboard-stylechannelnumberedfrom1-16.AswiththePartVieweronthePLAYpage,thePartChannelsontheMIXpageeachholdoneSampleTank3Instrumentandits5possibleinserteffects.Totherightofthe16PartChannelsare4EffectReturnChannelswhereyoucanloadmoreglobal-styleeffectslikereverbsanddelaysthatcanbefedbymultipleInstrumentsviatheeffectsendsontheindividualPartchannels.EachEffectReturnChannelhas5effectslotsjustlikethePartChannels.AndthenatthefarrightistheMasterChannelwhichprocessesthemasteroutput.TheMasterChannelalsohas5effectslots.The21totalchannelsofSampleTank3giveyoutheflexibilitytoloadasmanyas105simultaneouseffects.YourcomputersCPUpoweristheonlylimitation!

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4.1.1-INSTRUMENTandMULTIMenus

AtthetoprightoftheMIXpagearetwomenuslabeledINSTRUMENTandMULTI.Clickthenametoexpandthedrop-downmenuwhereyoucanperformfilemanagementtasksforbothInstrumentsandthecurrentlyloadedMultiincludingSave,SaveAs,RenameandDelete.

4.1.2-InstrumentIconDisplay

ClicktheguitariconatthetoprighttoshowtheiconsforthecurrentlyloadedinstrumentsinplaceoftheinserteffectsforthePartChannels.

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4.2-TheMIXChannelStrips

Eachofthe21channelsinSampleTank3hasitsownstereomixerchannelstrip.Fromthetop,thereare5inserteffectslots,theeffectslockandsaveicons,the4effectsends,thepanslider,muteandsolobuttons,thevolumeslider,theoutputselectorandtheinstrumentname.

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4.2.1-InsertEffects

Eachchannelhas5slotsthatholdinserteffects.Inserteffectsareeffectprocessorsthatareusedonlyforthespecificchannel.Forexample,ifyouhaveapianoinPart1andloadanequalizerintothefirstinserteffectslot,thatequalizerwillonlyaffectthepiano.Theslotsareserializedfromtoptobottom,sotheeffectinthehigherslotfeedstheeffectinthelowerslot.ThisisparticularlysignificantfordynamicsprocessorslikecompressorsandlimiterswhosebehaviorwillchangewhenEQoranylevelchangesinthehigherslotsaremade.

Toloadaninserteffect,clicktheslotwhereyouwanttoputit.Apop-upmenuwillappearthatletsyouchoosefrom7effectcategories.Clickaneffectcategorytoshowtheavailableeffectsinside,andthenclickthespecificeffectyouwantinordertoloaditintotheeffectslot.Tochangeanexistingeffect,simplyclickittore-openthepop-upmenu.Tocleartheeffectslotandremoveaneffect,clicktheslotandselectEmpty.

4.2.2-EffectsLock

YoucanlocktheinserteffectslotssothatthecurrenteffectsdonotchangewhenanewInstrumentloaded.Forexample,perhapsyouhavesetupachainofguitareffectsincludingstompboxes,ampandoutboardeffects,butyouwanttotryloadingdifferentguitarInstrumentswhilemaintainingthesameeffects.Simplyclickthelockicontolockthechannelseffectsandpreventthemfrombeingreplacedbyeffectsthatarenormallyassociatedwiththenewinstrumentyouareloading.

4.2.3-Save/LoadEffects

Clickthe+buttontoopenapop-upmenuwhereyoucanstoreyourcurrenteffectsettingsortoloadasavedeffectpreset.

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4.2.4-EffectSends

EachPartChannelhas4effectsendsrepresentedbyasingleknobwiththenumbers1-4below.Selectoneofthe4effectsendsbyclickingtheeffectsendnumber,andthentheknobwillshowthevalueforthateffectsend.Eacheffectsendcontrolshowmuchofthechannelssignalissenttoeachofthe4EffectReturnChannelsatthefarrightofthemixer.TheEffectReturnChannelscancontainanyeffectsyoulike,butgenerallytheyareusedformoreglobaleffectslikereverbanddelaywheremultipleinstrumentscanbefedintothesameeffect(apiano,guitarandsynthleadallgoingtothesamereverb,forexample).

ThereisalsoaPREbuttonforeacheffectsendthatletsyousettheeffectsendtopre-fader,meaningthattheeffectsendknobisnotaffectedbythevolumesliderposition.WhenthePREbuttonisnotactive,thedefaultstate,theeffectsendwillbeincreasedordecreasedbythepositionofthevolumeslider.SoifyouhaveapianoonChannel1thatissendingtoareverb,whenyouturnthevolumesliderup,thesendtothereverbwillalsoincrease.Butifyouwantthereverbleveltostaythesamebutonlychangethedrylevelofthesound,clickPREtomaketheeffectsendpre-faderandnotaffectedbythevolumeslider.

4.2.5-PanSlider

Eachchannelhasapansliderthatdeterminestheplacementofthechannelinthestereoimage.Thepanpositionisdisplayedabovethesliderandupdatesasyoumoveit.

4.2.6-MuteandSoloButtons

ClicktheredMbuttontomutethechannel.ClickthegreenSbuttontosolothechannelsoyouonlyhearthatchannelandnoothers(unlessotherchannelsarealsoinsolo).Youcanmuteandsolomultiplechannelssimultaneously.

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4.2.7-VolumeSlider

Clickanddragthevolumesliderupanddowntochangethevolumeofthechannel.Thevolumesettingisdisplayedontheleftindecibels(dB).

4.2.8-MasterChannel

AtthefarrightofthemixeristheMasterChannel.ThisletsyouperformbusprocessingonyourcompleteSampleTankmixsuchasmasteringEQ,compressionorlimiting,orevensomeglobalreverbtogiveyourcompleteSampleTankmixsomeambience.

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Chapter 5 The EDIT page

5.1-Overview

ClicktheEDITbuttontoopentheeditorwhereyoucanadjustthevarioussynthesizerparametersfortheInstrumentinthecurrentlyselectedPart.YoucanchangethecurrentPartbyclickingthePartnumbersonthefarright.ThenameoftheInstrumentthatisloadedintothecurrentPartisdisplayedattheupperright.

