2 COPYRIGHT

Copyright
This documentation is protected by copyright law.

No part of this publication may be reproduced in the form of copies, microfilms or other
processes, or transmitted into a language used for machines, especially data processing
machines, without the express written consent of the publisher.

MAGIX is a registered trademark of MAGIX Software GmbH.

Samplitude and Hybrid Audio Engine are registered trademarks of MAGIX Software GmbH.

ASIO & VST are registered trademarks of Steinberg Media Technologies GmbH.

EUCON is a trademark of Avid Technology.

All other product names are trademarks of their respective owners.

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

lastique Pro V3 timestretching engine licensed from zplane.development.

This product uses MAGIX patented technology (USP 6,518,492) and MAGIX patent pending
technology.

Licensed in part, pursuant to USP 5,801,694 and pending foreign counterparts thereof.

Copyright MAGIX Software GmbH, 1990-2014. All rights reserved.

 TABLE OF CONTENTS 3

Table of Contents

Copyright 2

Welcome 7

Documentation and Help 8

PDF Documentation 8
Help 9
Support Area and User Forum 10

Contact 11
Product activation 11
Support 11
Sales 11

System Requirements 12

Installation 14
Activating Samplitude 16
Offline Activation of Samplitude 18
Use Samplitude with CodeMeter dongle 27
CodeMeter Runtime and CodeMeter Control Center 28
Network Installation 29

What's new in Samplitude Pro X2 / Pro X2 Suite? 30

Samplitude Fundamentals - Basic Terms 34

VIP 34
Arranger 36
Track 36
Clips 36
Ranges 37
Marker 37
Objects 38
Object-oriented Audio Editing 39
Object Editor 39
Mixer 40
Audio Editing in Samplitude 41
Effects 43

Basic Program/Project Settings 46

Create Project Folder 46
Settings for a New Project 47
4 TABLE OF CONTENTS

Project Options 49
Audio Settings 50
Audio Devices 52
MIDI Settings 53
VST Plug-in Path and ReWire 54
Save Project as Template 55

Audio Recording 58
Recording Options 58
Track Settings 60
Metronome Options 62
Begin/Finish Recording 63
Level Adjustment 63
Snap and Grid Setup 64
Loop Recordings 66
Punch Recording with Markers 67

Preparing MIDI/VSTi Recordings 68

Setting Ranges 74
Transport Console/Click Settings 75

MIDI Drum Recordings 77

MIDI Drum Recording Process 77
Editing MIDI Drum Recordings 78

VSTi/MIDI Synth Recording 84

Controller Changes 87
Freezing MIDI Tracks 88
Volume Control Settings 89
Retrospective MIDI Recording 90

Working in the Project Window 93

Working in Virtual Projects 93
Zooming 94
Scrolling 100
Working with Ranges 102
Working with Markers 106
Drawing Waveforms with the Pencil Tool 108

Arranging and Producing 109

Loading Audio Files 109
Selecting Objects 111
Loop Mode 112
Shift Objects 113
Duplicate Objects 113
Splitting Objects 114
 TABLE OF CONTENTS 5

Set Hotspot 115

Editing Objects in Spectral Mode 118
Pitch Shift-/Time Stretch-Mouse Mode: Object Handles 122
Working with Tempo Markers in Pitchshift-/Timestretch Mouse Mode 124
Working with Bar Markers in Pitchshift-/ Timestretch-Mouse Mode (Tempo
Mapping) 126
Object Editor - Snapshots 128

Arrangement of a Song (Example) 132

Load Project 132
Play Project 132
Copy Object 133
Copy and Paste a Range 133
Mute Objects 137
Zooming In and Out of the Project 137
Split Object 138
Fading Objects In and Out 138
Setting and Naming Markers 139
Creating and Naming a Track 140
Loading Audio File and Adding them to the Arrangement 140
Multiple Copying of Objects 142
Adding Several Tracks 144
Positioning Audio Files in the Arrangement 145
Adjusting Object Volume 146

Tracks 147
Create AUX Bus/Effect Send 147
Track Name 152
Track Color 152
Hide Tracks 153
Freezing/Bouncing MIDI Tracks 155

MIDI Functions 160

Create a New MIDI Object 160
Renaming a MIDI Object 162

MIDI Editors 163

Drawing Events in the Matrix Editor (Piano Roll) 163
Step Recording 167
Melody Inversion 170
Retrograde (Reversed) 175
Remove Overlaps 178
Legato 179
MIDI Velocity 180
Multi Object Editing 181
6 TABLE OF CONTENTS

Advanced Producing 188

Creating Spaciousness with Reverb 188
Depth Layering 198
Parallel Compression (New York Compression) 206
Advanced Parallel Compression 215
Ducking Techniques in Samplitude 221
Make It Loud - Using Compressors and Limiters in Your Mix 226
How To Put More Punch In Your Mix 238
How To Get More Dynamic In Your Mix 244
Doubling Vocals 253
Creative Vocal Effects 260
Mixing Background Vocals 282
DeEssing 288
Using EQ: General Tips for Editing the Frequencies in your Mix 305

Automation 308
Automation Modes 308
Track Automation 310
Track Automation in Realtime Using Plug-in Control Elements 311
Using the Pencil to Draw a Track Automation 314
Object Automation 315
Master Automation 317
Surround Automation 318
Range Automation in the Surround Panorama Module 320
Volume Draw Mode in the Audio File 321
Draw Waveform Mode in Wave Projects 323

Mastering 324

Export and Burn 335

Burning a CD 335

Index 340
 WELCOME 7

Welcome
Welcome to the Samplitude introduction. This tutorial provides practical step-by-step
instructions that will help you optimize your workflow. We would like to show you how to work
effectively in Samplitude through short courses which should help you bring out your creativity.

Whether you are a first time Samplitude user, or even if you know the program like the back of
your hand, the following pages are sure to provide you with tips and suggestions that will help
develop your skills.

The manual documentation "Manual.pdf" is also enclosed with the program. All Samplitude
topics are explained in detail there. All important functional principles, work processes, menu
and parameter settings as well as the menu reference are explained in depth.

Much of the following information supplements the excellent video tutorials made by
Samplitude user "Kraznet" (http://www.youtube.com/user/kraznet) who we would like to
graciously thank for his consistent and valuable work.

We would also like to invite you to contribute to our Samplitude user forum
http://www.samplitude.com, where you can find further support and information.

The MAGIX team

8 DOCUMENTATION AND HELP

Documentation and Help

In addition to the printed manual there are also other sources of information available that can
assist you when you are working with Samplitude.

PDF Documentation
Help feature
Online support area
Online user forum

PDF Documentation
In this category, you will find comprehensive PDF books concentrating on specific topics. These
will be available after Samplitude installation. You can also open the main Samplitude
documentation entitled "Manual" by going to "Help > Open manual...".

Manual

All topic areas are thoroughly explained in this documentation. It includes all important
functional principles, work processes, menu and parameter settings as well as the menu
reference.

Cleaning/Restoration Suite

The following restoration tools are available in Samplitude: DeClipper SE, DeClicker/DeCrackler
SE, DeHisser SE, DeNoiser SE. This PDF documentation will explain how to install and use the
optionally available "Cleaning/Restoration Suite" which provides full access to the full versions
of the DeClipper, DeClicker/DeCrackler, DeHisser, DeNoiser and all of their advanced features.
A Brilliance Enhancer and Spectral Cleaning feature are also included in this extensive selection
of audio restoration tools.

Version History

This PDF document offers a comprehensive overview of the feature development in

Samplitude, where each milestone of past versions is explained.

Independence

Included in the package is the "Independence" sampler with 12 GB of content for Samplitude
Pro X2 and 70 GB Content for Samplitude Pro X2 Suite or Sequoia.
Independence has an intuitive user interface and file management system, fast streaming
integration, multi-core processor support and an Auto-RAM cleaner. These functions make it
easy to load and use its huge selection of instruments.

Note: In order to read the included PDF documents, you will need to install the "Acrobat
Reader" program from Adobe on your system.
 DOCUMENTATION AND HELP 9

Help
In addition to this manual, we also recommend reviewing the help file through the "Help" menu;
this includes more detailed information about the individual functions. You can use the "Help"
command to jump to the program interface overview page in the Help section and use the
"Index" tab or "Search" feature to find specific topics. The "Favorites" tab can be used to save
and display topics you often need to reference.

Samplitude also has a command search bar on the main program interface for finding menu
commands and help topics.
10 DOCUMENTATION AND HELP

Support Area and User Forum

You can access our online support area at http://pro.magix.com/.

After you have registered and logged in to the Samplitude Service Center you can register your
product, access the latest product updates or send an inquiry to the support team.

You can also visit the Samplitude user forum online at http://www.samplitude.com.

As a registered user you will be supported by the professional Samplitude forum community
and can get involved in all the conversations.
 CONTACT 11

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

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

Fax: +49 (0)5741 310 768

Or send an email to [email protected]

Support
Registered users have access to technical support:

Web: http://pro.magix.com/

Email: [email protected]

The current terms and conditions for support services apply.

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

http://pro.magix.com/en/terms-of-service.623.html

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

Telephone: +49 (0) 5741 3455 25

Fax: +49 (0) 5741 3107 68

Email: [email protected]

Addresses:

MAGIX Software GmbH MAGIX Software GmbH

Friedrichstr. 200 Borsigstrasse 24
10117 Berlin 32312 Lbbecke
12 SYSTEM REQUIREMENTS

System Requirements
Samplitude on Windows x64 (64-bit)
If you have installed the 64-bit version of Windows on your system you can use Samplitude as
a 64-bit or 32-bit version. The internal VST bridge makes it possible to use both 32-bit and 64-
bit plug-ins.

Note: Because using the bridge can affect processor performance, it is recommended to use
plug-ins that match the bit rate of the installed program version. If you do use the bridge, it is
best to increase the ASIO buffer.

Recommended program versions:

32-bit 64-bit

Only 32-bit plug-ins Only 64-bit plug-ins

Several 32-bit plug-ins and a few 64-bit plug- Several 64-bit plug-ins and a few 32-bit
ins (e. g. VSTi) plug-ins

Samplitude on Windows x86 (32-Bit)

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

The 64-bit Version Should I Switch?

By switching to the 64-bit version you increase the available amount of RAM. On a 32-bit
system the upper limit of addressable memory is 3.5 GB, for many programs it is only 2 GB. In
contrast, on a 64-bit system the theoretical upper limit is a lot higher, namely 264 = 16 Exabytes.
Practical values are 16 GB for Windows 7/8 Home/Premium and 192 GB for Windows 7/8
Professional/Ultimate.

If you work with very large projects or memory-intensive VST instruments such as samples,
changing to a 64-bit system is strongly recommended.

Before changing to a 64-bit system make sure that your computer has at least 4 GB of virtual
memory and that 64-bit drivers are available for connected devices (sound cards, controllers
etc).
 SYSTEM REQUIREMENTS 13

General System Requirements

Supported Operating Systems

Microsoft Windows Vista | 7 | 8 | 8.1 (32-bit and 64-bit)

Minimum System Requirements

Processor: 1.5 GHz or higher

RAM: 2 GB RAM (32-bit), 4 GB RAM (64-bit)

Hard Drive Space: 1 GB for minimum installation

Graphics Card: Resolution 1024 x 768 pixels

Audio Playback: Sound card (ASIO-enabled sound card recommended)

Drive: DVD-ROM drive

Optional: CD/DVD burner, MIDI interface

Hard Disk
The maximum number of audio tracks depends on the rotation speed, access time, and data
transfer rate of the hard disk. Ideally, your hard disk should have a rotation speed of 7200 RPM
(or faster) as well as an access time of under 9 milliseconds. The audio data should be saved on
a hard disk separate from the operating system.
14 INSTALLATION

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

2. The installation program will launch automatically. If it does not, open Explorer and click the
letter of the DVD drive. Open "start.exe" by double clicking it. The contents of the installation
CD are displayed, you may visit our website, or install additional programs such as CodeMeter
Runtime (view page 27).

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

4. Now select the program version that you purchased under the "Install program" item:
Samplitude Pro X2 or Samplitude Pro X2 Suite".
 INSTALLATION 15

5. The installation starts. Just follow the dialogs that appear. If you choose the "User defined"
installation style, you can also specify the target folder for the program and choose whether you
want to install additional components such as impulse responses. In the selection screen, you
will see the total required memory for the installation.

Click "Continue" to proceed with the installation.

After all files have been copied to the hard drive, confirm the end of the installation with
"Finish".

After the initial installation, you can start the program at any time via the Windows "Start"
menu or the desktop link.

After installation, you can add or remove components by starting this installation program
again and selecting "Custom" to select or deselect the respective components.
16 INSTALLATION

Activating Samplitude
Step 1: When the installation is complete, open Samplitude Pro X2. You will be greeted with the
following activation dialog:

Enter the serial number or upgrade serial number and a valid email address.

Step 2: Now you can register and activate your product online using the corresponding button.

Step 3: If you do not have a user account, the Samplitude Service Center will open. You can
create a new user account
 INSTALLATION 17

and register your product here.

This completes the Samplitude Pro X2 registration.

You now have unlimited use of the program.

Note: Please make sure to keep your serial number in a safe place. If you lose it, you will not be
able to activate the product again. Substantial changes to the hardware configuration of your
system may require reactivation. You can activate the product a total of three times. For
additional activations, you will have to contact our support.
18 INSTALLATION

Offline Activation of Samplitude

You can also activate your program on a different computer with an Internet connection if your
studio PC does not have an Internet connection.

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

Activation on a Separate Computer with an Internet

Connection
Step 1: Click the "Activate program offline..." button.
 INSTALLATION 19

Step 2: In the next dialog, you can carry out the activation without direct Internet access. To do
this, click "Open form".

In the open form, you will see the serial number and the computerID (=Usercode).
20 INSTALLATION

Step 3: On the computer with the Internet connection, go to www.samplitdue.com and log in to
the support area. If you do not yet have a user account, you can create an account.
 INSTALLATION 21

Step 4: After logging in, select "Register product".

Step 5: Enter your serial number and click "Check registration".

22 INSTALLATION

Step 6: Then select your program version and click "Check registration".

Step 7: Click "List of my products".

This will take you to an overview of your registered products.

 INSTALLATION 23

Step 8: For the product you just registered, click "Create new activation" and enter your
Usercode (=ComputerID) from the form.

Step 9: When you click "Continue", you will receive an activation code which will also be sent
to you in an email.
24 INSTALLATION

Step 10: Return to the activation code dialog on your studio computer and enter the activation
code in the corresponding field. Confirm the activation process by clicking "Activate program".

This completes the registration for Samplitude Pro X2. You now have unlimited use of the
program.
 INSTALLATION 25

Activation by Email, Fax or Post

Step 1: Click the "Activate program offline..." button.

Step 2: In the next dialog, you can carry out the activation/registration without direct Internet
access. To do this, click "Open form".
26 INSTALLATION

In the open form, you will see the serial number and the computerID (=Usercode).

Step 3: Fill out the form and mail, fax or email it to the stated address.

MAGIX will send you the activation code.

 INSTALLATION 27

Use Samplitude with CodeMeter dongle

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

Step 1: In the "Program activation" dialog, select the "Use dongle" button or click "Samplitude-
Dongle Activation" in the "Help" menu.

Step 2: A guide window will inform you that the CodeMeter operation is now activated. Shut
the program down first.

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

Step 4: Restart the program.

Samplitude will now search for the "CodeMeter Runtime" and the license entries. If your dongle
is already registered, Samplitude will start and you may continue with the program activation. If
no license was found, an error message will appear.

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

CodeMeter Runtime and CodeMeter Control

Center
The CodeMeter dongle manages program licenses and allows you to call up a program from
various computer without requiring another activation. To do this, you need the "CodeMeter
Runtime", which is also automatically installed with the program installation.

You can find the latest version of "CodeMeter Runtime" in the Service Center at
"Download/Tools" or in the download area at www.codemeter.de.
Insert the CodeMeter into an available USB port on the server.
Start the "CodeMeter Control Center" program via "Windows Start" > "Programs" >
"CodeMeter" > "CodeMeter Control Center".

Now click "WebAdmin" on the bottom left in the CodeMeter Control Center. Your Internet
browser will open.
In WebAdmin, go to the "Content" > "Licenses" tab. Here there is information about your
dongle and license.
 INSTALLATION 29

Network Installation
You can also run Samplitude on a network. Depending on the number of licenses you have
purchased, Samplitude can be used on all of the workstations (clients) that are connected to
the network server. The only requirement is that a registered dongle be inserted in the USB port
of the server.

Configuration of the dongle/ Setting up the Server

Step 1: Install a current CodeMeter Runtime on a network server or a network server
(Windows, Linux, Mac OS X).

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

Step 3: Start the CodeMeter Control Center via "Programs" > "CodeMeter" > "CodeMeter
Control Center".

Step 4: In the CodeMeter Control Center, click "WebAdmin" on the bottom. Your Internet
browser will open.

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

The server is now ready.

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

Program installation on workstations

Step 1: Install Samplitude on each of the client PCs using the program DVD.

Step 2: Also install the current CodeMeter Runtime on the client PCs.

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

Step 3: To register the dongle, insert it locally on a client PC or install Samplitude on the server
and activate it there. If the dongle contains a multi-user license, then please select the offline
activation and send the activation form to our Support (view page 11).
30 WHA T'S NEW IN SAMPLITUDE PRO X2 / PRO X2 SUITE?

What's new in Samplitude Pro X2 /

Pro X2 Suite?
Free Plug-in Routing
Now you can change the order of the plug-ins any way you choose. There are no more
limitations on the ordering of internal effects and VST plug-ins.
Internal effects can now be used multiple times per track/object. (Exceptions: EQ,
Dynamics, Distortion, Delay.)
The Surround effects sequence can also be changed. In this case, the plug-ins in the
individual channels are always calculated before the Surround effects.