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5.1.1-INSTRUMENTandMULTIMenus

AsontheMIXpage,atthetoprightoftheEDITpagearetwomenuslabeledINSTRUMENTandMULTI.Clickthenametoexpandthedrop-downmenuwhereyoucanperformfilemanagementtasksforbothInstrumentsandthecurrentlyloadedMultiincludingSave,SaveAs,RenameandDelete.

5.2-ThePARTStrip

ThetoprowoftheEDITpagecontainsparametersrelatedtothePartthatareNOTsavedwiththeSampleTank3Instrumentfile.SincethePartparametersrelatetohowtheInstrumentinteractswithInstrumentsinotherParts(Polyphony,MIDIChannel,Range,etc.),thesesettingsaresavedwiththeMulti.

5.2.1-MIDIChanneldrop-downmenu

ClickthefieldaboveMIDICh.toselecttheMIDIChannelthatthecurrentpartwillrespondto.YoucanassignseveralPartstothesameMIDIChanneltocreatesplitsandlayers,orassignthePartstodifferentMIDIChannelsformulti-timbralsequencingorlivepeformancewithmultiplekeyboardsorcontrollers.

5.2.2-Polyphony

ThissetsthemaximumnumberofnotesthatSampleTankwillplayonthecurrentPart.ThisletsyoupreserveCPUpowerbypreventingSampleTankfromplayingtoomanynotesonspecificpartswhenyouhavedenseorbusyarrangmentsand/orareusingacomputerwithlessCPUpower.WhenyourincomingnotesexceedthemaximumpolyphonyforthePart,therearetwowarningindicators:OnthePLAYpage,theMIDICHforthePartturnsredforonesecond,andontheEDITpage,a!appearsnexttothePolyphony.The!resetswhenclicked.

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5.2.3-Transpose

ShifttheMIDIinputtothePartbyupto+/-60semitonestoplaythePartindifferentkeysoroctaves.

5.2.4-NoteRange

SetthelowandhighMIDInotelimitthatthecurrentPartwillrespondto.ThisisparticularlyusefulforsettingupsplitswhereyoucanhavemultipleInstrumentsspreadacrossthekeyboardindifferentrangessuchasabassontheleftandapianoontheright.

5.2.5-VelocityRange

Setthelowandhighvelocitylimitthatthecurrentpartwillrespondto.Thesesettingsletyoucreatevelocitysplitswhereyoucanplaymultipleinstrumentssimplybyplayingdifferentvelocities.Forexample,youcouldhaveapianosettoplayinthefullvelocityrangeononePart,butthenhaveorchestralbrassthatcomesinonlyatthehighestvelocitiesonanotherPart.

5.2.6-Pan

ThisisthepanpositionofthePartandcorrespondstothepansliderontheMIXpage.

5.2.7-Volume

ThisisthevolumeofthePartandcorrespondstothevolumesliderontheMIXpage.

5.2.8-MuteandSolobuttons

ThesebuttonsallowyoutomuteorsolothecurrentPart.TheycorrespondtotheMuteandSolobuttonsontheMIXpage.

5.2.9-Zonebutton

ClickingtheZonebuttonletsyoumakeadjustmentstoonlyoneparticularareaofthekeyboard.Forexample,ifyouonlywanttoadjustthereleasetimeofthetopnotesofapiano,clickZone,andthenselectthatareaofthekeyboard.Theavailablezoneswillbedisplayedindifferentshadesofred.

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5.3-TheSAMPLEStrip

ThisstripiswhereyousetthebasicplaybackengineparametersfortheloadedInstrument.

5.3.1-Pitch

Thisadjuststhetuninginsemitoneincrementswitharange+/-36half-steps.

5.3.2-Fine

Thisadjuststhetuningin1-centincrementswitharangeof+/-100cents.

5.3.3-Bend

Thissetstherangethatthepitchwheelwillbendthepitchinsemitoneincrementswithrangeof+/-24half-steps.

5.3.4-SamplePan

ThissetsthepositionoftheInstrumentorselectedzoneinthestereofield.ThisistheactualpanningofthesampleswithintheInstrumentandisdifferentthanthePartPancontrolinthePartStripabove.TheSamplePanletsyoupanzonesdifferentlywithinasingleinstrumentsuchastomswithinadrumkit.

5.3.5-SynthesisTypes

SampleTank3letsyouchoosebetweenthreepowerfulsampleengines:Resampling,PitchShift/TimeStretchandSTRETCH(SampleTankREsynthesisTeCHnology).

Resamplingisthemethodusedbyconventionalsamplersthatchangesboththepitchandtempoofasampleatthesametimeinthewayaturntableortapeplayerwould.Itprovidesthecleanestpossiblesoundsinceitjustplaysbackthesampleatdifferentplaybackratesdependingonthedesiredpitchwithoutanycomplexmathbeingappliedtothesound.

Pitch Shift / Time Stretchgivesyouseparatecontroloverpitchandtime.Thisengineisbestsuitedforusewithloopswithmultipleinstrumentsordensecontent.Whenthisengineisselected,youalsogetaccesstoaGraincontrolknobthatletsyouworkmoreeffectivelywiththespecificsoundyouareprocessing.

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STRETCH(SampleTankREsynthesisTeCHnology)givesyouseparatecontrolofpitch,timeandharmoniccontent.STRETCHisdesignedtoshiftasamplewithoutalteringitsformants.Conversely,italsoletsyouintentionallyshifttheformantsortime(sampleduration)independentlyfrompitch.Forexample,STRETCHletsyoubendnotesonavoice,saxophone,violin,brass,andmostacousticsampleswithoutmakingitsoundingartificial.Itcanbeusedtomakeapianosounddarkerorbrigther,tomakeanacousticguitartosoundthinnerorthicker,andsoon.Itcanalsobeusedtoextendvocalsamplesacrossthekeyboardwhilesoundingmorenaturalthantraditionalresampling.Forloops,thisengineworksbestwithsingleinstruments,butcansometimesworkwithmorecomplexsoniccontentaswell(oftenweirdbutinterestingeffectscanbecreatedthisway).Tokeepaloopinsync,SampleTankneedstoknowtheBPMoftheloop.AllloopInstrumentsfromIKMultimediaprovidetheBPMinthefilenameandintheBPMfieldasa3-digitnumberthatSampleTank3reads.Forusersamples,thebestpracticeistosimplyenterthetempointheBPMfieldwhenimporting.

WhenyouselectoneofthetwoSTRETCHoptions(STRETCHNOTEorSTRETCHPHRASE),SampleTankperformsapre-analysisonthecontent.Thenyoucanadjustboththetimeandtheharmoniccontentofthesoundinreal-time.

5.3.6-RoundRobinFreeze

Roundrobinplaybackusesseveraltakesofthesamenotetocreateamorerealistic-soundinginstrumentandavoidtheoldmachineguneffectofrepeatingthesamesampleoverandover.Itisparticularlyeffectivewithdrumsandwithbasssampleswherethesamenoteisrepeatedoften.However,sometimesitcanbemoredesirabletorepeatthesamesampleandturnroundrobinplaybackoff.TheRoundRobinFreezebuttonletsyoustoproundrobinplaybackandsetstheInstrumenttoplayonlythecurrentlyactiveroundrobinsample.Whenthebuttonislit,roundrobinplaybackisactive,andsampleswillalternatewhennewnotesareplayed.Whenthebuttonisunlit,onlythelastvariationplayedwillcontinuetoplaymakingtheinstrumentintoamoretraditionalsampledinstrumentwithjustonesamplepernoteandvelocityrange.

5.3.7-ElementSelector

ThissectionletsyouchoosethespecificElementoftheSampleTankInstrumentthatyouwanttoedit.Thedrop-downmenuletsyouchoosetheElementinamulti-articulationinstrumentsuchasaviolinthatuseskeyswitchingtochangebetweensustained,staccato,detachandpizzicatoarticulations.ItalsoletsyouchoosetheElementinlayeredinstrumentssuchasapianoandstringssound.NotethatchangestoparametersontheEDITpageonlyapplytothecurrentlyselectedElement,soalwaysmakesureyouhavethedesiredElementselected.AlsonotethatmanySampleTank3InstrumentsandespeciallylegacyInstrumentswillhaveonlyoneElement.

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5.4-TheFILTERStrip

Thisiswhereyouselectandadjustthesynthesizerfilter.Youcanchoosefromvariousfiltertypes,modesandslopesandalsojustthecutofffrequency,resonanceandoverdrive(whereapplicable).

5.4.1-FilterTypeMenu

Usethedrop-downmenutoselectthetypeoffilterandfiltermodeyouwant.Therearemanydifferentfilteroptions,andeachwillapplyadifferentcolorationtothesound.LowPassfiltersremovehighfrequencycontentandallowlowstopassthrough.HighPassfiltersremovelowfrequencycontentandallowhighstopassthrough.BandPassfiltersremovebothlowandhighfrequencycontentandallowonlytheselectedbandtopassthrough.PeakandNotchfiltersapplyanarrowboostandcutattheselectedfrequency,respectively.TheFormantfilterprovidesavocal-styleshapethatchangeswiththefrequency,andthePhaserfiltercreatesacomb-filteringall-passsoundthatisespeciallysuitableforsynthesizedsounds.

5.4.2-FilterFrequency

Thisisthecutofffrequencyofthefilter.Thisknobwillcreatedifferenteffectsdependingonthefiltertypeandmodeselected.Ingeneral,thefrequencyknobcontrolsthepointinthespectrumatwhichthefilterwillstartitsprocessing.

5.4.3-Resonance

Thisknobcontrolstheemphasisofthefilteratthecutofffrequency.Thehigherthevalue,thegreaterthefiltereffectatthecutofffrequencyorasthefilterpassesthroughthecutofffrequencywhenbeingmodulated.Inatraditionallowpassorhighpassfilter,highresonancesettingscanproduceawhistlingeffectasthefilterismodulatedbyanenvelopeorLFO.

5.4.4-Overdrive

Someofthefiltertypes,suchastheMLadderfilters,allowyoutodistorttheinputtofiltersimilartohowmanyclassicanalogsynthesizersbehavewhentheiroscillatoroutputmixlevelissethighbeforegoingintothefiltersection.

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5.5-TheVELOCITYStrip

Thissectionletsyouprogramhowvelocitywillaffectthesound.

5.5.1-VelocitytoAmpknob

Thiscontrolshowvelocitywillaffecttheamplitude(orvolume)ofthesound.Highervaluesgivesagreaterrangeofsoft-to-louddependingonthevelocityplayed.

5.5.2-VelocitytoPitchknob

Thisallowsvelocitytocontrolthepitchofthesound.Whenitisturnedclockwise,theharderyouplay,thehigherthepitchofthesound.Whenitisturnedcounterclockwise,theharderyouplay,thelowerthepitchofthesound.

5.5.3-VelocitytoResonanceknob

Thisletsyoumodulatethefilterresonancebasedonhowhardyouhitthekey.Whentheknobisturnedclockwise,hardervelocitieswillincreasethefilterresonance.Whentheknobisturnedcounterclockwise,hardervelocitieswilldecreasethefilterresonance.

5.5.4-VelocitytoFilterknob

Thisletsyoucontrolthecutofffrequencyofthefilterwithhowhardyouhitthekey.Whentheknobisturnedclockwise,hardervelocitieswillincreasethefiltercutofffrequency.Whentheknobisturnedcounterclockwise,hardervelocitieswilldecreasethefiltercutofffrequency.Thisisagreatwaytoaddexpressionbymakingthesoundbrighterordarkerdependingonhowhardyouplay.