Note: This new functionality is not compatible with the characteristics of older program
versions.

Effect Routing
EQ116 now functions as a standard EQ. The conventional 4-band EQ is only used for old
projects.
The delay/reverb effect can now also be used multiple times.
Unlimited number of installed plug-ins.

Multiple outputs
In the track output menu, you can now also select additional outputs by selecting them with
the "Ctrl" button held down.
The selection can also be viewed and adjusted in the Routing Manager.
Different tap points: by standard, downstream of the volume control (post) as well as an
options upstream of the volume control (pre) or directly after the gain (direct out).
You can also assign a track with the "No output" feature.

VCA (Voltage Controlled Amplifiers)

Now you can also work with VCA groups in Samplitude. The functions

Assigning channels to a new VCA group

Assigning channels to an available VCA group
Change channel fade into VCA Master

can be reached using the VCA buttons of the individual mixer channels.

You can control the channel levels that are assigned to a VCA group in the mixer using a VCA
fader. By displaying "Ghost faders", the resulting change can also be read out in the individual
channels depending on the VCA master.
 WHA T'S NEW IN SAMPLITUDE PRO X2 / PRO X2 SUITE? 31

VST3 support
With the introduction of the VST3 interface, you can now also integrate and use plug-ins that
support VST3.

DN-e1
The DN-e1 is a virtual analog synthesizer and provides experimental melodies, funky arpeggios
and dreamy flats.

Elastic Audio on multiple tracks

When editing multiple track recordings, e. g. with choirs, it is frequently necessary to apply the
changes made for a track in Elastic Audio to all selected tracks.

With the "Synchronize tracks" option in the Elastic Audio dialog, you can now transfer them
automatically.

Hardware Controllers
Revised setup:

CPS files are saved in XML format (*.CPSXML)

Old CPS files can be converted to the new CPSXML format using "Shift" + "Add new"
New "FactoryPreset" folder with control panel templates
Control panel templates can be loaded with the "Add new" option but they cannot be
overwritten
Saving controls that do not have an assigned function is allowed.
Default #New CPS file
Integrated touch and push handling for track, marker and SlotSelectController.
New integrated functions (mainly for Easy Learn): Track Gain, HWC_TRACK_MONO,
(Master-Mono), HWC_TRACK_PHASEINVERT, MasterStereoEnhancer on/off,
NSM_ID_TRLINK_MASTER, NSM_ID_NORM_MASTER, NSM_ID_AUTO_MASTER,
NSM_ID_PLAY (for Easy Learn in the mixer)
Auto Learn also functions with buttons (on the controller)
Easy Learn: Protocol-based automatic learning of controls
Generic MIDI protocol available

Update for SSL Nucleus.cps:

PARAM key opens the mixer instead of the transport console

Previous: Cursor to left object, Shift-Previous: RTZ
Next: Cursor to next object, Shift-Next: END
Plug-in control possible

Update for EUCON Template:

Template for AVID Artist Control added. This contains many commands that can be
performed on a touchscreen.
32 WHA T'S NEW IN SAMPLITUDE PRO X2 / PRO X2 SUITE?

New project templates (keyboard shortcut: E)

Surround 5_1 ITU.VIP
Surround 5_1 ITU + Stereo Downmix ITU (-3 dB).VIP

64-bit
VariVerb II available as a 64-bit Version
Display of CPU Load of Plug-ins Running in the VST Bridge

Automation
Logarithmic display of volume curves.
Moving curve points: curve is kept temporarily, even if points fall below the track.
New command: "Convert track to object automation" transfers the volume and pan-
automation to objects.

Object Editor
Right-click on snapshot:

Loading options for loading object settings

Object Manager
Dragging & dropping in the arranger moves objects
Dragging & dropping in the arranger with Ctrl key pressed copies objects

Broadcast wave manager

Advanced loudness handling:

Options for calculating and writing loudness data in BWAV files

Function for calculating loudness data for individual BWAV files
Loudness of selected files can now be calculated in the file manager

Improved functionality for the visually impaired and the

blind
TAB key can now be used in the registration dialog

Changes in Setup_VisuallyImpaired.INZ:

Object editor opens in StarGray skin

Position of peak meter slightly adjusted
First line of the time display contains the current position

Improved Project Docking

The project window is now also part of the docking and offers the following advantages:
 WHA T'S NEW IN SAMPLITUDE PRO X2 / PRO X2 SUITE? 33

Mulitple project windows are displayed as tabs. You can easily select and switch between
projects.
The project window can be dragged to another screen.

New functions
FFT filter as an offline effect with larger drawing area incl. analysis and inversion tool.
Right-click the AUX section in the mixer for a selection of views for AUX sends, multiple
outputs and side chain sends.
Menu "Object" > "Edit" > "Extract Controller Curves from MIDI Object" is now available as a
menu command.
Mixer: Fader now goes up to +12dB.
Batch processing: 24-bit FLAC support.
New keyboard shortcut for "Activate Docking Window" ("Ctrl" + B). When a subsequent
keyboard command is used (e. g. the track manager), the focus can be put on this window.
New command: "Play/Rec" > "Move Playback Marker" > "To Peak Value of All Selected
Objects": The playback marker jumps to the position with the highest peak value.
AAC-HE export with advanced options.
After it is created, a new VIP is immediately saved (e. g. to prevent the incorrect paths).
Improved time stretching algorithms.
Improved adjustment of the toolbars incl. Toolbar editor
Now you can set the standard time stretching/pitch shifting algorithm for new objects under
"System setting" > "Effects" > "Resampling/Bouncing".
New "Automation" system option page.
Adjustment for hardware controller, in particular, EUCON.
All video formats supported by the 32-bit version are also loaded in the 64-bit version.
Improved crash analysis with comment entry and direct transmission of crash dumps (if an
Internet connection is available).

New MIDI Functions

Delete selected MIDI events (keyboard shortcut: Backspace, Del)
Select notes at the playback marker position
Separate notes at the playback marker position

Only in Samplitude Pro X2 Suite

Cleaning/Restoration Suite real-time effects for the restoration: DeClicker/DeCrackler,
DeClipper, DeNoiser, Brilliance Enhancer and Spectral Cleaning dialog.
An additional 4 Vita instruments.
Loudness meter compact R 128.
sMax11 True Peak: The maximum peak level (Maximum True Peak Level) can be selected
as a clipping
threshold that is set in the Loudness normalization. In this way the sMax11 can be
expanded to include the True Peak function as defined by the ITU-R BS.1770.
34 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

Samplitude Fundamentals - Basic

Terms
VIP
VIP (Virtual Project) refers to the basic project window for a Samplitude project. This provides
a graphical framework for you to edit the project and navigate through the arrangement. The
VIP includes all toolbars and buttons, the arranger, track header, track editor, transport console,
and status bar.

The file extension .vip is applied to all virtual projects in Samplitude.

Snap
The snap grid determines the step size for navigating and editing in a project. The basis for
snapping can be beat intervals, objects, ranges, frames or the set quantization value. You can
use the grid toolbar to adjust the snap settings and switch the grid on and off.
 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 35

For example, the snap function is used to move objects and position them precisely on snap
points in the grid.

Grid toolbar with the setting "Beat Grid".

Grid
This term refers to the coordinate grid for the project window. The grid shows the project time
according to the set measurement unit.

VIP with two grid bars - Grid setup based on the time unit of the lower grid toolbar.
36 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

Arranger
The arranger displays all of the tracks in a VIP including all of the objects on them.

This is where you arrange your compositions by placing the various song parts in a time
sequence on various tracks. In addition to positioning the objects, the arranger also has
numerous editing options for drawing and moving automation curves, etc.

Track
Tracks are numbered organization units within a VIP that contain audio objects, MIDI objects or
both depending on the structure of the arrangement. The display of objects on the track follows
the time sequence of the audio material.

Clips
"Section" refers to the visible part of a project in the project window.
 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 37

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

Ranges

Ranges are selected sections of the arrangement that can be set for editing or re-opening later
on. A typical application of ranges, e. g. is to define playback sections for creating loopable
sequences. Ranges can also be used for cutting edits to extract or copy the audio from the area
and insert it again somewhere else.

When creating ranges, you are not bound to object borders, individual tracks or any other
limitations like markers. Selected ranges that you search for are displayed inverted. You can set
the step size of the selection by switching on the "Snap/Grid" function in the "Project options".

Marker
Markers can set position points in your project that are of special importance to your
arrangement.
38 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

When you open any set marker, the playback marker will be moved to the defined marker
position. Markers are listed along the top line of the virtual project (in the marker list) and can
be set when the arrangement is stopped, during playback, or during recording.

Keyboard shortcuts: Shift + number key or Shift + ' for the markers with the next highest
number.

In addition to the standard markers, the following other markers are also available in
Samplitude: audio markers, markers for CD burning functions, tempo markers, bar markers and
grid position markers.

Objects
The object is a unit in the Samplitude arranger window. It is displayed as a waveform which can
be moved, copied, or cut.

Audio objects contain references to the source audio files. It can also be said that an audio file
is referenced by an object.

An object accesses available audio data and calculates parameter settings such as volume,
panorama, object length, sound changes, effects, and fades. Pitch changes, time stretching,
AUX send routing and plug-ins can also be calculated.

In contrast to audio, where audio files are saved to the hard disk, MIDI data is saved together
with objects and is directly coupled to the corresponding objects.
 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 39

Object-oriented Audio Editing

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

The advantage of realtime editing is that the objects do not have to be rendered or bounced. In
contrast to editing with track effects, the calculation of the object effects only takes place when
the object is played back. This lets you minimize the CPU load on your computer.

Object Editor
The object editor makes audio object editing more efficient by providing a clear overview of all
the editing functions in a display that is similar to a channel strip. This means that with the
object editor Samplitude offers a "realtime channel strip" for each object.

If you cut an existing object in two (keyboard shortcut: T), you will have two objects which each
have their own object editor. The objects can also be cut again to form even more objects. This
allows you to quickly and directly apply all of the editing options mentioned above to any of the
individual audio objects.

The editing possibilities offered by this feature often allow you to avoid further editing steps,
such as track automation, etc.
40 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

Mixer

You can use the mixer (keyboard shortcut "M") to adjust the volume and panorama of the
mixer channels as well as automate fader and panorama movements. There are also a variety of
plug-ins, submix and AUX buses, a four-band parametric equalizer, inserts for the integration of
effects and VST instruments as well as many configuration and bouncing options available for
individual channels as well as the stereo master output.

Each arranger track corresponds to a channel on the mixer.

 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 41

Audio Editing in Samplitude

Audio objects in the VIP reference corresponding audio files that are open in the background.
They only reference these audio data and basically contain instructions for how these files will
be processed in realtime. In Samplitude, most tasks can be carried out completely virtually in
the VIP without touching the original audio material at all.

In certain cases, however, it can be useful to make adjustments to the original audio. In these
cases, you are not only editing the reference objects within a virtual project, but also the audio
files (.wav) on your hard drive. This type of audio editing is also called "destructive" editing.

You can open the corresponding audio file for each object through "Object > Wave Editing...".

When saving the modified files, you can create a copy of the original file so that you can easily
access the original file whenever you need to by pressing "Undo". The "Object > Edit > Edit a
copy of wave content..." command opens a copy of the audio file for further editing.

When a VIP is opened, you normally cannot see the individual wave windows. To make them
visible as icons, activate the "Iconize all wave projects" option in "View" > "Window". To hide
them again, go to "View > Window > Hide all Wave Projects".

In the title bar of the audio file window, you will see the name of the file, the bit resolution, the
length of the sample and the resulting required memory.

During destructive audio editing in Samplitude, you have nearly the same editing options
available in the menu bar as you do when editing a VIP in real time (with the exception of
realtime effects, which can only be used virtually in VIP, as well as some mouse modes such as
universal, object, curve editing, object edit and pitch shift / time stretch modes).

The following mouse modes are available for audio editing: Range Mode, Wave Draw Mode
(view page 108), Volume Draw Mode, Scrub Mode, Zoom Mode, Spectral Mode and
Automation Draw Mode for realtime audio editing.

To open an audio file from within a virtual project, position the mouse pointer at the lower half
of the reference object while holding down the Ctrl + Shift key and then double-click.
42 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

Alternatively, you can also select the option "Wave Editing..." in the Object menu. An audio file
is opened in a separate window and displayed as a waveform. The function of the zoom, scroll,
range and marker features does not change for the new window.

New audio file with drag & drop: To quickly create an audio file as a copy of part of a range or
the entire audio file, drag the selected range in your audio file out of the editing window and
drop it on a free space in the program background.

Audio files can be edited in destructive mode and in realtime editing mode.
 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 43

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

Offline Effects
These effects can be used in audio files and on objects. Objects in a virtual project reference
this audio file. Offline effects change the audio data and can be set through "Effects > Process
effects offline".

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

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

Dynamics
Frequency / Filter
Delay / Reverb
Distortion
Restoration
Stereo / Phase
Modulation / Special
MAGIX Plug-ins
VST FX (only available if the VST effects are installed)

Effects in Audio Objects (Object Effects)

Object-based virtual effects are set in the Object Editor. You can open the editor by double-
clicking on the object. The effect view is opened here as default.

Object effects are applied only to the selected object. All other objects in the VIP are not
affected by these settings.
44 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS

Effects in Tracks (Track Effects)

Track-based effects can be set either in the VIP window or in the mixer. These can be internal
effects or VST FX effects.

If you click on the small arrow on the corresponding field, a menu with the various effects will
open.
 SA MPL ITUDE FUNDAMENTALS - BASIC TERMS 45

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

Effects in the Master

Master effects are applied to all of the tracks in a multitrack arrangement. They are basically
applied right before the signal reaches the master output of your sound card.

The master effects can also be set in the mixer. The master area of the mixer is wider than
normal tracks and can be identified by the red faders.

Here you will find the master plug-in slots for internal effects, MAGIX plug-ins and VST effects.

The sequence of the master effects can be set in the FX routing dialog, which can be opened
with the FX button beneath the master faders.

MP3/AAC Preview Plug-in: In the master plug-ins section under "Modulation/Special", there is
a preview function available which can be used to prepare MP3s or AAC files for export. This
makes it possible to hear in realtime what the generated file will sound like after encoding. You
can change the export settings directly in the dialog window. During the mastering process, you
have the option of taking the idiosyncrasies of the encoder into account and adjusting the
quality relative to the requirements (e. g. "Mastered for iTunes").
46 BA SIC PROGRAM/PROJECT SETTINGS

Basic Program/Project Settings

After you have successfully installed Samplitude you should adjust the following program and
project settings to make working with the Samplitude more effective:

Create Project Folder

Before opening the program we recommend that you create a project folder on a hard drive of
your choice.

Step 1: Holding down the Windows key and pressing "E" opens a new Explorer Window.

This opens a graphical user interface for accessing the file systems of all the hard drives and
CD/DVD drives on your computer. In this case our desired drive is the "Audio drive (E)".

Step 2: Double-click to open the audio drive and right-click in an empty space.

Step 3: Click on "New" then on "Folder". This creates a new folder.

 BA SIC PROGRAM/PROJECT SETTINGS 47

Step 4: Type a name into the text field. We're going to call the folder "Samplitude Projects".

Now we have created a specific folder in which we can save our Samplitude projects.

Settings for a New Project

Step 1: Double-click the Samplitude desktop shortcut.

The Samplitude interface opens with the start selection window open.

Step 2: For this example, we are going to choose "New multitrack project (VIP)".
48 BA SIC PROGRAM/PROJECT SETTINGS

Now the "Setup for new Project (VIP)" dialog appears:

Step 3: Enter a name for the project in this window. We're going to call the project "Getting
Started".

It's a good idea to give the project a distinctive name - even if you don't know what you're going
to call the song yet.

Step 4: Click the folder icon and navigate to the Samplitude project folder you created.

Note: Try to get into the habit of creating a new folder for every project or song. All the audio
for that song will be saved to that folder. It is probably best to use a dedicated drive for these
files.

Step 5: Check the box next to "Create New Project Subdirectory".

This creates a subdirectory in the file path we specified. The first time you save, the project file
(VIP) will be saved in this subdirectory with the predefined name.

Step 6: At first, we are going to select 16 under "Track Number".

Step 7: We will leave the sample rate at 44.1 Hz and set the initial project length to five
minutes. The specified project length will be adjusted automatically when loading or recording.

Step 8: For further settings click the "Project Options" button.

 BA SIC PROGRAM/PROJECT SETTINGS 49

Project Options

Step 1: Activate the Snap/Grid view by ticking the checkbox next to "Snap/Grid"

Step 2: When working with songs we recommend that you select the "Beats/Bars" option in
the "Snap to" list and "Bars/Beats" from the "Show grid" section.

Step 3: In the "Snap to" section you will find a drop down menu where you can set the snap
resolution. First we'll set it to 1/4.

Step 4: The default time signature in the Bar/BPM section is 4/4 and the default BPM is set to
120. These settings can be changed whenever want in the transport console (keyboard shortcut
Ctrl + Shift + T).

We're going to leave the other settings as they are.

Step 5: Click on "OK" to close the project options.

Step 6: To finish, click once more on "OK" in the "Setup for new project" dialog.

Now we've made a new 16 track project which from now on will be opened with the specified
settings.
50 BA SIC PROGRAM/PROJECT SETTINGS

Audio Settings
Step 1: Press "Y" on your keyboard to open the audio setup options.

Step 2: Set the driver system to "ASIO". ASIO drivers enable you to work at low latency and
monitor VST plug-ins and virtual instruments in realtime.