5.5.5-VelocitytoLFO1Depthknob

ThiscontrolstheamplitudeoftheLFO1sourcebasedonhowhardyoupressthekey.Inordertohearthiseffect,LFO1mustalreadybeassignedtomodulatePitch,Filterand/orLevelintheLFOsection.Whenthatassignmentismade,thisknobwillcontrolhowmuchtheLFOmodulatesthosedestinationsbasedonthenotevelocity.Forexample,youcanincreasethevibratoonaguitarsoundbyhittingthenoteharder.

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5.5.6-VelocitytoEnv2Sustain

ThisletsyoucontroltheSustainstageofEnvelope2usuallythefilterenvelopewithhowhardyoupressthekey.Inthecaseoffiltermodulation,hardervelocitiescankeepthefiltersustainingatahigherfrequency,whilesoftervelocitiesletthefilterclosedownmoreafteritdecays.

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5.6-TheLFOStrip

ThissectiondetermineshowtheLFOs(LowFrequencyOscillators)willmodulatethevariationsynthesissectionssuchasPitch,FilterandAmplitude(volume).Alowfrequencyoscillatorisaperiodicwavegeneratorthatmovesslowerthantheperceivedaudiorange,meaningthatitmovesslowenoughthatyoucanheartheactualcyclingoftheoscillatorratherthanjustacontinuouspitch.

5.6.1-LFOSelector

ClickeitherLFO1orLFO2toshowthesettingsforeachLowFrequencyOscillator.

5.6.2-LFOSync

ClicktheSYNCbuttontoforcetheselectedLFOtosynchronizetothehosttempo.TheRateknobwillthendeterminethenotesubdivisionatthehosttempo.LeavetheSYNCbuttonunlittolettheLFOrunatitsowntempo,setinHertz,independentofanyhost.

5.6.3-LFOFree

Whenthisbuttonisunlit,anewLFOwavewillstartwitheachnotepressed.WhenFREEislit,theLFOwillfreerunindependentofwhennotesarepressedsothatallnoteswillsharethesameLFOlikeavintageanalogsynthesizer.

5.6.4-LFORate

ThisknobdeterminesthespeedoftheselectedLowFrequencyOscillator.WhentheSYNCbuttonislit,theRateknobwillchoosebetweennotesubdivisionsbasedonthehosttemposuchas1/4,1/8,1/8d(dottedeighthnote),etc.TheFREEbuttonislit,theLFOratewillbedisplayedinHertz,thefrequency(speed)ofthefreerunningLFO.

5.6.5-LFODepth

ThisdeterminestheamplitudeoftheLFOwaveandthereforethemasteramountofitsmodulationwhenappliedtoanydestinationsuchasPitch,Filter,Leveland/orPan.

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5.6.6-LFOPhase

ThisdeterminesthestartingphasepositionoftheLFOwaveformandisparticularlyusefulforcreatingspecificsynthesizer-stylemodulationeffects.Togetthemostfromthisparameter,makesuretheFREEbuttonisNOTactive.

5.6.7-LFOFade

ThiscreatesarampeffectontheLFOwavesothatitfadesin.

5.6.8-LFOWaveform

ChooseawaveshapefortheLowFrequencyOscillatorbyclickingtheiconsincludingsquare,triangle,saw,sineandrandom.

5.6.9-LFOtoPitchknob

ThisknobdetermineshowmuchtheselectedLFOwillmodulatethepitch(tuning)ofthesound.

5.6.10-LFOtoFilterknob

ThisknobdetermineshowmuchtheselectedLFOwillmodulatethecutofffilterfrequencyofthesound.

5.6.11-LFOtoLevelknob

ThisknobdetermineshowmuchtheselectedLFOwillmodulatethelevel(volume)ofthesound.

5.6.12-LFOtoPanknob

ThisknobdetermineshowmuchtheselectedLFOwillmodulatethepanning(left-rightposition)ofthesound.NotethatonlyLFO2canmodulatepanning.

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5.7-TheENVELOPEStrip

SampleTankhastwoenvelopesthatcanbeusedtoshapethevolume,tuningandfilterfrequencyofthesound.Eachenvelopehasasliderfor(A)ttack,(H)old,(D)ecay,(S)ustainand(R)elease.Allparametersaretime-basedexceptforSustainwhichindicatesalevelwheretheenvelopewillremainuntilthekeyorsustainpedalisreleased.

5.7.1-Envelope1toLevelknob

ThisdeterminestheoutputlevelofEnvelope1whichcontrolsthevolumeofthesound.Becauseofitspositioninthesignalflow,thisknobcanalsobeusedasamastervolumecontrolfortheinstrumentbeforeitgoesintotheeffect.

5.7.2-Envelope2toFilterknob

ThisdetermineshowmuchEnvelope2willmodulatethefiltercutofffrequency.Thegreatertheknobvalue,thegreatertherangeofthefiltermodulation.

5.7.3-Envelope2toPitchknob

ThisdetermineshowmuchEnvelope2willmodulatethetuningofthesound.Thegreatertheknobvalue,thegreatertherangeofthepitchmodulation.

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5.8-TheKEYStrip

Thissectiondetermineshowthekeyboardwillcontrolthesound.

5.8.1-KeyboardModemenu

Selectwhetherthekeyboardwillplaythesoundpolyphonically(manynotessimultaneouslyavailableasonapianoororgan)ormonophonically(onenoteatatimeonlylikeanearlyvintageanalogsynthesizeroratrumpet).Therearealso2differentlegatomodesforplayingmonophonically.

5.8.2-Portamento

Thissetstheamountofglidingorslidinginpitchbetweennotes.

5.8.3-Curve

Thissetsthecurveoftheportamentoglidebetweennotes.

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Chapter 6 MIDI control

SampleTank3letsyouassignMIDIContinuousControllers(MIDICC)toremotelycontrolmanyparameters.UsetheLEARNbuttontoassignanewcontrollerandtheCONTROLbuttontoeditthelistofexistingcontrollers.Youcanalsoturnallnotesoffiftheeventnotesorcontrollersgetstuckusingthepanicbutton(!).

6.1-TheLEARNbutton

ClicktheLEARNbutton,thenclicktheknoborslideryouwanttocontrolinSampleTank.ThensimplymovetheexternalcontrolleryouwanttoassigntocontroltheSampleTankknoborslider.

6.2-TheCONTROLbutton

ClickCONTROLtoviewandeditallofthecurrentMIDIcontrollerassignments.

Double-clickacontrollerintheMIDICont.#columntochangethecontrollerthatisassignedtotheParameterin

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theleftcolumn.Double-clickintheMinorMaxcolumnstosettherangeofthecontroller,anddouble-clickintheLatchcolumntoturnlatchingonoroffforthespecifiedparameter.YoucanalsoclicktheREMOVEbuttoninthelowerlefttoremoveacontrollerassignment.

6.2.1TheControllerPARTMenu

NotethatMIDIcontrollerassignmentsareuniqueforeachPart.UsethePARTdrop-downmenutoselectwhichPartscontrollerassignmentsyouwanttoedit.

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Chapter 7 Effects

SampleTank3hasacompletesetofpowerfuldigitally-modeledeffectsprocessors.YoucanloadanyeffectintoanyeffectslotwhetherinthePartChannels,EffectReturnChannelsorMasterChannel.Someeffectsusemoreprocessingpowerthanothers,somonitoryourCPUusageifyouhearclicks,popsordistortion.

7.1-FULLAMPS

7.1.1-AmericanVintageT

BasedonFenderTwinReverbSilverfacethatwentintoproductionin1968.Itincludedaspringreverbandwasequippedwith2x12J.B.Lansingspeakers.

7.1.2-AmpCombo

ThisprocessoremulateswithgreataccuracythesomeofthebestguitaramplifiersandcabinetswithlowerCPUusage.Thiseffectisextremelyusefulwhenyouneedtoaddoverdrive,tonalcolororevenjustanadditionalmidrangecharactertoanykindofsoundforamorerealisticqualitywithoutusingatraditionalequalizer.

7.1.3-BritishTubeLead

BasedonMarshallJCM900.

Thismodeliscapableofgreatrocktone,leads,andheavycrunch.Whilegrittierandalittlemoreaggressive,itstillhastheclassictonethathasmadethisfamilyofampsahouseholdnameinRockGuitar.

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7.1.4-JazzAmp120

BasedonRolandJC-120.

ItmayhaveJazzinitsname,butthisversatilecleansoundcanbeheardinmanygenres.Manyofthetopmetalplayerskeepthisnot-so-secretweaponinthestudioforgreatcleansounds.

7.1.5-ModernTubeLead

BasedonMesa/BoogieDualRectifier.

Thisampisamodelofoneoftheleadersinhard,drivenrocktonesmadetoday.Capableofsearingleadsandheavycrunch,thisamphasbeenrectifiedtocreateamodernrocktonethatishardtobeat.

7.1.6-SVTClassic

BasedontheAmpegSVT-CLASSICModel.ThisistheauthenticandclassicAmpegtubesound.Thisall-tubebassheaddeliversawarm,harmonicallyrichandpunchysoundthatisatrademarkfortherockbasssound,bothliveandinthestudio.TheSVT-Classicistheampthatcreatedtherockbasssound.

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7.2-AMPCOMPONENTS

7.2.1-Cabinet

Thisprocessoremulateswithgreataccuracythefrequencyresponseofsomeofthebestguitarcabinets.Thiseffectisextremelyusefulwhenyouneedtoaddamid-rangecharactertoanykindofsound,togiveamorerealisticcharacterwithoutusinganequalizer.

7.2.2-Preamp

Thisanalogmodeledprocessoremulatesthefirststageofsomeofthemostacclaimedclassictubeguitaramplifiers.

7.2.3-ToneControl

Aclassictubetonecontrolthatrecreatesthetoneshapingstagefoundonthebesttubeamplifiers.Candeliverincrediblepresenceandwarmthtothesound.

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7.3-DISTORTION

7.3.1Crusher

Thismodelaltersthesoundoftheinputsignalbychangingthesample-rate,cutofffrequencyandbydistortingit.Thiseffectcanproduceveryaggressivedistortedsounds,morepronunciatedthanoverdrivestompboxes.TheLowpassfilterisverycreativewhencombinedtohighdistortionlevels.

7.3.2-Distortion

Thiseffectsimulatesthedistortionoccurringasyouraisethegainofanamplifier.

7.3.3-Overdrive

ThisentirelyanalogmodeledOverdriverecreatesthetoneofoneofthebestoverdrivestompboxes

7.3.4-Overscream

BasedonIbanezTubeScreamer.

Thisisamodelofaclassicoverdrive/distortionpedalwhichhasbecomethego-tooverdrivepedalforsomeofthemostinfluentialguitarplayersofalltime.Itsbasiccontrolsmakeiteasytodialintheexactsoundyouwant.

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7.4-EQ+DYNAMICS

7.4.1-Black76

TheBlack76LimitingAmplifierismodeledafterwhatisprobablythemostused,mostknown,mostwanted,andmostuniversallyrecognizedcompressor/limiterintheaudioindustry.Thereareprobablynoprofessionallycreatedrecordswithouttracksusingthisunit.ThisFET-basedcompressorisatruelegendandapieceofhistorywithauniquesoundlargelythankstoitsinputtransformerandclassAoutputstage.

7.4.2-Compressor

Thisisanultra-smoothcompressor,modeledafteraclassictubecompressor.Itcanbeverysoftandgentleonalltypesofmaterial.

7.4.3-EQComp

Thiseffectfeaturesasemi-parametricEQandaneasy-to-usecompressor.Bothunitsareveryhighquality,givingaverymusicalsoundingequalizerandananalog-stylecompression.

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7.4.4-Limiter

Thisisamulti-bandanalogmodeledlimiter.Insidetherearethreeseparatehardkneecompressorsforthelow,midandhighbands.Itcandeliveraverypowerfulcompressiontodrumskitsandloops.Thecontrolsofthethreecompressorsarelinkedontheinterfaceforsimplicity.ComparedagainsttheCompressor,theLimitercandeliverafarmoreaggressivecompressioneffect.