Step 3: If you are using the sound card built into your computer, it is worth testing the "MAGIX
Low Latency" driver. If, on the other hand, you are using a professional sound card/audio
interface built into your system, you should activate the appropriate driver. In this example, we
will use a sound card by "M-Audio" and select the ASIO driver "M-Audio Delta ASIO".

Step 4: The ASIO buffer is set to 512 by default. Experiment by setting the value lower. To do
so, click the "Settings" button. This will open the control panel of your audio device. Depending
on your PC's performance, you should reduce the ASIO buffer and response time. To prevent
audible distortions, you should select low levels for monitoring live recordings of vocals or
instruments. Please note, however, that reducing the ASIO buffer settings will use more
processing power. The corresponding output and input latencies are indicated at all times.

Step 5: The VIP object buffer indicates the buffer size for the internal processing of object
effects and economy tracks in hybrid mode. In every other monitoring mode, it also determines
the buffer size for editing track effects. With a smaller VIP object buffer size, the amount of
playback delay also decreases (latency). However, the processor can still be overloaded which
may result in dropouts during playback. Large buffer sizes actually increase stability, but they
 BA SIC PROGRAM/PROJECT SETTINGS 51

also increase the latency of the system. The field below displays the resulting latency in relation
to the buffer settings.

The VIP object buffer size must be at least as large as the ASIO buffer size, and double the size
when the Hybrid Engine is used. Aim for values in the range from 1024 to 4096 samples.

Step 6: For Device Resolution/Driver Communication we are going to use the 32-bit option.

Step 7: Go to "Monitoring Setup" and move the slider to the far right. The Hybrid Audio Engine
enables audio monitoring throughout the entire mixer and also calculates playback tracks in the
mixer with short latency. This usually provides the best results.

Step 8: Set the Monitoring Behavior to "Tape Monitoring".

Step 9: Check the "Mix Input and Playback" box. If track monitoring is activated, you will be
able to hear the input signal during playback.
52 BA SIC PROGRAM/PROJECT SETTINGS

Audio Devices
This is where you configure the inputs and outputs of your audio device.

Step 1: Activate the available inputs of your sound card in the "Recording" section. We will
leave inputs 1 to 6 activated. This gives us 3 stereo or 6 mono inputs.

Step 2: Go to "Playback" and activate outputs 1 + 2 to output the stereo master. We can also
activate outputs 3 + 4 in order to output a separate headphone mix.

Step 3: It's also possible to rename the outputs and inputs simply click on "Rename" and
assign new names.

Step 4: These inputs and outputs are now also accessible in the track editor.
 BA SIC PROGRAM/PROJECT SETTINGS 53

MIDI Settings
Now we're going to take a look at the MIDI settings.

Step 1: We're going to set the "Global Record Device" and the MIDI input device to Delta AP
Midi. This will be the one you will connect your MIDI keyboard to.

Step 2: Now we are also going to set the "Global Play Device" and MIDI output device to Delta
AP Midi.

Step 3: It is best to disable the "Microsoft GS Wavetable Synth" to avoid unwanted signal
transmission when recording MIDI.

Step 4: In "Audio/MIDI Sync" we are going to set the Force Sync to 100% to achieve the
closest possible match of MIDI and audio tracks.

Step 5: It's also a good idea to activate "Note On Chasing". This setting causes held MIDI notes
to be played (and be heard) when they have received their "Note On" command prior to
playback.
54 BA SIC PROGRAM/PROJECT SETTINGS

VST Plug-in Path and ReWire

If you are using VST plug-ins, it is important to set the VST plug-in path:

Step 1: Open the "Effects" tab and select "VST/ReWire".

Step 2: Click the folder icon to select your VST folder and select "Browse VST folder".

Step 3: Navigate to your VST plug-in folder, then click "OK".

 BA SIC PROGRAM/PROJECT SETTINGS 55

Step 4: Once you have a VST plug-in path, click "OK". Samplitude will now search through the
corresponding folder for VST plug-ins - you can see the scanning process if you look at the very
bottom of the window. The scanning process may take a few minutes the first time, depending
on the number of VST plug-ins you have.

Step 5: If you have more than one plug-in folder, all you need to do is repeat the process. Doing
this will save all the VST plug-ins paths.

Step 6: Now select the "ReWire" feature.

Save Project as Template

Now that everything is configured correctly , it's a good idea to save the VIP as a template . You
can use this template whenever you start a new project.

Step 1: To do this go to "File > Save Project as Template"

Step 2: The file browser should open up in the correct folder for templates. All you need to do is
name the template.

Step 3: Click "OK" to save the template with that name.

56 BA SIC PROGRAM/PROJECT SETTINGS

Step 4: If you create a new VIP (Shortcut: "E"), the setup dialog will appear.

Step 5: Now we're going to click on the dropdown menu and the project template we saved
("Getting Started") should be there.
 BA SIC PROGRAM/PROJECT SETTINGS 57

Step 6: Now we need to enter the file path and name of the project, and the "Getting Started"
template will be added to the new project.

You can also modify "Getting Started" at any time and resave it. You can apply templates with
different setups according to the project type.
58 AUD IO RECORDING

Audio Recording
This workshop will show you how to record using Samplitude. It will introduce you to all of the
basic functions for the recording process.

Recording Options
1. Before making your first audio recording it's advisable to open the Record Options window .
These can be accessed via the "Play/Rec" menu option or by right-clicking on the "Record"
button.

2. Now you can select the file format for recording. You can choose between different formats
such as Wave, MP3, Ogg Vorbis, FLAC, etc.
 AUD IO RECORDING 59

3. Now set the record mode (bitrate, stereo/mono) and the sample rate.

4. Select "Playback while Recording", "Create VIP object" and "Update object during recording"
to follow recording process.

5. You can set the record folder path and file name by clicking on the folder icon .
60 AUD IO RECORDING

6. Now give your recording process a name. Let's call it "BassTake". As a result, a number is
added behind the name of each take, such as 01, 02, etc.

Track Settings
Step 1: First, we will name the track we want to record "Bass".

Step 2: Right-click the track name to open the track settings. Name the Wave file "Bass.wav".
 AUD IO RECORDING 61

Step 3: We will also choose a track color.

Step 4: As we only have a single microphone connected, we are going to choose "mono" and a
single input as audio input. We will enable the track for recording by clicking on the "REC"
button.
62 AUD IO RECORDING

Metronome Options
1.Open the metronome settings by right-clicking on the "Click" button in the transport console.

2. Select "Active while Record", determine the number of beats for the pre-counter and tick the
"Precount clicks only" checkbox. If you don't like the preset metronome sounds, click on the
folder icons and choose other clicks from the "fx presets" file.

Now we will hear the metronome for 2 measures before the recording actually begins.
 AUD IO RECORDING 63

Begin/Finish Recording
1. Start recording by pressing the keyboard shortcut "R" or the "Record" button in the transport
console.

2. Press the spacebar on your keyboard or on the "Record" button again to stop the recording
process.

Level Adjustment
Step 1: Click "Visualization" in the docker. You should now see a signal.

If there is no visual display of levels in the peak meter, click the "Mon" button on the transport
console.

Step 2: Adjust the input signal to your external amplifier or the sound card input so that the
peak meter is as close as possible to 0 db but does not quite reach this value.
64 AUD IO RECORDING

Snap and Grid Setup

The recording starts from the current position of the playback marker. For example, if you
want to record starting at the fifth bar, place the playback marker at the beginning of the fifth
bar.

Step 1: To do this, open the project options under "View > Snap view" > Snap and grid setup"
(shortcut: "I") and check the "Grid", "Bar grid" and "Show grid" boxes. In the selection menu,
select "Bars/Beats" as the grid unit and confirm this by clicking "OK".

Now you can see the grid lines in the VIP.

These divide the project window, and the grid toolbar now indicates the bars.
 AUD IO RECORDING 65

Step 2: Switch the display in the transport window to "Beats" using the start display area.

Since "Bars/Beats" is selected as the grid unit, you can easily use the left/right arrows on the
keyboard to jump to the beginning of the fifth bar while monitoring the bar and beat position of
the playback marker in the transport window.
66 AUD IO RECORDING

Loop Recordings
Step 1: If you want to record in a loop, first select the range in the arranger that you want to
record.

Step 2: Click the "Loop" button on the transport console and start the recording.

The recording runs through this range repeatedly until it is stopped. Each run through creates a
new take.

Step 3: If you right-click the last recorded take while holding down the "Ctrl" key, you will see
all of the takes that were made during the loop recording. To listen to one of the takes, simply
select it in the displayed menu.

The Take manager is useful for organizing and editing recording runs. Use it together with the
Take composer to produce the perfect take.
 AUD IO RECORDING 67

Punch Recording with Markers

If you know the exact range that you want to use, you can use the punch recording function
using markers.

Step 1: To do this, select the area with the mouse where you want to use punch recording, and
then activate the "In" (sets the punch-in marker) and "Out" (sets the punch-out marker)
buttons in the transport console.

Step 2: Now you can set the playback marker in position.

Step 3: If "Punch" is activated, start the process with the "Record" button on the transport
console. The actual recording will only take place within the punch range.

When the recording is started and the playback marker is not yet in the punch range, the
"Record" button will blink. The button remains red during the punch recording.

Example: An error between beats 5 and 6 needs to be corrected. Playback starts before the
punch-in position so that the introduction to the recording is made as easy as possible. During
the punch process, the "Record" button flashes; the recording will start automatically from the
"punch-in" marker (bar 5). The end of the object is already satisfactory so the recording will
automatically end before it at the "punch out" marker (bar 6).
68 PRE PARING MIDI/VSTI RECORDINGS

Preparing MIDI/VSTi Recordings

Basically, MIDI data is recorded in the same way as audio data in Samplitude. With each
recording you create an object which defines the MIDI synthesizer, the sound and the sound
parameters that will be used for playback. You can arrange and edit the generated MIDI object
in a variety of ways.

Step 1: To prepare the track for MIDI recording, click on the "MIDI" button in the track editor.
 PRE PARING MIDI/VSTI RECORDINGS 69

This opens the MIDI section of the track.

Step 2: Indicate to Samplitude which MIDI input device the program should use. Select the
input device in the MIDI In slot (e. g. MIDI keyboard) to do this.

If you have multiple MIDI input devices connected to your system, you can also select <ALL>
as the MIDI input device for a track.
70 PRE PARING MIDI/VSTI RECORDINGS

Step 3: Select the MIDI port you want to use for the playback device (MIDI output device)
through the MIDI Out slot (e. g. MIDI Out of your sound card or a VST instrument).

If you don't hear a sound when you press the keys on the input device, you probably need to
activate the monitoring. Activate this with the loudspeaker button (MIDI thru) for the
respective MIDI track.

Step 4: By right-clicking the "Mon" button in the transport console you can access a menu for
adjusting the behavior of the "Record" and "Monitoring" button. If you activate the options
"Automatic MIDI record switch on current track" and "Automatic MIDI monitoring (Thru)",
the selected MIDI tracks will be immediately activated for the recording and monitoring will be
switched on for the input signal. If you want to record multiple MIDI tracks simultaneously,
deactivate the option "Automatic MIDI record switch on current track".

If you still don't hear anything when you play the keys, make sure that the MIDI out channel of
the MIDI keyboard matches the "channel in" slot in the track editor for the selected MIDI track.
 PRE PARING MIDI/VSTI RECORDINGS 71

Step 5: Make sure that your MIDI synthesizer is sending to the same MIDI channel that you
have selected in the "channel out" slot in the track editor. To be certain, set the Out channel to
"All". Now you should hear all of the synthesizers no matter what channel they are on.

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

Step 6: If you want to use a VST instrument, open the selection menu of the MIDI Out slot and
move the mouse pointer over "New Instrument" to display a list of the virtual instruments. Here
we'll select Samplitude's very own "Vita" synthesizer.

This opens the graphical display of the selected VST instrument.

72 PRE PARING MIDI/VSTI RECORDINGS

Step 7: We can open the routing settings in the VSTi Manager in the docker. This dialog is
where the routing is set for the integrated software instrument.

Here you can add software instruments to the current track, separate the audio track from the
MIDI track for multitimbral synthesizers or add multiple new tracks for instrument outputs in
Multi-Channel Mode.

For our example we'll choose the option "Simple: Audio and MIDI together in one track". In this
case, the same track sends MIDI commands to the instrument and receives the audio signal
from the instrument.
 PRE PARING MIDI/VSTI RECORDINGS 73

Step 8: We can now see that the MIDI out of our VST instrument is selected and lit up, which
tells us that the VSTi has been loaded. You can also find the corresponding entry in the plug-in
panel and in the track header.

By left-clicking on the corresponding entry you can deactivate the plug-in. If you click again, it
will reactivate the VSTi.

Click on the "Close" cross on the VSTi interface to hide the VSTi window.

Right-clicking on the entry in the track editor opens the VST interface again.
74 PRE PARING MIDI/VSTI RECORDINGS

Setting Ranges
When you mark an area for editing or loop recording in Samplitude it is called a range.

We want to record a section eight bars in length. To do this we're going to draw a range in the
Grid and Marker bar.

General Note: In universal mouse mode

you can drag ranges from one of the upper track halves - this works on multiple tracks too.
 PRE PARING MIDI/VSTI RECORDINGS 75

Transport Console/Click Settings

Step 1: Go to View > Transport console to open the transport console.

Step 2: Set the project tempo by clicking on the little arrow in the tempo field and selecting a
preset.

You can also double-click and type in a new tempo in the text field.

Step 3: We want to record multiple processes in a MIDI object and mix them, so we'll switch
the MIDI recording mode from "Normal" to "Overdub".
76 PRE PARING MIDI/VSTI RECORDINGS

Step 4: Activate Loop Mode so that the range plays in a loop.

Step 5: Click on the "Click" button to activate the metronome.

When playback begins you will hear the metronome click at the set tempo.

Step 6: By right-clicking on the "Click" button you can change the metronome settings.

Step 7: Select "Active during playback" as well as "Active during recording" and set the
precount to 2 bars. Use the fader set a suitable volume for the metronome.

By clicking on the folder symbols you can access alternative metronome samples for the first
beat and general beat respectively.
 M ID I DRUM RECORDINGS 77

MIDI Drum Recordings

MIDI Drum Recording Process
After we've made all the preparations we are ready for our first recording.

Step 1: Click on the track header of the MIDI track you want to record in.

Step 2: Set the Vita program to Acoustic Drum Kit Ballad. The hi-hat is activated by the F#1
key.

Step 3: Press "R" on your keyboard or activate the record button in the transport console.
Recording starts. Now play a simple quarter note hi-hat part on your keyboard.
78 M ID I DRUM RECORDINGS

In the second recording round of our 8 bar range we can add the bass drum (C1 on the
keyboard) by playing it on the 1st, 4th and 5th beats as eighth notes. On the third round we can
add the snare (D1) on the quarter beats 2 and 4.

Step 4: After one run through, press the "Stop" button to stop the recording and have a listen to
your drum recording.

Editing MIDI Drum Recordings

Step 1: Double-click on the recorded object in the arranger. The "Matrix Editor" will open.
 M ID I DRUM RECORDINGS 79

Step 2: When you click on the drum symbol the display switches to "Drum Editor". The drum
notes will be displayed according to their velocity as vertical bars of varying height.

Step 3: Now we want to quantize the played notes. We're going to change the quantize grid to
1/8 notes. If you enter # in the length quantization values input field, the value will be linked to
the respective snap quantization value.

Step 4: Now we're going to click on the "Quantize" button, to quantize the notes to the next 1/8
note. In order to quantize all notes, make sure that no single note is selected.

This will apply a standard quantization to the entire recording.

Step 5: Now we would like to double the hi-hat sounds in order to give our groove an eighth
feeling. To do so, we double click between two hi-hat hits in order to select all notes.
80 M ID I DRUM RECORDINGS

Step 6: Copy notes using "Ctrl + C", move the play cursor in the first bar to the right by 1/8 and
paste the hits into the empty 1/8 space using "Ctrl + V".

Note: In order to move the playback marker in 1/8 grid steps, set the beat grid in project
settings (keyboard shortcut: I) to 1/8.

Step 7: The copied hits are highlighted which means we can use the mouse pointer to slightly
reduce the velocity of the notes in one go. Varying the velocity between "On Beat" and "Off
Beat" can lend the hi-hat track a more natural feeling.

Step 8: Drag a frame for all snare notes and move them up or down using the arrow keys on
your keyboard. This makes it possible to try out different drum sounds for the selected beats.
 M ID I DRUM RECORDINGS 81

Step 9: If you activate the "Play clicked notes" function in the options section of the MIDI Drum
Editor, you can hear the sound while you adjust the velocity.

Step 10: Now we would like to zoom into a pre-defined range. We're going to draw a range
over two bars and click on "Zoom" and then on "Section from Range"
82 M ID I DRUM RECORDINGS

Step 11: Now select the snare hits in this range and change the quantize grid to 1/64.

Step 12: Start loop playback. If you move the snares by 1/64th of a note to the left or right using
"Event to grid on the left (Ctrl + Alt +1) and "Event to grid on the right (Ctrl + Alt +2), you can
play with the timing.

Step 13: Holding down Alt while left-clicking on the notes lets you move them in fine
increments.

This way you can take some notes off the quantize grid in order to delay or move them slightly
forward.
 M ID I DRUM RECORDINGS 83

Step 14: Set the quantization grid back to 1/8 and quantize the snare hits again to fit them
exactly to the 1/8 grid.

Step 15: Finally click once more on the "Zoom" button and select "8 beats" to zoom out and see
the whole drum part again.
84 VSTI/MIDI SYNTH RECORDING

VSTi/MIDI Synth Recording

Step 1: First you have to deactivate recording mode by clicking the record button in the track
editor/track header. This will also switch monitoring off.

Step 2: Select the second track and press the "MIDI" button. Activate recording. Monitoring will
be switched on automatically.

Note: If monitoring isn't automatically switched on, right-click on the "Mon" button and select
the option "Automatic MIDI monitoring (Thru)".

Step 3: We'll use the MAGIX synth "Revolta" as the plugin for our MIDI synth recording"
 VSTI/MIDI SYNTH RECORDING 85

Step 4: Right-clicking the "Click" button in the transport console opens the "Metronome
Options" dialog, in this dialog select the "Active while Record" and "Precount click only"
options. This way when we record we will only hear the metronome during the precount.

Step 5: Now we should also deactivate loop mode as we only want to make one recording.

Step 6: Right-click on the plugin slot to open the "Revolta" graphic interface. From the presets
we are going to choose the "Pads > Trance Gater Sweep" sound.
86 VSTI/MIDI SYNTH RECORDING

Step 7: Start recording by clicking on the record button in the transport console and play a
melody using your keyboard.

The recording will stop automatically once the play cursor reaches the end of the range.
 VSTI/MIDI SYNTH RECORDING 87

Controller Changes
Step 1: Double-clicking on the MIDI object in the VIP opens the matrix editor. Click on the "Pb"
button in the controller section of the matrix editor to open the "Pitchbend" controller. The
mouse cursor changes into a pencil in the pitchbend editing field, you can use the pencil to
draw pitchbend changes.

Step 2: You can insert and edit further controller settings using the buttons located above and
below "Pb".
88 VSTI/MIDI SYNTH RECORDING

Freezing MIDI Tracks

Step 1: Click on the small arrow next to the track name in the track header and select "Freeze
Track"

Now you should see a wave object instead of the MIDI object. The new wave object is normally
slightly longer because the reverberation time is included.

Step 2: If you want to edit the MIDI files again, open the context menu and select "Unfreeze
Track".
 VSTI/MIDI SYNTH RECORDING 89

Step 3: In the MIDI editor you can now make alterations, change the sound or experiment with
a different VSTi.

Step 4: When you are finished making changes you can "Refreeze Track".

Volume Control Settings

Step 1: Right-clicking on the volume control brings up the fader settings.

Step 2:

For example, if you use an external MIDI synthesizer, you should set the corresponding
volume controller to "MIDI volume (CC7)".
If on the other hand you don't use any external equipment, you should select the "Audio
Track Volume" option.
If you want the volume fader for MIDI tracks to reflect MIDI velocity scaling select "MIDI
Velocity (Scaling)"

In any case it is worth checking these settings if you notice that a fader isn't having an effect on
the track's volume.
90 VSTI/MIDI SYNTH RECORDING

Retrospective MIDI Recording

The "Retrospective MIDI Recording" feature is especially useful if you enjoy jamming to an
already existing project whilst using a MIDI/VST instrument. If you played a particularly
inspired passage while you were jamming, you can retrieve it even if you haven't recorded it
earlier on. Proceed as follows:

Step 1: Press "Y" to open the "System Options" dialog and go to the MIDI settings.

Step 2: Under "MIDI Recording" check "Retrospective Recording" and enter the buffer for this
function.
 VSTI/MIDI SYNTH RECORDING 91

Step 3: Create a MIDI track and insert the VST instrument you want to use. We're going to
choose the MAGIX synth "Revolta".

Please make sure that the MIDI track has been selected and is ready for recording.

Step 4: Now start to play back your project and play your VST instrument. In this example, we
will accompany a drum groove with a "Revolta" bass sound.
92 VSTI/MIDI SYNTH RECORDING

Step 5: Stop the playback and choose the "Retrospective MIDI Recording" function in the
"Playback" menu. You will now be asked if you would like to insert the accompaniment last
played at the point where you played or at the current playback marker position. We will
choose the first option: "Jam".

Step 6: Samplitude will now insert the part which was last played into the corresponding track
in this example, the retrospective MIDI recording will be placed on the bass track as a MIDI
object.

This preserves your creative moment and integrates it as a file / object into your project.

By the way, recording MIDI notes using the "Retrospective Recording" feature also works in
Stop Mode, i.e. without simultaneous playback of the arrangement.
 WORK ING IN THE PROJECT WINDOW 93

Working in the Project Window

Here you will learn how you can work efficiently with Samplitude.

Working in Virtual Projects

The keyboard shortcut "A" produces a range that covers everything.
To set a range between two markers, double click somewhere between the markers in the
marker list.
The keyboard shortcut "Shift + mouse movement" may be used to move the range.
Drag the range border to increase the range size to the left or to the right, for example to
adjust a loop.
Use the "Tab" key to switch between two display modes in virtual projects, and edit the
modes via "Shift + Tab".
The function "Objects -> Set objects" enables objects to be locked against unintentional
moving.
By pressing the right mouse button in various areas of the VIP, e.g. above an object, above
the "Record" and "Play" buttons, or above the scroll bars, a context menu with useful
functions appears.
Press the "Delete" key to delete selected markers and objects. If you drag out a range over
objects, press the delete key to delete the contents of the range.
Press "T" to split an object at the position of the playback marker. If a range over an object
is selected, cuts will be made at the edges of the range. If "Auto crossfade" mode is active, a
crossfade will be added to each cut procedure which may be optimized later with the
crossfade editor.
"Shift + mouse-click" on the 4 zoom buttons S1 to S4 at the bottom of the position list may
be used to save each separate zoom setting.
Double clicking an object in the VIP opens the object editor.
You can select multiple objects one after the other by clicking the lower half of the objects
while holding down the "Shift" key.
When holding down "Shift", all objects located between the first and last activated object
will be selected.
There are a number of functions for editing objects available via "Object -> Edit
object/crossfade", which can be executed quickly by clicking on the corresponding keyboard
shortcut.
The level and panorama curves can be linked to the objects below by pressing the
"Connect curves and objects" button in the mouse mode bar. This way, objects and the
curves that belong to them can be moved together.
Numerical values in dialog fields like the display of the playback position in the transport
window can be changed by clicking the corresponding field and holding down the left
mouse button while moving up or down. This turns the mouse pointer into a double arrow.
94 WORK ING IN THE PROJECT WINDOW

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

Samplitude features the following zoom functions:

Zoom with the Position Bar

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

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

Zooming with the Keyboard

The key combination "Ctrl + Arrow right" zooms out of the project; "Ctrl + Arrow left" zooms
in. Press "Ctrl + Arrow up" to zoom into the waveform display, while "Ctrl + Arrow down"
zooms out of the waveform display.

The zoom functions mentioned above can also be accessed through "View" > "Horizontal" or
"View" > "Vertical".

Zoom with the Scrollbar Buttons

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

A common feature of the preset zoom functions is that they center the playback marker in the
visible section, provided it is visible when the zoom command in the section is executed.

Zooming with the Mouse Wheel

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

The key combination "Ctrl + Alt" and the mouse wheel provides simultaneous horizontal and
vertical zooming.
 WORK ING IN THE PROJECT WINDOW 95

You can zoom in by rolling the mouse wheel upwards.

You can zoom out by rolling the mouse wheel downwards.

Zooming with the Mouse - Vertical Zoom

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

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

This allows you to position the playback marker precisely "in one go".

Step 1: Click on the the marker bar to roughly position the playback marker.

Step 2: Next, move the mouse downwards while holding down the mouse button to zoom into
the project.

Step 3: Correct the mouse position by moving it horizontally and then zoom out of the project
by moving the mouse upwards.

Deactivate this function at any time in the system settings ("Y -> Keyboard, Menu & Mouse ->
Mouse -> Disable zoom with vertical mouse dragging on the timeline").
96 WORK ING IN THE PROJECT WINDOW

Zoom Mode
Selecting the magnifying glass icon in the mouse mode bar activates "Zoom" mouse mode. The
mouse pointer turns into a magnifying glass.

Use the right mouse button to zoom out of the project, and click with the left button to zoom
into it. In this mode you can also hold down the mouse button and draw a rectangular area that
you want to zoom into.

Zoom Tool (Keyboard Shortcut: Z)

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

Zooming with the Scrollbars

The scroll bars can also be used to change the zoom stages. When the mouse pointer moves
over the left and right border of the horizontal scroll bar, it changes into a double arrow. This
can be used to move the scroll bar borders, which also changes the length of the section
displayed in the window. The length of the section will then always be displayed.

Similarly, you can use the vertical scroll bars to zoom into the track display.
 WORK ING IN THE PROJECT WINDOW 97

Zooming with the Overview Mode

Overview Mode offers you a view of all the objects in your project in a clear display underneath
the arranger track. You can activate overview mode with this button

or with the corresponding command in the "View" menu. The mouse pointer turns into a
magnifying glass in this screen area. The section chosen in overview mode determines the
display size and the position of the section shown in the arranger. You can adjust the section in
the arranger by clicking on the desired position in the overview.

With the arranger scroll bar you can also control the selected section in the overview.
98 WORK ING IN THE PROJECT WINDOW

To select the desired section, drag out a lasso around the overview using the mouse.

If another position in the overview is selected or a new lasso is drawn by left-clicking, the
horizontal (i. e. temporal) position in your arrangement will change.
 WORK ING IN THE PROJECT WINDOW 99

By extending or shortening the vertical scroll bar you can determine how many tracks will be
shown in the arranger.

Overview mode also displays the tracks in the arranger that are shown at the current zoom
level as a colored field.

Note: In single track virtual project (VIP) and WAV project a waveform will be displayed in
Overview Mode.
100 WORK ING IN THE PROJECT WINDOW

Scrolling
"Scrolling" refers to the navigation of the playback marker and display area within the
arrangement.

The visible section follows the playback marker in so-called Autoscroll Mode during normal
playback.

This means that the section "jumps" to the next time section shortly before the playback
marker moves off the right side of the screen (Page Mode).

In contrast, "Soft Auto Scroll" constantly moves the section under the playback marker so that
the marker remains in the middle of the screen.

You can switch between these scroll modes in the "View" menu.

The playback marker can also be moved using the arrow keys on your computer keyboard. If
you activate the grid function in Auto Scroll Mode, the playback marker will move a full grid
step every time you press the key.

If the grid is not activated, the playback marker will move one sample every time the key is
pressed. To scroll through the arrangement quickly, hold down the respective arrow key.

If you want to scroll with the arrow keys in Soft Auto Scroll Mode, hold down the ALT key
before pressing the arrow key.
 WORK ING IN THE PROJECT WINDOW 101

The "Home" and "End" keys move the playback marker and the visible section of the project
either to the very beginning or the very end.

If you want to move the visible section without moving the playback marker, you have the
following options:

Grid/marker bar: Moving the mouse pointer in the grid/marker bar while holding down the
"Alt" key enables you to move the visible section conveniently from left to right.

This method is very useful for navigating quickly within the arranger.

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

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

With the keyboard: Set up keyboard shortcuts for the scrolling commands in "View >
Horizontal / Vertical" to quickly navigate through the arrangement.
102 WORK ING IN THE PROJECT WINDOW

Working with Ranges

With ranges you can make a selection within a project that stretches over as many tracks as
you want. The selection area is not limited to object borders and can be extended well beyond
them.

Selecting a Range
Step 1: To select a range, set the mouse mode to "Range Mode" or move the mouse pointer to
the top half of an object and press the left mouse button.

Step 2: Move the mouse pointer within the object while holding down the mouse button. Now
you can see an inverted rectangle between the starting point and the current mouse position.

If you have activated the grid function, the range will automatically be adjusted to the set grid
value.

Step 3: Once you let go of the mouse button, the range will be selected.

The playback marker always automatically remains at the beginning of the range, even if you
can't currently see it.
 WORK ING IN THE PROJECT WINDOW 103

Step 4: To expand the range onto other tracks, click on the top half of the selected object again
and drag the mouse down vertically while holding down the mouse button.

You can also select a range by dragging in the grid bar. This will then be indicated by a different
color.

Double-clicking this area of the grid bar selects a range in the selected track; double-clicking
again selects the range over all tracks, and double-clicking once more restores the simple grid
bar selection.

It is important to note the following when doing this:

Playback can be started before or within the loop.

If you start playback behind a range, the loop button in the transport console will turn off.
Range ends can be adjusted during playback as well.
Click the range borders in the grid bar to position the playback marker at the playback
borders either at the beginning or end of the range.
The current playback range can be deleted by dragging to size 0.
The current range can be deleted by double-clicking the grid bar outside of the range.
The range remains in Loop Mode even if the playback marker is repositioned
In Loop Mode the entire project is looped if you haven't marked a range.
104 WORK ING IN THE PROJECT WINDOW

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

Reactivate Range
To reactivate an earlier range, use key combination "Shift- + Back arrow" (or "Edit" > "Range" >
"Reactivate last range"). By clicking on this command repeatedly you can restore the last five
ranges. You can execute the same function by clicking on the button with the left arrow in the
transport control.

Change Range Borders

You can change range borders by placing the mouse pointer on the edge of a range in the grid
bar until it turns into a double arrow. Now you can reset the range borders by dragging in the
horizontal direction.

If the existing range stretches over several tracks and you only want to adjust one border (start,
end, upper or lower border), click in the range and hold down the mouse button. Now drag the
mouse pointer in the direction you want to change. As soon as the edge of the existing range
has been crossed, the range edge will follow the movements of the mouse pointer. After you
have redefined the range, you can release the mouse button.

You can also adjust the range start using the left and right arrow buttons. To adjust the range
end you can use the arrow buttons while holding down the Shift key.

Horizontal Movement of a Range

Click with the left mouse button while holding down the Shift key inside an existing range on
the grid bar. Hold the mouse button down and move the range in the horizontal direction.
 WORK ING IN THE PROJECT WINDOW 105

Saving and Opening Ranges / Special Range Commands

Save selected ranges using the menu "Edit" > "Range" > Store range or with Alt + function
keys F2..F10.

Use "Edit" > "Range"> "Get range" or CTRL + F2 ... F10 to open the ranges again.

Note: Alt + F4 is excluded since it is a Windows shortcut for closing windows. Similarly "Alt +
F9" should not be used either, as it is used in Sequoia as a source destination edit command.
However, you can redefine this keyboard shortcut whenever you like through "File" > "Program
Preferences" > "Edit Keyboard Shortcuts and Menu".

Use Alt + F11 to save unlimited ranges and assign them names.

Working with Ranges: Examples

Moving several neighboring objects together

Step 1: Instead of selecting each object separately while holding down the "Ctrl" key, you can
select a range that contains all objects.

Step 2: Select the objects using the option "Object" > "Select Objects" > Select objects under
playback marker/range" and move them in unison. You can do this faster and more efficiently
by setting up a keyboard shortcut for this function.

Removing a section of a song from the project

If, for example, you want to remove a verse from a song, proceed as follows:

Step 1: Select the verse by dragging on the grid bar to create a range and activate all of the
contained tracks with a double-click.

Step 2: Now select "Edit" > "Delete" > "Ripple delete" to remove the verse.
106 WORK ING IN THE PROJECT WINDOW

Working with Markers

Markers are specified positions in the project on the marker bar. Markers allow you to jump to
specific points in the project. For example, in a song arrangement, it might be useful to place
markers at the intro, verse and chorus, etc. This makes it easy to navigate through the project to
the corresponding positions.

A project in Samplitude can contain any number of markers. The first ten number markers can
be saved using the key combination "Shift + number key" on the corresponding playback
marker position and directly opened again using the number keys.

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

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

You can rename markers by going to "Playback" > "Markers" > "Markers with names...".

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

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

If you right-click inside the marker list or press the "Marker" button to the left of the marker bar,
a context menu will appear that features the most important marker commands.

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

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

To quickly jump back and forth between the marker positions, use the function keys "F2" and
"F3" or the keyboard shortcut "Alt + W/Alt + Q" or select "Play / Rec > Move playback marker
> Marker left/right" from the menu.
 WORK ING IN THE PROJECT WINDOW 107

In addition to the standard markers, there are additional markers that can be used in
Samplitude as well:

Markers in audio files are saved in the file (*.wav) as audio markers/beat markers and are
available in this form in other applications as well. Audio markers/beat markers are linked to
the audio material and are visible on the upper side of an audio object.

The purpose of the audio marker/beat marker is to mark positions within the audio material.
This mark will therefore remain regardless of the positioning in the virtual project. Audio
markers/beat markers can also be made visible in the view options ("Shift + Tab") in the
"Objects" area by marking "Audio markers" with a check.

The audio markers/beat markers displayed in the virtual project object are identical to the
markers in the corresponding audio file. If you want to place a new project marker in an audio
file, as is done automatically when recording a new take, the audio markers/beat markers are
visible at the same position in the audio material in all related objects.

Note: All time information for the audio marker/beat markers relates to time positions in the
audio material and not to positions in the virtual project.

The triangular markers for CD burn functions: CD track markers are displayed in red, CD
subindex markers are green, and CD pause markers are blue.
Tempo markers signify a tempo change at a specific position in the project. Double-clicking
a tempo marker opens the "Tempo and Time Signature" dialog.
Bar markers change the time signature starting at the marker position, e. g. 4/4 beat to 3/4.
Grid position markers assign a specific musical position to a specific time position. This way,
the bar frame/grid and MIDI events can be easily synchronized with existing audio material.
108 WORK ING IN THE PROJECT WINDOW

Drawing Waveforms with the Pencil Tool

In "Wave editing (view page 40)" mode, use the pencil tool to draw or modify the waveform of
a file. Waveform display shows the suitable zoom level, and the mouse pointer becomes a
pencil. Changing the waveform in the wave window is useful if you want to edit very short
impulse disturbances manually.
 ARRAN G ING AND PRODUCING 109

Arranging and Producing

Loading Audio Files
Step 1: Press "W" on your keyboard or select "File > Load/Import > Load Audio file" from the
menu.