7.4.5-Model670

BasedontheFairchild670.

ManytopproducersandengineersrefertotheFairchild670astheHolyGrailofcompressorsbecauseitimpartsasoundthataddssomethingspecialtoanykindoftrack,andouremulationcapturesthatsamesonicmagic.

7.4.6-ParametricEQ

Anequalizerwithseparatebandswhereyoucandialinnotonlythefrequencytoboostorcutbutalsothewidthofthebellshape.

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7.4.7-VintageEQ-1A

BasedonthePultecEQP-1A.

Invirtuallyeverymajorstudio,yourelikelytoseeadistinctiveblueunitwithbigblackknobsthePultecEQP-1AprogramEQ.TheVintageTubeProgramEqualizerisbasedonit.Ourpainstakingly-producedmodelgivesallthefunctionalityoftheoriginalunitanduncannilyaccuratesonicreproduction.

7.4.8-White2A

TheWhite2ALevelingAmplifierisbasedonalegendaryvintageunitthatisentirelytube-based.Itsatotallydifferentdeviceintermsofconstructionwhereallthecompressionmagichappensinsideanopticallycoupledelementformedbyafluorescentpanelandsomephotocells:thefamedT4Aelement.Thereisnoelectroniccircuitryinvolvedwiththecompressionitself.Itsjustatubeampwithphoto-resistors,lightedbyafluorescentpaneldrivenbytheoutputsignal.Atthetimeofthisinvention,therewerenotmanywaysofmakinganaudiocompressor:onlyvariable-muandoptical.Opticalwasthesimplestone,andifproperelementsforboththelightemittingpanelandthephotocellswerematched,magichappened.

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7.5-MODULATION

7.5.1-AMModulation

Thiseffectisdesignedtoproduceatonalcharactertotallydifferentfromtheoriginalwhenappliedtoacomplexsoundbyusingthecarrierfrequencytomodulatethevolumeofthesound.YoucanclicktheFromMIDIbuttontosettheeffectscarrierfrequencytobecontrolledviaincomingMIDInotes.

7.5.2-Chorus

Aclassicstereochoruswhichaddsspaceanddepthtothesound.

7.5.3-ChorusC1

BasedonBossCE-1.

Amodelofaclassicbucked-brigadeanalogChorus/Vibratounit.ItprovidesbothanalogChorusandanalogVibratoeffects,wheninChorusmodethemodulationwillbelushandslow,wheninVibratoeffectthemodulationwillbefasterandmorenoticeable.

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7.5.4-ElectricFlanger

BasedonElectro-HarmonixElectricMistress.

Thisstompboxisamodelofavintageflanger/filtermatrixusedbymanywell-knownguitariststoachieveclassicsounds.Whileithasamazingwarmth,itisalsocapableofveryversatilechorusandringmodulationtypesounds.

7.5.5-EnvFlanger

Thisparticularkindofflangerhasitsfeedbackparameter,whichisinternallycontrolledbytheenvelopeoftheaudiosignal.

7.5.6-Flanger

TheFlangercreatesasharpersoundbyaddingametallicresonancetothesound(likeajetairplanetakingoffandlanding).

7.5.7-FMModulation

Thiseffectisdesignedtoproduceatonalcharactertotallydifferentfromtheoriginalwhenappliedtoacomplexsoundbyusingthecarrierfrequencytomodulatethepitchofthesound.ItcanreplicatethesoundsofsomesynthesissystemslikeFMorringmodulation.YoucanclicktheFromMIDIbuttontosettheeffectscarrierfrequencytobecontrolledviaincomingMIDInotes.

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7.5.8-MultiChorus

Thisisaspecialtypeofchoruseffectwitharandompitchingcharacter.Itisdesignedtobelessregularandnoticeablethanaclassicchorus.

7.5.9-OptoTremolo

BasedonFenderOpto-Tremolo.

ThismodelisbasedonavintageOpto-Tremoloeffect.

7.5.10-Phaser

ThisentirelyanalogmodeledPhaserrecreatesthesoundofoneofthebestknownclassicsofthepast.

7.5.11-RotarySpeaker

ThankstoIKsVRMtechnology,theRotarySpeakermodelusessamplesfromarealunittocreatetheauthenticvibeandmusicalityofaclassicLeslie147fora3D-sounding,spinningmodulationeffectunlikeanyother.

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7.5.12-SmallPhazer

BasedonElectro-HarmonixSmallStone.

Thiseffectisamodelofaclassicanalogphaseshifter,capableofarangeofphasereffectsfromgentletooutlandishswirlingeffects.Youmaywonderwhyitiscalledsmallwhenyouhearit.

7.5.13-Tremolo

Tremolocyclicallymodulatesthevolumetocreatetremolo

7.5.14-Uni-V

BasedonUnivoxUni-Vibe.

Thiswasachorus/rotating-speakersimulatorthatwasintroducedin1969andusedpredominantlyinliveperformances.ThiscreatedaswirlingeffectquitesimilartotheLesliespeakercabinetbutwiththeadditionofspeedcontrol.ThiseffectwasemployedontrackssuchasHeyBaby(TheLandoftheNewRisingSun),EarthBlues,andMachineGun.AvintageUni-Vibeisinsuchhighdemanditsellsforoverathousanddollars,ifyoucanevenfindone.

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7.6-REVERB+DELAY

7.6.1-AcousticResonance

Thiseffectmodelsthesoundboardandbodyresonancesofoursampledpianosandguitars.

7.6.2-Ambience

Thiseffectproducesaveryshortreverb,veryusefulforemulatingthetypicalambienceofsmallclosedspaces,likestudioroomsorlittleconcertsuites.

7.6.3-ConvoRoom

Thisisaconvolutionreverbthatprocesstheincomingsignalwithrealsampledspacesprovidingtheultra-realisticsoundoftheactualroomsrecorded.