Step 2: Choose an audio file from your computer. If you check the "Auto-Play" box, the selected
file will be played straight away.

Step 3: Using the "Open" button, the selected file in the activated track is inserted at the play
cursor position.
110 ARRAN G ING AND PRODUCING

Step 4: Don't forget that you can always use the "Shift" and "Ctrl" keys to select multiple files at
once. Several options let you choose exactly how you want to order the files in the
arrangement.

Step 5: You can also load files using the file manager, which you access using the "Files" button
in the docker.
 ARRAN G ING AND PRODUCING 111

There are extra features available when using this file manager, namely special search and sort
functions. From the file manager, you can even drag and drop the selected audio files directly
into the arrangement.

Selecting Objects
1.To select object move the mouse to the lower half of the objects and click. The object color
should change to orange - this means it is selected.

2. You can select multiple objects and then move them all together by holding down the "Ctrl"
or "Shift" keys.
112 ARRAN G ING AND PRODUCING

Loop Mode
We now want to play a selected object in a loop. The Loop mode works on specified ranges, so
we first need to define a range for the object.

Step 1: Navigate to the menu function, select "Edit" > "Range" > "Edit Range" > "Range over all
selected objects".

Note:You can set a shortcut for this function to save you from going through the menus all the
time.

Step 2: Switch the track in which the object is located to "solo".

Step 3: Activate the "Loop" button in the transport console.

Step 4: Press the "Play" button in the transport console. Now you can hear the object on a loop.
 ARRAN G ING AND PRODUCING 113

Shift Objects
1. Move an object by click in the object's lower half and dragging it to the desired position.

2. Turn the grid on to place the object exactly according to the grid settings.

3. By clicking on the key symbol you can lock it and thus avoid accidentally moving it. The key
symbol changes color from yellow to red.

Duplicate Objects
1. Copy the selected object with the shortcut "Ctrl + D". Another way to duplicate objects is
using drag & drop while holding down the "Ctrl" key.
114 ARRAN G ING AND PRODUCING

Splitting Objects
Step 1: Mark an area at the position you wish to edit a note and then activate the object.

Step 2: Press "T" to split the object at the marked range.

Step 3: Of course, you can split an object at the position of the play cursor at any time.
 ARRAN G ING AND PRODUCING 115

Set Hotspot
The object beginning of your recording does not always match with the beat or range start in
the arrangement. This is the case when, for example, a recording contains an upbeat, or a snare
pickup. It may be helpful to work with hotspots/snap points to still be able to precisely move
the selected object in the arrangement within musical context.

Step 1: Place the play cursor at the object position where you want to create the hotspot/snap
point for your selected object. This is often a position in the object at which a beat or start of a
range should fall.

Step 2: Create an object hotspot at the position of the play cursor by selecting the object and
entering the short cut "Shift + H".

A vertical marking line should appear at the corresponding position in the object. This line
represents the newly created hotspot.
116 ARRAN G ING AND PRODUCING

Step 3: Activate the grid.

Horizontally move the object until it snaps in. The hotspot of the object is now placed at the
respective grid selection. In the example below, this is the start of a range.

We have applied the grid range here. You can also use the object range or beat range for the
object alignment at the hotspot.

Step 4: Place the play cursor at a new position within the arrangement. You make the selected
object jump from its hotspot position to any changed position of the play cursor by using the
function "Object hotspot to play cursor position (short cut: Ctrl + Alt + P)".
 ARRAN G ING AND PRODUCING 117

Step 5: To delete a hotspot, select the corresponding command in the object menu.
118 ARRAN G ING AND PRODUCING

Editing Objects in Spectral Mode

Spectral Mode can be used to remove noise interference from an object without audibly
affecting the wanted signal.

Spectral Mode is useful for removing all kinds of short, random sounds in music such as
popping, coughing, or even short drop-outs. Use the DeHisser or the DeNoiser to permanently
remove noises like humming, etc.

Step 1: First activate spectral display from the display options:

System options (shortcut "Y") > "Design" > "Display options"

 ARRAN G ING AND PRODUCING 119

Now you can see the audio signal in the spectral display.

The spectrogram displays the frequency proportions in a time curve. The volume of frequencies
is visualized by a color code. A continuous sound is displayed by a pattern consisting of
horizontal lines, which correspond to the sound components or overtones of the sound. A
distortion with an impulse quality is seen as a vertical line.

Step 2: Switch to the "Spectral Mode" mouse mode.

120 ARRAN G ING AND PRODUCING

Step 3: In the following example, we want to remove a percussion cracking noise from the loop.
We need to zoom in on the object a little and highlight the interference by drawing a rectangle
around it using the mouse.

Step 4: Use the handle to adjust the selected area.

 ARRAN G ING AND PRODUCING 121

You can listen to the results while editing.

Step 5: Click "OK". Now you should be able to see the result in the spectral display in the
arranger window: The colored signal in the spectrogram was removed.

We use an interpolation technique to prevent there being any audible gaps: parts of the wanted
signal around the interference are calculated at the highlighted section.

Tip: This also enables you to edit the left and right channels of the signal separately by selecting
only the upper or lower part of the spectrogram from the highlighted rectangle.
122 ARRAN G ING AND PRODUCING

Pitch Shift-/Time Stretch-Mouse Mode:

Object Handles

With the object handle you can use the Pitch Shift/Time Stretch mode to directly define the
object length/playback speed and pitch. In our example we want to adjust the pitch and length
of an individual bass sound.

Step 1: Zoom in to the place you want to edit. Now create a section above the passage where
the sound you want to edit is located. Then drag the mouse horizontally in the upper half of the
object.

Step 2: Using the Shortcut "T" cut the object at the range edges.

Step 3: Click on the clock symbol (Pitch shift/Time Stretch mode) in the mouse mode menu.

Step 4: Next we want to adjust the pitch of the cut object. To do so, we simply click on the
object. Now a handle will be visible in the middle of the object. If you hover the mouse over this
 ARRAN G ING AND PRODUCING 123

handle for a moment it will change into a double arrow. Drag vertically to change the pitch of
the object. Any changes made to the pitch will be displayed in positive or negative pitch factors,
in half tones.

Holding the "Shift" key will allow to make more precise adjustments.

Step 5: Since the bass tone dies away a bit early, we want to stretch the tone before the release
phase To do so, we will set the play cursor to the beginning of the release phase, split it using
the keyboard shortcut "T" and delete the separated object.
124 ARRAN G ING AND PRODUCING

Step 6: Close the gap by dragging at the bottom right-hand corner of the object. The
timestretch factor is displayed. If you activated the object grid, the stretched object docks
directly onto the subsequent object.

You have just stretched the bass tone without release phase, until the next tone begins.

Working with Tempo Markers in Pitchshift-

/Timestretch Mouse Mode
A new project first has a single "Master" tempo which can be defined in the transport console
or in the project settings (shortcut: "I").

You can define unlimited tempo changes directly in the Project Window at anytime. The tempo
marker is there so that you can set a tempo change at an exact position.

This is how to make tempo changes in Pitchshift-/Timestretch-mouse mode:

Step 1: Move the mouse pointer to the location where you want to set the tempo change, and
then whilst holding down Shift click on the Grid and Marker bar

As our project tempo is set to 100 beats per minute (bpm), the tempo marker also displays
100.00. The tempo markers are snapped to the next snap point when the grid is active. By
 ARRAN G ING AND PRODUCING 125

dragging the tempo markers and holding down "Alt", you temporarily deactivate the raster
function.

Step 2: Now hold down the "Shift" key and drag upwards starting from the Tempo Marker until
you reach the desired tempo. In our example we're dragging from the double arrow downwards
until we reach 58 bpm.

As you can see in the screen shots, the tempo change only affects the MIDI-Object in second,
the audio object in track three, however, is not automatically adjusted.

Step 3: In order to change the length of audio objects to the defined tempo changes, use the
pitchshift/timestretch mouse mode and drag them to the end of the rear object edge of the
audio object until this matches the original beat marking.
126 ARRAN G ING AND PRODUCING

Working with Bar Markers in Pitchshift-/

Timestretch-Mouse Mode (Tempo Mapping)
Finally, you might want to customize the graphical grid display of an existing piece of music
which was recorded without a (metronome) click.

Let's say, you recorded a bassline in the practice room without a metronome. Although it was
played in time you want to keep any mild tempo changes in there as a kind of human touch and
use the bass track as a foundation for the song arrangement. To do so, proceed as follows:

Step 1: Place the beginning of your clean-cut four-bar bass line precisely on the second beat in
the bar using the Grid function. If you turn the metronome on and the play the bass you will be
able to hear at exactly which points the audio object and the click go out of time.

Step 2: Move the cursor to the beginning of the second bar in the grid and marker bar. This
turns the mouse pointer into a double arrow. Now click whilst holding down the "Alt" button.
As you'll see the newly-created beat position is now exactly at the beginning of the bar. So far,
so good...
 ARRAN G ING AND PRODUCING 127

Step 3: We're also going to create a beat position marker on the third beat. Drag this with the
mouse onto the bass note which displays the start of the next bar of the recording.

You will see, how the whole grid moves closer to the actual notes.

Step 4: Finally we're going to set the grid to all other single bass notes within the same bar that
are not consistent with the beats of the metronome.

Step 5: In this fashion you can edit all four bars of the bass.

You have designed the grid according to the rhythmic feel of your rehearsed bass line. From
now on the metronome will play with the same rhythm, so you can time the following
recordings in the same way.

Note:If all your Tempo-/Pitch- and bar position adjustments are done, you can return to the
regular mouse mode.
128 ARRAN G ING AND PRODUCING

Object Editor - Snapshots

In Samplitude you have the option of comparing various object editor settings and copying
them from one object to another. There are four snapshot buttons on the upper right border of
the object editor which can be used to do save and apply various settings.

A/B Comparison of Object Editor Settings

Step 1: First we'll load a drum loop into our project through "File" > "Import..." > "Load Audio
file..." (keyboard shortcut: W) and open the object editor for the drum loop by clicking on the
object.

Step 2: Now we can edit the various parameters such as EQ, panorama etc. and insert plug-ins
into the object editor.
 ARRAN G ING AND PRODUCING 129

Step 3: Save the settings at an early stage as a snapshot by clicking on one of the snapshot
numbers. The button will then be highlighted.

If all of the snapshots are empty as in our example, you only need to click on a snapshot to save
the settings. However, if you want to replace a snapshot with new settings, hold down the Shift
key before clicking on the snapshot button. You can delete a snapshot by right-clicking on it.

Step 4: As you are working on your project you will want to make further edits to the object.
Save the next editing phase in the next snapshot slot. For our object "Endurance B" we'll add
more room effects through an additional plug-in slot and through the AUX 1 send.

Step 5: We'll also save these settings by clicking on the next snapshot slot.

Step 6: Now we can apply the various settings by simply clicking on the respective snapshot
button. The corresponding settings will immediately be loaded. This allows you to switch back
and forth between the settings to perform A/B comparisons of the object.
130 ARRAN G ING AND PRODUCING

Copy Settings to Other Objects

We can also use snapshots to quickly transfer object editor settings such as volume, panorama,
EQ, AUX sends, VST plug-ins or pitch changes to a different object:

Step 1 - Step 3: Same as above. First we'll load a drum loop into our project,

edit it in the object editor and save the settings as a snapshot.

Now we want to transfer these settings to a different object.

Step 4: To do this we'll load another drum loop object.

The corresponding object editor shows that we have not yet edited the object. But the
previously saved snapshot 1 is selected in the snapshot area.
 ARRAN G ING AND PRODUCING 131

Step 5: If you click on the "1" button, Samplitude will load the saved settings into the selected
object.

In this way you can quickly and conveniently transfer settings from one object to another.

Tips:

- If you activate the option "Apply to all", you can transfer the snapshot settings to several
selected objects with one click.

By right-clicking on a snapshot number you can also specify exactly which settings from the
snapshot you want to apply to the activated object. Here you have a choice between volume,
gain, panorama, EQ, AUX and plug-in settings.

For archiving purposes you can also save the object effect settings here as a file or load settings
that are already saved from a different file.
132 ARRAN GEMENT OF A SONG (EXAMPLE)

Arrangement of a Song (Example)

This workshop will show you how to edit and arrange audio material using Samplitude. It will
introduce you to all of the basic functions for editing process.

Load Project
Go to "File" > "Open" > "Virtual Project" to open the project file "WS1.VIP" which is required for
this workshop.

You'll find them in the folder "ProgramData" > "MAGIX" > "Samplitude" > "_Demo" >
"Workshop_Edit_Arrange" > "WS1.VIP".

Play Project
Press the play button and listen to the source audio material as a loop. To do this, press the
"Loop" button on the transport console and highlight the grid/marker bar by double-clicking
between marker 1 and 2. Playback can also be started using the space bar.
 ARRAN GEMENT OF A SONG (EXAMPLE) 133

Copy Object
As you can hear, the bass only plays for two bars. Activate the bass object by clicking on the
lower half of the "funky1" object. Its color changes to orange.

Now copy the object with "Object" > "Edit" > "Duplicate Objects". You can also use the
keyboard shortcut Ctrl + D or drag & drop while holding down the Ctrl key. Now your bass
should play until the end of the eighth beat.

Current status WS2.VIP

Copy and Paste a Range

The next thing to do is duplicate both of the first bars. To do this, draw out a new range to the
start of the third beat in the grid and marker bar.
134 ARRAN GEMENT OF A SONG (EXAMPLE)

Here the grid and snap function should be switched on in the project options (shortcut: I) and
"Snap to" and "Beats/Bars" should be selected.

Bars/Beats should also be selected in the transport window beside the play position display.

Now double-click in the selected area. The first double-click selects the range in the currently
selected track. By double-clicking again all tracks in this range will be highlighted.
 ARRAN GEMENT OF A SONG (EXAMPLE) 135

Now go to "Edit" > "Copy" > "Copy" (Ctrl + C) to save the selected range on the clipboard
136 ARRAN GEMENT OF A SONG (EXAMPLE)

and then use "Edit" > "Paste" > "Paste with Time/Ripple" (Ctrl + Alt + V) to insert it on the
right.

The part of the arrangement that comes after it will be moved two bars forward. Now use the
mouse to move marker "1" to the beginning of the project.

Current status WS3.VIP

 ARRAN GEMENT OF A SONG (EXAMPLE) 137

Duplicate the range between the seventh and ninth bars in the same way.

Current status WS4.VIP

Now if you double-click on the grid and marker bar between marker 1 and marker 2 while the
"Loop" button on the transport console is activated, you can play back your new arrangement
by pressing the space bar.

Mute Objects
To make the intro sound a bit more interesting, we'll introduce the bass later on. To do this we'll
mute the first bass object using Ctrl + M.

Zooming In and Out of the Project

Now click on the object beside it. For the following editing function we'll increase the display
size of the activated object. You can quickly and easily zoom in by left-clicking on the
grid/marker bar at the position of the current object, holding down the mouse button and
dragging it down vertically.

This way you can work very precisely in the waveform display. If you press the Ctrl key before
letting go, you will return to the original zoom level.
138 ARRAN GEMENT OF A SONG (EXAMPLE)

Split Object
Now move the cursor to the position 4:03. At this position in the bass track you can split the
object with the shortcut key "T".

The cut will create two objects. Zoom out of the detailed display slightly (to do this you can
drag on the right end of the scroll bar) and mute the longer object in front by going to "Object"
> "Edit" > "Mute Objects" or using the keyboard shortcut Ctrl + M.

Fading Objects In and Out

The remaining bass part ends the intro. You can add a fade in by dragging the top left handle of
the bass object to the right.

At the beginning of the chorus create a copy of the Wah guitar by dragging the mouse while
holding down the Ctrl button.

We want to let this fade out right after it is played. We can do this by dragging the object
handle (small square) on the upper right edge of the object all the way to the object start on the
left. This is how you edit the fade out phase of the object.
 ARRAN GEMENT OF A SONG (EXAMPLE) 139

Setting and Naming Markers

Now we want to set new markers. First we have to delete all of the old markers by clicking on
the marker button beside the grid and marker bar and selecting "Delete all Markers".

Now move the playback marker to the beginning of the arrangement by pressing the Home key
on your keyboard. Right-click on the marker button again and go to "Set Marker" > "Marker
with name...".(Keyboard shortcut: "?").

Give the name "Intro" to the marker at the beginning of the song and do the same for the
marker you want to create at the beginning of the first verse at the song position 005:01:000
by giving it the name "1st Verse".
140 ARRAN GEMENT OF A SONG (EXAMPLE)

Creating and Naming a Track

To ease the intro into the verse a bit more smoothly, insert an additional bass part and add it on
its own track. To do this, click on the existing bass track, then right-click on the track header
and select "Insert/Delete Tracks > Insert Track(s)" from the context menu.

Double-click on the name field of the new track and enter the track name "Bass2". Confirm this
by pressing Enter.

Loading Audio File and Adding them to the

Arrangement
Now move the playback marker to the bar position 003:01:000 and open the audio import
dialog through "File > Import > Load Audio file" (keyboard shortcut: "W").
 ARRAN GEMENT OF A SONG (EXAMPLE) 141

Click on the file "work_1.wav" in the "Workshop_Edit_Arrange" folder.

When you click on "Open" the bass object will appear on the new track at the position of the
playback marker. Now create a "fade in" for the inserted object and listen to the result.

Current status WS5.VIP

142 ARRAN GEMENT OF A SONG (EXAMPLE)

Multiple Copying of Objects

To expand the song structure, copy the objects in the first six tracks from the first verse. To do
this, position the mouse pointer in the lower part of the first drum loop object of "1st verse" in
track 1 and select "Ctrl + Alt + L" to activate the object lasso. Now drag the mouse to the right
and down to open the object lasso. All objects in the lasso are selected when the mouse button
is released.