7.6.4-HallReverb

Thiseffectismodeledafterahigh-endstudiohardwarereverbunittocreatetheeffectofhall-sizedroomsandspaces.

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7.6.5-PlateReverb

Thiseffectismodeledafterahigh-endstudiohardwarereverbunittocreatetheeffectofspacesgeneratedbyamechanicalplate.

7.6.6-Delay

Thisclassicdigitaldelayisaneffectthataddsechotothesound.

7.6.7-Reverb

Thisclassicdigitalreverberationeffectsimulatesthesoundofroomsandotherspaces.

7.6.8-ReverbDelay

Thiseffectcombinesreverberationwithdelaymixedinforaspaciouseffect.

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7.6.9-SpringReverb

Thisreverbsoundsveryclosetoarealmechanicalspringunit,featuringtheirsignaturewarmthwiththattypicalmetallicandresonantvibe.Thisreverbismono.

7.6.10-TapeEcho

Aspot-onemulationofoneoftheclassictapeechounitsofalltime.Togoalongwithitscoolvintagesound,weaddedsomegreatmodernfeatures,likestereooperation,separatedelaytimesonL&R,andsyncingtohosttempo.

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7.7-FILTERS/OTHER

7.7.1-AutoPan

Autopanautomaticallymovesthestereolocationofthesound.

7.7.2-PianoLid

Thiseffectsimulatestheclosingofthelidonanacousticpianobydarkeningandmutingthesoundwithaspecificallydesignedcurve.

7.7.3-LFOFilter

Inthiseffect,theCutofffrequencycanautomaticallysweepbytheeffectofabuilt-inLFO.TheLFOcansyncwiththesongsBPM.

7.7.4-EnvFilter

Inthisfiltereffect,theCutofffrequencycanautomaticallysweepbytheeffectoftheenvelopeoftheaudiosignalpassingthroughit.

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7.7.5-Lo-Fi

Lo-FidegradestheaudioqualitytosimulateaLo-Fidelitysound.InSampleTank,thiseffectisdesignedtobeusedasaspeakerandcabinetsimulator,too.

7.7.6-MultiFilter

Thisisaparticularkindoffilterwhereinsteadofselectingthetypeoffilter(LPF,BPForHPF)youcanusethemalltogetherwithindependentlevels.

7.7.7-Phonograph

Thiseffectaddsdisknoisestosimulatethesoundofmusicplayedbyvinylrecordsonoldrecordplayers.

7.7.8-Slicer

Thiscreatestheeffectoftheaudiobeingcutupintosmallslicesforrhythmicgrooves.

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7.7.9-StereoImager

Thiseffectadjuststhestereoimagefrom0(mono)to200%ultra-widestereo.Notethatvaluesover100%starttolosemonocompatibilityduetothephasemanipulationused,sobesuretocheckyoursoundinmonoifthatisaconcern.

7.7.10-Wah

Thiseffectismodeledaftertheclassicwahpedalusedofteninthe60sand70s.

www.ikmultimedia.com

SampleTankisaregisteredtrademarkpropertyofIKMultimediaProductionSrl.Allotherproductnamesandimages,trademarksandartistsnamesarethepropertyoftheirrespectiveowners,whichareinnowayassociatedoraffiliatedwithIKMultimedia.ProductnamesareusedsolelyforthepurposeofidentifyingthespecificproductsthatwerestudiedduringIKMultimediassoundmodeldevelopmentandfordescribingcertaintypesoftonesproducedwithIKMultimediasdigitalmodelingtechnology.Useofthesenamesdoesnotimplyanycooperationorendorsement.

FenderisaregisteredtrademarkofFenderMusicalInstrumentsCorporation.MarshallisaregisteredtrademarkofofMarshallAmplificationPlc.RolandisaregisteredtrademarkofRolandCorporation.Mesa/BoogieisaregisteredtrademarkofMesa/BoogieLtd.AmpegisaregisteredtrademarkofLOUDTechnologies,Inc.IbanezisaregisteredtrademarkofHoshinoGakkiCo.Ltd.Corporation.BossisaregisteredtrademarkofRolandCorporation.Electro-HarmonixisaregisteredtrademarkofNewSensorCorporation.LESLIEisaregisteredtrademarkofHammondSuzukiUSA,Inc.UnivoxisatrademarkofKorgUSACorporation.FairchildisaregisteredtrademarkpropertyofAvidTechnology,Inc.PultecisaregisteredtrademarkpropertyofPulseTechniques,LLC.LA-2Aand1176LNareregisteredtrademarksofUniversalAudio,Inc.IKMultimediasproducts,specifically,theT-RackSBlack76LimitingAmplifierandT-RackSWhite2ALevelingAmplifier,aremanufacturedanddevelopedbyIKMultimediabasedonitsownmodelingtechniques.UniversalAudiohasneitherendorsednorsponsoredIKMultimediasproductsinanymanner,norlicensedanyintellectualpropertyforuseinthisproduct.MacandtheMaclogoaretrademarksofAppleComputer,Inc.,registeredintheU.S.andothercountries.WindowsandtheWindowslogoaretrademarksorregisteredtrademarksofMicrosoftCorporationintheUnitedStatesand/orothercountries.TheAudioUnitslogoisatrademarkofAppleComputer,Inc.VSTisatrademarkofSteinbergMediaTechnologiesGmbH.

Allspecificationsaresubjecttochangewithoutfurthernotice.

DocumentVersion:1.0.1(07/2014)

2001-2014IKMultimedia.Allrightsreserved.

IK Multimedia Production Srl ViadellIndustria,46,41122ModenaItaly

IK Multimedia US, LLC1153SawgrassCorporatePkwy.Sunrise,FL33323USA

IK Multimedia AsiaTBTamachiBldg.1F,MBE#7094-11-1ShibaMinato-ku,Tokyo108-0014Japan

ContentsEnglishChapter 1 SampleTank 3 Overview1.1 Introduction1.2 Features

Chapter 2 Getting started with SampleTank 32.1 - Using SampleTank 3 as a standalone application2.1.1 - AUDIO/MIDI Settings2.1.2 - PREFERENCES Settings2.1.3 - Computer keyboard keys2.1.4 - CPU Monitor2.2 - Using SampleTank 3 as a plug-in2.2.1 - Syncing to the host applications tempo

Chapter 3 The PLAY page3.1 - Overview3.1.1 - Three Types of Instruments3.1.2 - Loop Instruments and Global Play3.1.3 - Syncing Loops3.2 - The MULTI tab3.2.1 - Multi Menu3.2.2 - Search Multis3.2.3 - Rescan Multis3.3 - The INSTRUMENTS tab3.3.1 - Instruments Menu3.3.2 - The INFO button3.3.3 - Search Instruments3.3.4 - Rescan Instruments3.4 - The PATTERNS tab3.4.1 - Loading Patterns3.4.2 - Selecting Patterns3.4.3 - Removing Patterns3.4.4 - GLOBAL Play Button3.4.5 - Pattern INTENSITY Slider3.4.6 - Pattern KEY3.4.7 - Pattern QUANTIZE3.4.8 - Pattern Audition Play Button3.4.9 - Octave Shift Buttons3.4.10 - Search Patterns3.4.11 - Rescan Patterns3.5 - The LIVE tab3.5.1 - Set Lists3.5.2 - The Song Column3.5.3 - The Multi Column3.5.4 - Memory Management in LIVE mode3.6 - Quick Access Panel

Chapter 4 The MIX page4.1 - Overview4.1.1 - INSTRUMENT and MULTI Menus4.1.2 - Instrument Icon Display4.2 - The MIX Channel Strips4.2.1 - Insert Effects4.2.2 - Effects Lock4.2.3 - Save / Load Effects4.2.4 - Effect Sends4.2.5 - Pan Slider4.2.6 - Mute and Solo Buttons4.2.7 - Volume Slider4.2.8 - Master Channel

Chapter 5 The EDIT page5.1 - Overview5.1.1 - INSTRUMENT and MULTI Menus5.2 - The PART Strip5.2.1 - MIDI Channel drop-down menu5.2.2 - Polyphony5.2.3 - Transpose5.2.4 - Note Range5.2.5 - Velocity Range5.2.6 - Pan5.2.7 - Volume5.2.8 - Mute and Solo buttons5.2.9 - Zone button5.3 - The SAMPLE Strip5.3.1 - Pitch5.3.2 - Fine5.3.3 - Bend5.3.4 - Sample Pan5.3.5 - Synthesis Types5.3.6 - Round Robin Freeze5.3.7 - Element Selector5.4 - The FILTER Strip5.4.1 - Filter Type Menu5.4.2 - Filter Frequency5.4.3 - Resonance5.4.4 - Overdrive5.5 - The VELOCITY Strip5.5.1 - Velocity to Amp knob5.5.2 - Velocity to Pitch knob5.5.3 - Velocity to Resonance knob5.5.4 - Velocity to Filter knob5.5.5 - Velocity to LFO1 Depth knob5.5.6 - Velocity to Env2 Sustain5.6 - The LFO Strip5.6.1 - LFO Selector5.6.2 - LFO Sync5.6.3 - LFO Free5.6.4 - LFO Rate5.6.5 - LFO Depth5.6.6 - LFO Phase5.6.7 - LFO Fade5.6.8 - LFO Waveform5.6.9 - LFO to Pitch knob5.6.10 - LFO to Filter knob5.6.11 - LFO to Level knob5.6.12 - LFO to Pan knob5.7 - The ENVELOPE Strip5.7.1 - Envelope 1 to Level knob5.7.2 - Envelope 2 to Filter knob5.7.3 - Envelope 2 to Pitch knob5.8 - The KEY Strip5.8.1 - Keyboard Mode menu5.8.2 - Portamento5.8.3 - Curve

Chapter 6 MIDI control6.1 - The LEARN button6.2 - The CONTROL button6.2.1 The Controller PART Menu

Chapter 7 Effects7.1 - FULL AMPS7.1.1 - American Vintage T7.1.2 - Amp Combo7.1.3 - British Tube Lead7.1.4 - Jazz Amp 1207.1.5 - Modern Tube Lead7.1.6 - SVT Classic7.2 - AMP COMPONENTS7.2.1 - Cabinet7.2.2 - Preamp7.2.3 - Tone Control7.3 - DISTORTION7.3.1 Crusher7.3.2 - Distortion 7.3.3 - Overdrive7.3.4 - Overscream7.4 - EQ + DYNAMICS7.4.1 - Black 767.4.2 - Compressor7.4.3 - EQ Comp7.4.4 - Limiter7.4.5 - Model 6707.4.6 - Parametric EQ7.4.7 - Vintage EQ-1A7.4.8 - White 2A7.5 - MODULATION7.5.1 - AM Modulation7.5.2 - Chorus7.5.3 - Chorus C17.5.4 - Electric Flanger7.5.5 - Env Flanger7.5.6 - Flanger7.5.7 - FM Modulation7.5.8 - Multi Chorus7.5.9 - Opto Tremolo7.5.10 - Phaser7.5.11 - Rotary Speaker 7.5.12 - Small Phazer7.5.13 - Tremolo7.5.14 - Uni-V7.6 - REVERB + DELAY7.6.1 - Acoustic Resonance7.6.2 - Ambience7.6.3 - ConvoRoom7.6.4 - Hall Reverb 7.6.5 - Plate Reverb 7.6.6 - Delay7.6.7 - Reverb7.6.8 - Reverb Delay7.6.9 - Spring Reverb7.6.10 - Tape Echo7.7 - FILTERS / OTHER7.7.1 - AutoPan7.7.2 - Piano Lid7.7.3 - LFO Filter7.7.4 - Env Filter7.7.5 - Lo-Fi7.7.6 - Multi Filter7.7.7 - Phonograph7.7.8 - Slicer7.7.9 - Stereo Imager7.7.10 - Wah