You can duplicate the objects you selected by going to "Object" > "Edit" > "Duplicate Objects
multiple...".
 ARRAN GEMENT OF A SONG (EXAMPLE) 143

In the dialog that follows, enter "3" as the number of objects.

The newly created duplicates now link up with the existing objects. To display an overview of all
the objects, you can use the keyboard shortcut "Ctrl + Alt + Arrow Up".
144 ARRAN GEMENT OF A SONG (EXAMPLE)

Now copy a conga object to the start of the 13th bar. With "Object" > "Edit" "Build Loop Object"
(Ctrl+L), the handle at the bottom right of the selected object becomes colored. By dragging a
handle to the right with the mouse, you can create loop object which you can set to any length
you want. Lengthen the conga loop this way until you reach bar 37.

Current status WS6.VIP

Adding Several Tracks

Now create three new tracks at the end of the arrangement by going to the "Track" menu >
"Insert new Tracks" > "Add several Tracks"

and entering "3" as the number of tracks you want to insert.

To continue to view all objects in the overview vertically, click on the "Overview Mode" button
on the lower toolbar.
 ARRAN GEMENT OF A SONG (EXAMPLE) 145

Positioning Audio Files in the Arrangement

Using the keyboard shortcut "W", first load the audio files "soloB1", "solo1" and "soloA1" one
after the other into track 8 at beat positions 25, 29 and 33. Change the track name to
"GuitSolo".

Similarly you can change the name of track 9 to "AdLib", load the audio file "2adlib1.wav", and
move copies of the object to the start positions of the bars 20, 28, 35, and 36.
146 ARRAN GEMENT OF A SONG (EXAMPLE)

Finally, name track 10 "Organ" and load the audio file "66organ_1.wav". Now build a looped
object in track 10 with Ctrl + L and place the loop on bars 21 to 36 of the VIP project.

Adjusting Object Volume

The final step is to adjust the volume of the vocals, guitars, and keyboard using the upper
middle handles of the respective object

or by setting the volume of the corresponding track with the volume fader in the track header
or the track editor.

Current status WS7.VIP

Try experimenting with the arrangement even further by extending the chorus, middle eight
and outro or adding effects and automation.
 TRACKS 147

Tracks
Create AUX Bus/Effect Send
"AUX" is an abbreviation that stands for auxiliary and refers to something that helps by
providing backup or support. An AUX bus provides an additional busbar that can be fed from
several other sources, e. g. to control effect sends.

Step 1: Create an AUX bus by clicking "Track" > "Insert new track" and select "New AUX bus".

Or click below the last track in the track box area

and add a new AUX bus here.

148 TRACKS

Finally, you can also use the track manager for this: Right-click in the free area of the track
manager and select "Insert AUX bus".

The most comprehensive way of adding or removing multiple tracks, AUX or submix busses is
in the project and mixer configuration.

You can open the "Project Options - Mixer Setup" dialog of the project options using the
keyboard shortcut "Ctrl + Shift +M".
 TRACKS 149

You can create or remove different track types in this window. This is particularly useful if you
are creating a new project template from scratch. You can then save the configuration as a
preset.

Step 2: Now put the reverb plug-in "Variverb" in the first plug-in slot of the newly created
auxiliary track.
150 TRACKS

Of course, you can also integrate the VariVerb into the AUX channel as an insert in the mixer
(Shortcut: "M").

Step 3: Select "AUX" > "Plate B" as a preset in the VariVerb.

 TRACKS 151

Step 4: Start the playback. Now you can give the bongos some hall effect by dragging the AUX
send signal in the corresponding channel to the right.

The AUX send signal can also be adjusted in the track editor.
152 TRACKS

Track Name
Now we want to give a track another name.

Double-click the previous track and enter a new name.

->

Track Color
Also select a colour for the track too.

Step 1: To do this, we are going to click the area between the track header and the arranger.

Step 2: Select the most suitable option from the different color palettes and tones. The track
color is adopted as default from the Track objects.

>
 TRACKS 153

Hide Tracks
Our arrangement consists of 16 tracks, at the moment; however, we do not need all of these.

They just take up place in the mixer. To quickly and easily hide tracks and mixer channels, do
the following:

Step 1: Click the "Tracks" tab in the manager/docker.

154 TRACKS

Step 2: Use the "Shift + left-click" key combination to select the tracks you want to hide.

Step 3: By clicking a track check box in the corresponding column "arrangement" and "mixer",
you simultaneously remove all the ticks for the selected arrangement tracks and mixer
channels.

The tracks in the arrangement and mixer are now no longer visible.

Of course, you can reverse this process to make tracks and channels visible again.
 TRACKS 155

Freezing/Bouncing MIDI Tracks

Step 1: Create a new MIDI track by right clicking in the track header of the last track and
selecting "New MIDI Track".

Step 2: In the track editor of the newly created MIDI track, under "Plugin", select the MAGIX
synth "Revolta 2".
156 TRACKS

Step 3: In the "Object" menu, select "New MIDI Object" and select a MIDI template in the next
dialog.

Step 4: If you now switch the MIDI track to "solo", you will be able to listen to the MIDI object
with the corresponding Revolta setup.
 TRACKS 157

Step 5: Now "freeze" the MIDI object in an audio object. To do this, select an area for the length
of the MIDI object and, using the small arrow, select "Track Freeze" in the track header.

The track is now frozen. When freezing the track, the MIDI data has been converted into audio
data. The object and track effects are also included, which reduces the CPU load resulting from
CPU intensive effects and plug-in calculations.
158 TRACKS

Step 6: You can return to the MIDI object by clicking "Unfreeze Track".

Step 7: Another method of conversion is called "Trackbouncing". Open the corresponding

dialog by navigating to the menu "File" > "Trackbouncing" and then select the options "Source"
> "All audible tracks" and "Create" > "Create new object in VIP".
 TRACKS 159

Step 8: Click "Ok" and give the audio file you want to create a name.

Step 9: The new "bounced" audio object now appears in a new track below the MIDI object.
160 M ID I FUNCTIONS

MIDI Functions
Create a New MIDI Object
All of the commands for MIDI objects can be found in the "Object" menu.

Step 1: To insert a MIDI object at the playback marker position, select the command "New
MIDI Object" in the "Object" menu.

Step 2: In the dropdown menu you can choose an appropriate template for the MIDI object
The selection includes templates for drum parts, MIDI phrases such as filter sweeps, and empty
MIDI objects of varying lengths.

To create a MIDI object with a customized length, proceed as follows:

 M ID I FUNCTIONS 161

Step 1: Drag out a range in the grid and marker bar that has the length that the MIDI object
should have. We'll go with a length of three and a half bars.

To set the range precisely we'll switch on the grid and set it to four beats per bar.

Step 2: In the "Object" menu, select "New MIDI Object in the Range".

The new MIDI object will appear in the track.

162 M ID I FUNCTIONS

Renaming a MIDI Object

Step 1: Open the MIDI object editor by right-clicking the newly recorded MIDI object to open
the context menu and select the option "Object Editor".

Step 2: In the MIDI object editor, you can rename the MIDI object in the corresponding field.
 M ID I EDITORS 163

MIDI Editors
Drawing Events in the Matrix Editor (Piano
Roll)
Step 1: First we'll create a MIDI object by going to "Object" > "New MIDI Object". Select
"empty 4 Bar" to create an empty four bar MIDI object.

Step 2: Double-clicking on the MIDI object opens the Matrix Editor in the Docker. If you want
to remove the display from the Docker, simply double-click on the MIDI Editor tab or drag &
drop it

The Matrix Editor is particularly good for displaying melody sequences.

164 M ID I EDITORS

Step 3: First set the synthesizer that will play the MIDI notes. In the field for the MIDI output
device we'll choose the "Vita" synthesizer which is included with Samplitude. This will be our
software instrument for the current track and we'll use the preset piano sound.

Step 4: Now we can set the grid quantization value to 1/8 notes and draw our melody with the
Pencil Tool.
 M ID I EDITORS 165

Step 5: The event info line displays information for each of the selected MIDI notes (also known
as "events") such as MIDI channel, pitch, velocity and length. You can change the values here
by clicking on the corresponding field and moving the mouse pointer (now displayed as a
double-arrow) up or down.

You can also use the mouse to move the event itself and adjust the pitch, note beginning and
note ending according to the grid settings.

If you hold down the "Alt" key while making your changes, the grid is temporarily unlocked and
you can adjust the note length any way you want.
166 M ID I EDITORS

Step 6: You can also create a new event using the event info line. In this case, make sure that
no existing event is selected. Now you can enter the various parameters such as pitch, velocity,
position and length. When you click on the "Insert" button, a new MIDI event will appear in the
Matrix Editor at the corresponding playback marker position.

Note: You can use the following keyboard shortcuts to move selected MIDI events with the
computer keyboard:

Event pitch higher Arrow up

Event pitch down Arrow down
Event to left (relative to grid setup) Ctrl + Alt + 1
Event to right (relative to grid setup) Ctrl + Alt + 2
 M ID I EDITORS 167

Step Recording
Another method for inputting MIDI sequences note by note is "Step Recording" using the
computer keyboard or the MIDI keyboard.

Step 1: Activate the "Step Recording" button in the Matrix Editor.

At the current playback position a marker indicates the scope of the octave where the following
input will take place.

Using the keyboard shortcuts "Ctrl + Arrow up" and "Ctrl + Arrow down" you can move the
input octave up or down.

Step 2: First we'll move the playback marker to the beginning of the object. This can be done
using the keyboard shortcut "Home" or by scrolling with the "Page up" key.
168 M ID I EDITORS

Step 3: In our example we want to enter quarter notes. To do this we'll turn on the grid and set
the grid quantization to 1/4 notes. For the length quantization we'll select "#". This symbol
means that the value for the note length corresponds to the grid quantization, in our case
quarter notes.

Step 4: Now press the "C" key on your computer keyboard. As you can see, a quarter note in
the pitch of "C1" is created and the step recording marker jumps to the next beat in the Matrix
Editor.

Now you can enter more quarter notes using the D, E, F, G, A and B keys.
 M ID I EDITORS 169

Step 5: Now we want to enter a "C2". To do this we'll use the keyboard shortcut "Ctrl + Arrow
up" as mentioned above.

Step 6: If you want to enter a different note length, you can adjust the grid quantization value
accordingly which will also change the length quantization. We'll choose 1/8 notes

and set a 1/8 pause after each 1/8 note using the Tab key.

Step 7: And now we'll create some chords. Hold down the Shift key and enter the various notes
that will make up the chord (in our example C minor). You'll notice that the playback marker
doesn't jump ahead when the Shift key is held down. This is how you create chords.

In Step Recording Mode you can also enter the individual steps using your MIDI controller
keyboard.

One last tip: Step recording can make entering drum notes in the Drum Editor much easier.
170 M ID I EDITORS

Melody Inversion
Step 1: First we will create a new object by going to Object > New MIDI Object > MIDI
Phrases > MIDI6 Octave Seq 16th. Listen to the sequence. This phrase works well with a
piano sound and we can generate that with the MAGIX "Vita" synth.

Step 2: Double-clicking on the MIDI object opens the MIDI editor either in the docker or in its
own window. If you want to remove the display from the docker, click on the MIDI editor tab
and drag it out or simply double-click on the tab.
 M ID I EDITORS 171

The corresponding dialog window will now appear in its own window. You can return the
window to the docker through repeated double-clicks on the individual window or by dragging
the window onto the tab bar.

Step 3: In the MIDI editor select the MIDI function "Melody Inversion".
172 M ID I EDITORS

When the MIDI editor is docked the menus can be opened by right-clicking in an open area of
the toolbar.

The result is a mirroring of the mid pitch of all the notes.

As you can see, the arrangement of the entire MIDI sequence in the MIDI editor and MIDI
object has been reversed with respect to pitch. Each interval in the note sequence that was
directed upwards will now be directed downwards and vice versa.
 M ID I EDITORS 173

Step 4: You can also invert individually selected MIDI events at the last selected note. To do
this we'll click the last four events one after the other while holding down the Ctrl key. The last
selected note in this example is C3.

Step 5: In the MIDI editor select the MIDI function "Melody Inversion".

As you will see and hear, the last four notes with a C3 pitch have been mirrored upwards.
174 M ID I EDITORS

Step 6: Undo the last step using the key command "Ctrl + Z" and select the same four events
again, except this time with C1 as the lowest tone.

Step 7: Now apply the MIDI function "Melody Inversion" again.

This time the events with a C1 pitch have been mirrored downwards.
 M ID I EDITORS 175

Retrograde (Reversed)
Step 1: First we'll create another MIDI object ("Object" > "New MIDI Object" > "empty 1 Bar")
and then open the MIDI editor to draw a pentatonic note sequence as 16th note steps (C - E - F
- A - B - C) with the pencil tool.

Step 2: Switch back to combi tool mode and make sure that no events are selected.
176 M ID I EDITORS

Step 3: In the MIDI editor select the command "MIDI Functions" > "Retrograde (Reversed)".

As you will see by the pattern of the note sequence, the events have been reversed. This means
that the sequence of notes will be played backwards. The result is a mirror image at the vertical
axis.
 M ID I EDITORS 177

Step 4: For this example we only want to play back the notes on the third beat in reverse again.
To do this we'll use the combi tool selection function to draw a rectangle around these notes

and select the option "Retrograde (Reverse)" again.

This procedure allows you to play back any section of the MIDI sequence in reverse.
178 M ID I EDITORS

Remove Overlaps
Step 1: Double-click on the Matrix Editor to open the recorded MIDI object.

Step 2: To cut overlapping notes select the option "Remove Overlaps (polyphonic)" from the
"MIDI Functions" menu.
 M ID I EDITORS 179

This cuts any overlapping sounds at the start of the following note.

Legato
Legato means "joined" i.e. there is no pause betweens notes. This connects the MIDI events
together and makes the piece gentle and even.

Select "Legato" from the "MIDI Functions" menu. This extends all MIDI events until they reach
the next note.
180 M ID I EDITORS

MIDI Velocity
Now we want to increase the velocity of all MIDI events. To do this we need to select all notes
with "Ctrl + A" and increase the velocity in the controller editor. This turns the mouse pointer
into a double arrow. Initially the different velocities will increase relative to one another. If an
event has already reached the maximum of 127 the rest of the notes will also strive to reach this
level.

Alternatively you can open the velocity dynamics option from the "MIDI Functions" menu,
enter 127 into the required field and then select "Set value" to set the velocity of all the selected
notes to the highest velocity.
 M ID I EDITORS 181

Multi Object Editing

With "Multi Object Editing" you can display and edit MIDI events from multiple MIDI objects
together in the MIDI editor.

Step 1: Select multiple MIDI objects in the arranger and open them in the MIDI editor either by
double-clicking on the selected MIDI object or by clicking on the MIDI editor button in the
docker.

Now you'll see all of the events from the selected MIDI objects in the opened MIDI editor.

If you want to display the MIDI editor as a separate window outside the docker, simply drag the
tab out of the docker or double-click on the MIDI editor tab.

You can return the MIDI editor to the docker through repeated double-clicks on the individual
window or by dragging the window onto the tab bar.
182 M ID I EDITORS

Step 2: You can add further MIDI objects for Multi Object Editing in the MIDI editor by clicking
on them in the arranger while holding down the Shift key.

Step 3: To clearly distinguish the events of the different MIDI objects select Options > Use
Track Colors in the MIDI editor menu.

If you open the MIDI editor in the Docker, the MIDI menu can be opened by right-clicking on an
open area in the toolbar.
 M ID I EDITORS 183

The colors make it easier to tell the various MIDI events from the individual MIDI objects apart.

Step 4: If you click on the arrow next to the object/track display, you will see all the MIDI
objects and MIDI tracks in Multi Object Editing mode

listed

one after the other. The currently selected object or track is indicated by a checkmark.
184 M ID I EDITORS

Step 5: To add MIDI events to an object, first click on the existing MIDI event in this object.
This activates the object ("MIDI Break D" in our example). Now you can draw new MIDI events
in the object using the pencil tool.

Step 6: Using the option "Current Object (highlight range and notes)" you can highlight the
entire range of the current object. Areas outside the current object will be grayed out and the
notes of other objects will be paler but still selectable.

You can activate this function in the MIDI editor menu under "Options" or with the button
behind the object selection field.
 M ID I EDITORS 185

Step 7: To activate the display filter for the current track, click on the button "Track Display
Filter" or go to "Options" > "VIP Track Filter" in the MIDI editor menu.

Events on other tracks will then be grayed out and can no longer be activated or moved while
the track filter is active. This also reduces the display in the controller editor to the veIocity
values for the current track. If the option "Hide filtered events" in the "Options" menu is also
activated, MIDI events that are not current will be made invisible.
186 M ID I EDITORS

Step 8: If you want to switch the display filter to a different MIDI track, select the MIDI track
from the track display list.

Step 9: You can also copy and paste MIDI events from one object to another. To do this, drag
out a rectangle over the events in the activated MIDI object and copy them with the key
command "Ctrl + C".
 M ID I EDITORS 187

Step 10: Now switch to a different MIDI object (here: Robota MIDI) and paste the copied
events at the playback marker position with the key command (Ctrl + V).

Tip: You can easily adjust the pitch of the activated events using the "Arrow Up" and "Arrow
Down" keys.
188 ADVANCED PRODUCING

Advanced Producing
Creating Spaciousness with Reverb
To create a natural spaciousness in your mix you will have to consider which types of reverb
you will use on the various instruments and instrument groups.

For solo and lead instruments you will probably want to go with a reverb that simulates a large
space and has a lot of reverberation. In contrast, accompanying instruments normally have
reverb simulating a small space with shorter reverberation time and a lower reverb portion.

You will also want to use special reverbs with non-linear characteristics for instruments that are
especially prominent.

You can also consider adding a reverb effect to the stereo master.
 ADVANCED PRODUCING 189

Reverb for Drums

Normally, the individual components of a drum kit are recorded with microphones very close to
the sound source, which means that there is usually very little room effect on the recorded
tracks. Only the overhead microphones or additional room microphones convey the reverb
effect created by the room.

For the individual drums, a reverb that simulates a small room is recommended, e. g. "Small
Room" or "Ambience". The short delay times of the "Early Reflections" convey the spatial sound
without reverberation. The density of the reverb in the small space also adds a bit more power
to the sound.

Step 1: To create our small drum space, we will set up an AUX bus (menu "Track" > "Insert new
Tracks" > "New AUX Bus"), select the eFX_Reverb as our reverb device
190 ADVANCED PRODUCING

and use the preset "Reverb_Drum_Room".

We will change the delay value from 3 ms to 13 ms to bring the snare signal a bit closer. The
diffusion value of 100% creates a soft, thick reverb. The low reverb portion of 20% also ensures
that we perceive the reverb as being relatively close.

Step 2: Now we can turn up the AUX 1 sends for the individual drum tracks until we hear that
each instrument has a pleasant three-dimensional and powerful spatial sound.

Be careful not to add too much of this effect to the bass drum, because reverb in the low
frequencies can end up drowning the mix.

Step 3: For the snare drum, we will use a special effect known as "gated reverb". This non-linear
effect combines high effect portion and powerful, sizzling sound with clearly audible
reverberation that ends abruptly after a short time.
 ADVANCED PRODUCING 191

To do this, we will set up another AUX bus, select the VariVerb as our plug-in and use the
preset " Drums/Percussion > Snare Drum Plate A".

Experiment with the decay time. The faster the song is, the shorter the decay time should be. In
our example, we'll leave it under one second at 900 ms. The low pre-delay value ensures that
we perceive the signal as being far away.

Step 4: As in Step 2, we'll adjust the send level for the snare effect.
192 ADVANCED PRODUCING

Step 5: Now we want to simulate a room sound for the entire drum kit. To do this, we'll add a
bit of natural space to all of the drum instruments. Again we'll set up another AUX bus, insert
the Room Simulator as our plug-in and use the preset "Miscellaneous >
Large_Room_2_Digi.WAV".

We'll also decrease the low frequencies to make sure that the kick drum does not overpower
the mix in the bass range. A slight decrease in the early reflections creates a more diffused
reverb effect.

Step 6: As in steps 2 and 4, we'll adjust the send level for the room simulator.

Reverb for Bass?

Be very careful when using reverb on bass. Low frequencies with reverb tend to make the mix
muddy. Instead, try using a chorus effect on the bass (e. g. "eFX_ChorusFlanger" >
"Chorus_Classic_Bass"). This will give the signal a pleasant beat.
 ADVANCED PRODUCING 193

Reverb for Guitar

When using reverb on guitar there are many different options, from open spaces (e. g. VariVerb
Pro 51: acoustic hall HQ) all the way to bright plate reverbs.

Step 7: For our guitar sound we'll use the classic spring reverb. This slightly metallic sounding
reverb has been used in countless rock songs and probably sounds quite familiar to you.
194 ADVANCED PRODUCING

The "tension" knob can be used to adjust the tuning of the springs and "tone" and "damping"
control the sound characteristics and the reverberation characteristics respectively. Insert the
MAGIX VANDAL plug-in into AUX 4 as follows:
 ADVANCED PRODUCING 195

and turn up the AUX send level.

Reverb for Vocals

Finally we come to the lead vocals. Considering that the vocals are the usually the focal point of
most songs, it is best to use the highest quality reverb that is available.

Step 9: Again we'll set up another AUX bus. This time we'll use the Room Simulator preset
Medium Halls > Hall Echo 2.9 s. To get a better sound impression up close we'll set the pre-
delay to 15 ms, but we'll reduce the early reflections slightly so that the vocals don't appear to
be too close to the listener's ear.
196 ADVANCED PRODUCING

As with all other effect sends we'll adjust the vocal AUX send to the mix.
 ADVANCED PRODUCING 197

Reverb for the Stereo Master

To add that final touch you can also add reverb to the stereo master which means that it will be
applied to all of the tracks and can help to make the mix more homogeneous.

Step 10: In the master section of the mixer we'll insert the Room Simulator plug-in,

find the preset "Miscellaneous > REVROOM2.RAP" and adjust the reverb portion until our
stereo master signal sounds pleasantly enhanced and the unified room effect becomes
noticeable.

And one more final tip: Feel free to experiment with other effects in your AUX sends. A
compressor can be a good way of condensing the reverb signal. Additional amplifier
simulations can be used to create some lively distortion and with further EQ and filter settings
you can achieve your own unique spatial reverb effects.
198 ADVANCED PRODUCING

Depth Layering
Depth layering is used to set up the order of the audio signals in space from front to back. This
also helps to create a transparent mix. During mixing the simulation of various distances leads
to a spatial positioning of the instruments. This effectively separates them from one another.

To create effective depth layering we'll adjust the volume, sound character and spatial
impression of the instrument tracks:

Volume
First we'll make a rough mix of our song. Here we'll adjust the volume of each track according
to their position in the spatial sound image. Depth layering comes into play here because
instruments that are louder are perceived by the human ear as being closer while quieter
instruments are perceived as being further away.

Obviously we'll set the volume of the most important signals louder than the accompanying
instruments.

Note: At this point you can also set the stereo panorama positions for each instrument in the
mix. At this point we won't expand on this topic because the panorama settings are not that
important for creating spatial depth layering.
 ADVANCED PRODUCING 199

Spectral Distribution with the Equalizer

An important law of acoustics that can be used for depth layering is the fact that low
frequencies have a larger spatial range than high frequencies. The result of this is that the signal
source sounds more muffled the further away it is.

We'll make use of this natural effect in our mix by using EQ to cut the high frequencies of the
instruments that will be at the back of the mix. To do this we'll use a hi-cut (a.k.a. low-pass)
filter.

Removing the high frequencies pushes the accompanying tracks into the background and
prevents them from competing with the lead instruments. This gives the mix more clarity and
structure.

Reverb/Delay
The reverb portion ("Dry/Wet") and the ("Early Reflections") play a big role in the spatial
perception of the sound.

For sound sources that are close, the reverb portion is usually low and the early reflections
reach the ear noticeably later than the direct sound. In contrast, sound sources that are far
away usually have a high reverb portion and the early reflections reach the ear almost
simultaneously with the direct sound.

Here the time required for the perception of the early reflection is know as "Pre-Delay".

When reverb effects are used to create depth layering, instruments with high pre-delay values
and a small reverb portion are perceived as being close, whereas instruments with low pre-
delay values and high reverb portions are perceived as being far away.
200 ADVANCED PRODUCING

Step 1: First we'll create three AUX busses (right-click the track header > "Insert/Delete
Tracks" > "New AUX Bus")

and set them up with three different reverb effects: Room Simulator, eFX_Reverb and VariVerb.
 ADVANCED PRODUCING 201

Step 2: Now we'll set up the Room Simulator on the first AUX 1 send so it can be used for
instruments that should be perceived as being close.

For this example, we'll use the following settings:

Preset: Studio & Rooms / Close Room - 1.3s - basic

Pre Delay: 25ms

Wet: -94 dB

Step 3: For our vocal track, we'll set the AUX 1 send to 0dB (Unity Gain) and pre-fader
202 ADVANCED PRODUCING

and then we'll adjust the volume of the AUX 1 channel during playback until the vocals sound
natural at the front of the mix.

Step 4: Now we can adjust the signals that will be in the middle ground of the sound image. We
can do this by setting up the eFX_Reverb on the AUX 2 send in the following way:

Preset: Small Hall

mix: 50%

Pre Delay: 10ms

 ADVANCED PRODUCING 203

Diffusion: 50%. With this parameter, you can simulate diffusion on irregular walls and objects.
The higher the value is set, the softer and denser the reverb will be and the effect of the reverb
will be more noticeable in contrast to the direct signal.

Step 5: Adjust the pre-fader AUX 2 sends for the relevant tracks starting at 0dB (Unity Gain)
and set the volume for the AUX 2 channel until the corresponding signals are positioned in the
middle ground of the sound image.
204 ADVANCED PRODUCING

Step 6: Finally, we'll edit the settings for the signals that will be at the back of the sound image.
To do this, we'll set up the VariVerb on the AUX 3 send in the following way:

Preset: Reverbs > Long Hallway

DRY MIX: -inf (0%)

WET MIX: 0dB (100%)

EQ LO: + 5 dB

EQ HI: -18 dB

PREDELAY: 1.5 m (4ms)

DIFFUSION: 87%
 ADVANCED PRODUCING 205

Step 7: To finish off, we'll adjust the pre-fader AUX 3 sends for the relevant tracks starting at
0dB (Unity Gain) and set the volume for the AUX 3 channel until the corresponding signals are
positioned at the back of the sound image.
206 ADVANCED PRODUCING

Parallel Compression (New York

Compression)
Parallel compression is a popular, everyday studio technique. It guarantees a transparent mix by
retaining the audio characteristics of uncompressed signals.

Using this method, also known as New York compression, you can avoid overcompression
while still having instruments sound powerful and dynamic in the mix

Parallel Compression of a Drum Loop

Step 1: Our drum loop is on track 1. Create an AUX bus below it (Menu > Track > Insert new
Tracks > New AUX Bus) and load "Dynamics" in the plug-in slot.

Step 2: In the AUX section of the drum track we're going to send the drum loop signal to our
compression bus AUX 1 with the send level set at 0.0 (unity gain). Open the context menu by
right-clicking then change the send signal to Pre Fader. Now the send signal and the drum loop
track fader are independent.
 ADVANCED PRODUCING 207

Step 3: Start the drum loop and open the mixer view.
208 ADVANCED PRODUCING

Now you should see the parallel compression signal in the "AUX 1" channel, next to the original
drum loop. Set the "AUX 1" channel to "Solo" if you want to make adjustments that only affect
the parallel compression settings.

Step 4: Now we're going to focus on our New York compression settings. Set the "Dynamic"
plug-in mode to "Compressor".

You can be more extreme when setting the "Threshold" and "Ratio" parameters than you would
be with regular compression because parallel compression only serves as a mix effect for the
original signal.
 ADVANCED PRODUCING 209

Our drum loop's threshold is set at -40 dB and has a ratio of 6.40 : 1. We'll keep the attack
quite short at 0.3 ms and the release time in the middle range, at 120 ms.

By itself the compressed channel can easily sound overcompressed.

Step 5: Next we're going to mix the "Drums" and "AUX 1" channels together. When you've
found the right mix levels the drums will sound powerfully compressed, yet transparent and
dynamic.
210 ADVANCED PRODUCING

Parallel Compression of Combined Drum Tracks

Step 1: When each individual drum sound has its own track you need to create a subgroup track
(menu "Track" > "Insert new Tracks" > "New Submix Bus"), then route each drum instrument
output to the newly created group. We'll call it "Drum Group".
 ADVANCED PRODUCING 211

Step 2: In the AUX section of the drum group, we're going to send the drum loop signal to our
compression bus AUX 1 with the send level set at 0.0 (unity gain). Open the context menu by
right-clicking, then change the send signal to Pre Fader.

This allows you to adjust all drum instruments using one send controller when compressing.
212 ADVANCED PRODUCING

Step 3: As a rule, this level of parallel compression will affect everything from the bass drum to
the snare proportionally. Try changing the compression level of the kick or snare drum
independently. Take the kick or the snare out of the drum group and route its output directly to
the stereo mix.

If, however, you're looking to achieve a really natural sounding cymbal, don't compress the
overhead channels. This way you can modify the entire parallel compression sound image
quickly and effectively.

Step 4: We can include the parametric equalizer in the AUX channel strip if we want to further
manipulate the parallel compression. Because we want to make changes to the frequency levels
before compression, we should adjust the effect routing accordingly. Press the "FX" button on
the "AUX 1" channel.
 ADVANCED PRODUCING 213

In the effect routing window, use the arrows to move "Equalizer" above "Dynamics"

Step 5: Open the EQ window by right-clicking the corresponding button in the AUX channel.
214 ADVANCED PRODUCING

Step 6: Now we're going to experiment with the equalizer's frequency response. A high pass
could make the sound image more transparent, and changing the bandpass settings could
improve the overall audio characteristics.

Alternatively, you could use an extreme narrow-band notch filter, and accordingly adjust the
attack and release times in the compressor to create a pumping effect.
 ADVANCED PRODUCING 215

Advanced Parallel Compression

Now we'd like to introduce you to a special kind of parallel compression that is popular with
some of the top mixing engineers in the business and is particularly good for creating
interesting vocal tracks. This type of parallel compression involves routing the signal through
five compressors (or more in some cases) and mixing the output signals to create the final
sound.

In contrast to simple compression of the vocal track using an insert, this method provides you
with many more options for mixing the various compression characteristics to create just the
right sound for your vocals and really bring your mix to life. Another advantage is that you can
reduce the dynamic range without cutting off too many of the transients.

Step 1: First we want to create five AUX tracks under the vocal track. To do this, select "Track
Menu > Insert new tracks > Add several tracks" and enter 5 in the input field for "Number of
new tracks".

Step 2: Open the track settings for Track 2 by right-clicking in the name field and check the box
for "Track Type: AUX Bus".

Step 3: Now move to the next track by clicking the arrow beside the "Track name" field and
check the box for "Track Type: AUX Bus" just as you did before.
216 ADVANCED PRODUCING

Once you have done this for all of the new tracks, close the "Track Settings" dialog and switch
to the Mixer View (keyboard shortcut "M").

Step 4: Open the AUX area of the vocal channel by right-clicking the field next to "AUX".

Step 5: Now we can set the amplification in the vocal channel for our 5 AUX channels to 0.0
(Unity Gain) and check the box marked "visible".

All of these 5 AUX channels will now receive the signal from the vocal channel.
 ADVANCED PRODUCING 217

Step 6: Take the vocal channel out of the stereo master by adjusting the output accordingly.

The fader will be used later to control all of the AUX send levels which in turn controls the total
compression.

Step 7: To finish the signal routing for the mixer setup, we'll set up a group that will receive the
outputs of the AUX tracks. To do this, we'll right-click the channel number of the last AUX
channel and select "Insert Tracks > New Submix Bus" from the context menu.
218 ADVANCED PRODUCING

We'll call this group the "VoxMaster" and enter that in the name field by first double-clicking it.
Now we'll route the output signals from our AUX channels to this group.

Step 8: Now it's time to connect the various compressors to the the sends. Samplitude offers a
diverse assortment of compressors that each have their own special audio characteristics but
you can also use VST plug-ins from third parties if you like. Just make sure that each of the
compressors enhances a different aspect of the sound spectrum. We'll use the following
compressors for this workshop:

AUX 1 > Advanced Dynamics

AUX 2 > Multiband Dynamics

AUX 3 > eFX_Compressor

AUX 4 > AM-Track

AUX 5 > AM-Munition

 ADVANCED PRODUCING 219

We'll connect these compressors to the plug-in section of the mixer and rename our AUX
channels accordingly.

If you want to experiment a bit, you can try adding a distortion effect, e. g. "Distortion" or
"VANDAL" to add some clipping to the signal.

Step 9: Now we can set the plug-ins to apply the specific sound characteristics of each one.
Don't be afraid to use some heavy settings to make sure that the individual characteristics push
through in the mix. Pay close attention to whether the gain reduction is making the vocal
performance livelier or holding it back and what kinds of sound effects or distortion occur.

Even if a particular compressor setting seems to be disruptive, you might find that it adds a
unique aspect to the mix when combined with the effects from the other compressors.
220 ADVANCED PRODUCING

Step 10: Experiment with the various compressor settings and the volume ratios between the
compressor channels and the "Vox" channel which influences all of the post fader sends to the
compressors and in turn controls the total compression. You can also include more signal
processing in the "VoxMaster" group by adding insert and send effects.

One more tip: If you want to include the uncompressed original vocal in the mix to keep the
sound more natural, you can create another AUX channel without a compressor in the plug-in
section. You can then mix this channel together with the compressor channels.
 ADVANCED PRODUCING 221

Ducking Techniques in Samplitude

During mixdown, the problem of multiple instruments fighting over the same frequency range is
quite common, such as bass drum and bass or guitar and vocals sounding simultaneously. If
both instruments play at the same time, the result is that neither comes out sounding really
clear in the mix.

To keep two tracks vying over the same frequency range separate, you can use EQ, panorama
settings and effects. You can also adjust their volume dynamically in relation to each other.
With the preset ducking techniques, volume adjustment will be conducted automatically,
without individual instrument tracks having to be adjusted by hand using Samplitude
automation.

Ducking with the Compressor

In this example, we want to make the guitar softer in the mix each time when the vocals set in.
Do to so, we use a compressor with sidechain functionality.

Step 1: We first add our compressor from "Advanced dynamics" into the first insert slot of our
guitar track.

Step 2: Activate now the sidechain function of the compressor and select the sidechain input of
the vocal track.
222 ADVANCED PRODUCING

Step 3: Switch into the AUX section of the vocal track. You will see that the send path to the
compressor of the guitar track is already created.

This so-called sidechain send adds the guitar signal to the input of the guitar track compressor.
This way the vocal signal controls the compressor input. Amplification is preset to unity gain
(0,0).

Step 4: Make sure that the AUX send is set to pre-fader by right-clicking on the sidechain send.

This prevents that later changes to the vocals volume influences the strength of guitar damping.

Step 5: Back to our "Advanced Dynamics" compressor:

Make sure that the "Gate (G) Level: -100 dB" and "Limiter (L) Thresh: 0.0 dB settings don't let
the gate and the limiter eat into signal calculation. Set the "Mode" to "Simple compressor".

Step 6: Now we drag the compression parameter "Threshold" way down to -50 dB. This has a
damping effect on the guitar even when the vocals are low.

As the original value for the "Ratio" parameter we take 1.05. The low gain reduction creates soft
transitions between the compressed and uncompressed guitar signal.
 ADVANCED PRODUCING 223

Keep the "Attack" and "Release" values low so that the sidechain signal dynamics can be
quickly changed. We select 1.0 ms for "Attack" and 10 ms for "Release".

Experiment with the settings with the help of the "Bypass" function until the ducking effect is
smoothly embedded in the mix and sounds natural.

Another tip: If your compressor has an "Auto Makeup Gain" parameter, switch it off, otherwise
you will notice that the ducking of the guitar doesn't react the way you wish.

Ducking with the Gate (Gated Send)

Now we come to the advanced ducking method. Here we use a gate in an effects channel and
trigger the effect with the help of the vocal signal in the sidechain input of the gate. Later, we
send the guitar signal to the effects channel. This way, each time the vocal signal starts, the
guitar signal becomes ... louder! But since we want to achieve exactly the opposite effect, we
must reverse the phase of the effects channel, so that the guitar signal sent through the gate
deletes the original guitar and makes it softer when vocals appear. But, one thing after the
other...

Step 1: First, we create an effect bus with "Track > Insert new track > New AUX Bus" and add a
dynamics plugin "Advanced Dynamics".
224 ADVANCED PRODUCING

Step 2: Click in the effect dialog on the sidechain button and activate the "Sidechain In" option.
Additionally, we activate the vocal track as sidechain input in the drop-down menu.

In the AUX section of your vocal track you will now see the sidechain bus ">AUX 1". It marks
the sidechain input for the gate. Amplification is preset to unity gain (0,0).

Step 3: Now, we switch to the guitar track and send guitar signal in the AUX section to our
effect bus "AUX 1".

Here, we also set amplification first to unity gain (0,0).

Step 5: Finally, we reverse the effect channel phase.

Now, the guitar signal should be completely erased each time vocals appear.
 ADVANCED PRODUCING 225

Step 6: The lower you drag the send fader AUX 1 in the guitar track to the left into the negative
zone, the louder will the guitar signal be during vocals. Adjust the feed of this gate until the
ducking effect functions dynamically the overall mix.

Step 7: The following settings for our Advanced Dynamics gate should lead to good results:

Gate Level: -40 dB

Mode: Gate & Limiter

Attack: 1.0 ms

Release: 40 ms

The advantage of the ducking method via gated send is that the gain reduction for loud and
quiet vocal signals remain the same, while during ducking with the compressor, loud vocal parts
lead to stronger damping of the guitar signal than soft ones.

In addition, you can control ducking of other instruments by raising the AUX send fader in the
corresponding instrument channel.
226 ADVANCED PRODUCING

Make It Loud - Using Compressors and

Limiters in Your Mix
Here we want to look at how compressors and limiters can be used to create dynamically
optimized mixes. We'll achieve this by increasing the loudness without reducing the
transparency.

Compression Panel
If you want to achieve a competitive loudness level, it is recommended to compress the
individual instruments and limit their peaks to keep the dynamic in check. This guarantees that
the individual signals come through in the mix.

As an example, we'll give the bass a bit more presence:

Step 1: First we'll load the AM-Track in the plug-in slot of the bass track.

Step 2: Starting with the preset "More Attack" set the compressor as follows:

ratio: -15 dB
attack: 13 ms
release: 0.19 s

This gives the bass more presence.

 ADVANCED PRODUCING 227

Sidechain Ducking
Sidechain ducking can be used to dynamically adjust two signals that share the same frequency
range so that they both have their own space.

In this example, we want to make the bass softer in the mix each time the kick drum sets in.
We'll do this by using a compressor with sidechain functionality.

Step 1: We first add our Samplitude compressor from "Advanced Dynamics" into the first insert
slot of our bass track.

Step 2: Now we'll activate the sidechain function of the compressor and select the sidechain
input of the kick drum track.

Step 3: Switch into the AUX section of the kick drum track. You'll see that the send path to the
compressor on the bass track has already been created.

This "sidechain send" routes the kick drum signal to the input of the bass compressor. This
means that the kick drum signal is now controlling the input to the compressor. Amplification is
preset to unity gain (0.0).
228 ADVANCED PRODUCING

Step 4: Make sure that the AUX send is set to pre-fader by right-clicking on the sidechain send.

This prevents later changes to the volume of the kick drum from influencing the strength of
bass damping.

Step 5: Back to our "Advanced Dynamics" compressor:

Make sure that the "Gate (G) Level: -100 dB" and "Limiter (L) Thresh: 0.0 dB settings don't let
the gate and the limiter eat into signal calculation. Set the "Mode" to "Simple Compressor", the
"Reaction" to "Peak" and switch on the "Preview".

Step 6: Now we'll drag the compression parameter "Threshold" way down to -30 dB. This has a
damping effect on the bass even when the kick drum is quieter.

We'll set the original value for the "Ratio" parameter at 2.00. This relatively low gain reduction
creates soft transitions between the compressed and uncompressed guitar signal.

Keep the "Attack" and "Release" values low so that the sidechain signal dynamics can be
quickly changed. We'll select 1.0 ms for "Attack" and 14 ms for "Release".
 ADVANCED PRODUCING 229

Experiment with the settings with the help of the "Bypass" function until the ducking effect is
smoothly embedded in the mix and sounds natural.

Another tip: If your compressor has an "Auto Makeup Gain" parameter, switch it off, otherwise
you will notice that the ducking doesn't react the way you want it to.

You can find more information on the topic of "Ducking" in "Ducking Techniques with
Samplitude" (view page 220).

Controlling Attack - Tape Saturation with AM-Track

If you notice that a signal sounds too harsh at its onset, it is usually caused by large jumps in
the level. The overtone structure with attack often leads to a masking effect that blocks out the
other instruments.

You can counteract this phenomenon with the help of a tape saturation plug-in.

In the following example we want to limit the peak sound of the snare onset.

Step 1: First we'll load the AM-Track in the plug-in slot of the snare track.

Step 2: Starting with the "Snare" preset we'll make the following settings:

threshold: -24dB
ratio: 1:6.0
knee 87
drive: vca
attack: 1.7 ms
release 94ms

In addition to this we'll switch on the tape saturation effect "tape simulation". This enables us to
achieve smoothing of the attack time like the overtones:

level: 0dB
EQ lo/hi: -0.5dB
bias: -10%
output: 0dB
230 ADVANCED PRODUCING

Now open the "expert" mode to switch on the "auto makeup" functions.

Tip: Processing using a compressor and tape saturation for taming overtone-heavy attack
phases is also recommended for hi-hat or clap tracks.

Transparency and Loudness in the Mix - Multiband

Dynamics
To make our mix even more transparent we can use the Samplitude "Multiband Dynamics".
This tool is something like a dynamic equalizer that enables frequency-based signal processing.
By processing the dynamics in separate frequency ranges the risk of of unwanted side effects
can be decreased, e..g "pumping" which is caused by compression of a peak in the bass range
that suppresses the master signal.

Step 1: First we'll load the Multiband Dynamics into the plug-in slot, e. g. our guitar track,
 ADVANCED PRODUCING 231

and open the graphical interface of the dialog by right-clicking on the slot entry.

Step 2: Now we can set the relevant frequency bands of our guitar sound for the processing.
We'll leave the number of bands at three to do this

and drag the cut-off frequencies (dotted lines in the display) to 200Hz and ~800Hz.
232 ADVANCED PRODUCING

Step 3: We want to focus on the frequency range between 200Hz and 800Hz - Band 2 - to
give the guitar more clarity and transparency. Set the mode to "Compressor", the Threshold to -
35 dB and the ration to 4.00 to compress the muffled sounding range of the signal.

Step 4: We'll also compress the lower frequency range under 200Hz in Band 1 but not as much.
 ADVANCED PRODUCING 233

Step 5: Finally we'll freshen up the highs in Band 4 by switching it to "Comp.Max" mode to
make it louder.

In this way we've used frequency selective compression to add more transparency and
loudness to the guitar signal.
234 ADVANCED PRODUCING

Maximum Loudness with a Limiter

Using a limiter you can increase the loudness of your audio signal without creating distortion.
This process first reduces the level peaks and thereby generates a denser signal. The dynamic
between loud and quiet signal components is reduced before the lowered level peaks are raised
to the desired volume at the output. This makes the quieter signal components louder and
increases the average volume level.

In the mastering process, limiting is most often performed at the very end of the processing
chain because it is here that an extra portion of loudness can be achieved while still protecting
the signal for unwanted distortion. But you can also use the limiter on each instrument
individually to add more punch to the mix.

If you want to achieve maximum loudness without any distortion, it is recommended to group
the level peaks in various stages, e. g. in single-channel, subgroup channel (if present) and
finally also in the stereo master channel.

In the following example we want to make the drums louder.

Step 1: Load the eFX_Limiter into the plug-in slot of the drum group.

Step 2: Starting with the "Rock Maximizer +6dB" we'll set the parameters as follows:
 ADVANCED PRODUCING 235

threshold: -8.00dB
release: 40ms
clip gain: -0.77dB
IN (input amplification): 0dB
OUT (output level): -0.10dB

For the drums, the limiter primarily reduces the deep frequencies of the kick because these
show a high level and are less audible to the human ear than the hits and overtones in the
presence area. By cutting the high-energy (sub) bass range, the limiter can bring the onset
frequencies between 1 KHz and 3 KHz to the forefront. But make sure not to remove to much
power from the bass frequencies when using the limiter.

In our final example we'll insert the Samplitude limiter "sMax" into the stereo master as a
master plug-in to show how it can be used in the mastering process.
236 ADVANCED PRODUCING

Step 1: Load the "sMax11" limiter into the plug-in slot of the master selection.

Step 2: Here's how to find the best setting with the sMax11:

First, turn on the Link option. This way, volume will stay constant and you can better
compare your changes.
Now raise the input amplification Gain In until the sound changes become too strong.
Adjust the Gain In to a lower level.
You can also minimize distortions by raising the Release time. However, this will reduce the
compression effect and the increase in loudness.
Switch Bypass on once in a while.
When you've found the optimal setting, switch the Link option off.
Finally, switch the Output Gain to -0.1 dB or 0 dB.

We'll set the parameters as follows:

 ADVANCED PRODUCING 237

Gain In (input amplification): 2.0 dB

Gain Out (Output Level): -0.10 dB
Release 3.0 ms
Mode: Balanced

Note: If you are planning to send your finished mix to a studio for mastering, it is best to
remove the effect at this point because every mastering studio has its own processing chain
which includes limiting the audio signal.

If you want to master your mix in Samplitude, you can find helpful information about this topic
under "Mastering" (view page 324).
238 ADVANCED PRODUCING

How To Put More Punch In Your Mix

Here we want to focus on techniques for adding more punch to your mixes.

The real punch in any mix is achieved in the frequency range from 60H Hz to 120 Hz. Because
the human ear is not as sensitive to this range as it is to signals around 4 kHz, the signal has to
have more energy (i.e. a higher level) in order to cut through the mix.

Careful Use of the Limiter

When using the limiter be sure not to overdo it. Overuse of the limiter can lead to unwanted
effects that cut the low frequency level and decrease the punch of the mix.

Parallel Compression
Step 1: When each individual drum sound has its own track you need to create a subgroup track
(Menu Track > Insert new Tracks > New Submix Bus) then route each drum instrument output
to the newly created group. We'll call this the "DrumBus".

If you're working with a drum loop, you skip this step because the loop already represents the
stereo drum group.

Step 2: In the AUX section of the drum group we're going to send the drum loop signal to our
compression bus AUX 1 with the send level set at 0.0 (unity gain). We'll do this by dragging out
a bar to the right in the first blank field.
 ADVANCED PRODUCING 239

Open the context menu by right-clicking and change the send signal to Pre Fader.

This keeps the send signal on compression bus AUX1 separate from the fader on the drum loop
track.

Step 3: Now we'll load the AM-Track compressor into the plug-in slot of the AUX1 channel that
appears in the mixer.

Starting with the "Submix Retro" preset, you can make the setting a bit extreme because the
AUX channel with be applied in parallel as a mix in effect. For our drum signal we'll set the
"level" parameter to 21dB, the "ratio" to 24dB and keep the "attack" short at 0.7ms.
240 ADVANCED PRODUCING

Step 4: Next we're going to mix the "DrumBus" and "AUX 1" channels together. When you've
found the right mix levels the drums will sound powerfully compressed, yet transparent and
dynamic.

Step 5: The power of this parallel compression is proportionally dependent on the bass drum
and snare. Because we want to retain a natural sound for the cymbals, we'll remove the
overhead channels and the hi-hat signal from the compression. To do this we'll route their
output directly back to the stereo master.
 ADVANCED PRODUCING 241

More information about parallel compression can be found in the workshop Parallel
Compression (New York Compression)" (view page 205).

Add Punch - Make Space

Have you ever wondered why your mixes don't sound powerful even though the individual
signals sound strong? Mixes can often sound weak when too many instruments are playing at
the same time, especially when they are playing the same melody. The various signals compete
against each other in the frequency range and take up space. This can take a lot of life out of the
mix and leave it sound "muddy".

You can add more punch simply by muting an instrument that isn't really necessary. This gives
the other instruments space to push through.

If you absolutely must keep an instrument in the mix (e. g. Cello), try cutting the frequencies
that are competing with another instrument (e. g. Bass). In our example this applies to the
range under 110 Hz as well as the frequencies around 500 Hz.

This will make enough room in the mix so that the bass and the cello can work well together.
242 ADVANCED PRODUCING

Masking Effect
The masking effect means that when an audio signal is heard, the sensitivity to other quieter
signals is reduced. The degree of the masking depends on the level and the frequency gap
between the signals.

Step 1: To use the masking effect in our mix we'll enhance the main instrument (e. g. Guitar) in
the chorus.

Step 2: Now we'll mute the masked instrument (e. g. Cello), because it will be masked by the
main instrument anyway.

This way we can create more space in the mix and give the main instrument more punch.

Tremolo Effect
You can also achieve more power and dynamic in your mixes by using the tremolo effect. Using
an appropriate plug-in you can modulate the amplitude of the instrument signal continuously in
short, adjustable time intervals. Big, ambient sounds like synth string pads are well-suited for
this effect.

Step 1: First we'll load the Samplitude plug-in eFX_TremoloPan" into the plug-in slot of the
StringPad" track.

Step 2: Starting with the 1_16_Deep_Depth_Sync" preset we'll make the following parameter
settings:

- With tempo sync" we can activate the synchronization of the modulation to the tempo of the
song.

- The shape" can be set completely to the left. This corresponds to a sine wave for the
oscillator which will produce a soft sound. When turned completely to the right the oscillator
signal takes the form of a square wave which make sound sharper.

- The phase" knob moves the phase length of the oscillator on the right channel relative to that
on the left. This means that the tremolo effect drifts apart in the stereo field as the values
increase. At 180 both oscillators work in reverse, therefore the stereo effect is at its strongest.
We'll go with a relatively open audio impression at 120.
 ADVANCED PRODUCING 243

- The depth" determines the strength that the oscillator signal has on the degree of the
tremolo. We'll set the value to 39%.

The periodic rise and fall of the volume level at a 1/16 rhythm a more powerful dynamic is
achieved with a simultaneous lowering of the average volume.

More Attack for the Kick - Sample Trigger

If you want to add more punch to your bass drum, you can expand the existing signal with
additional samples. Let's assume that the kick doesn't have enough attack.

Step 1: Add an additional bass drum track with a kick sound that has sharper overtones. We'll
use MIDI to trigger this sound in the "Independence" sampler.

Step 2: Now we'll synchronize the two bass sounds by using EQ to boost the sub-bass of the
first kick and the overtone range of the second. The frequency ranges that are not boosted can
be decreased. This results in a bass drum sound that has a punchy attack phase while still
retaining a strong sub-bass range.

Tip: Snare sounds can also be enhanced by adding additional samples and adjusting the
frequency ranges selectively.
244 ADVANCED PRODUCING

How To Get More Dynamic In Your Mix

Dynamic, punch and loudness - these three factors can often come into conflict when trying to
create the optimal mix. Compressors and limiters can be used to increase the loudness of
individual and master signals. However, using these processors can often mean sacrificing
some dynamic. If the limiter is overused the mix can lose punch because limiting restricts the
low frequencies that are crucial to the perception of a strong mix.

Here we'll show you how to use compressors and limiters to mix your songs dynamically
without having to sacrifice loudness.

Frequency Separation
An extremely important factor in any dynamic mix is the frequency separation. In principle, the
frequency ranges of many instruments overlap one another. This makes it important to pay
close attention to the characteristic frequency ranges for each instrument in your mix and to
cut these frequencies from the other instruments when possible.

In this regard you have to differentiate between the volume (level in dB) of each instrument and
the subjective perception of their respective loudness. The human ear perceives various
frequencies as having different loudness levels even when they are at the same volume.
Humans are particularly sensitive to the frequencies around 4 kHz.

For the mix this means that the frequencies between 2 kHz and 5 kHz have a good presence
even at low volumes. To achieve the same perception of loudness for the low frequency
components such as drums or bass you have to generate much more sound pressure.
 ADVANCED PRODUCING 245

Boost frequencies between 2 kHz and 5 kHz

Listen to the drums together with the bass:

Step 1: If you want to bring the drums and bass forward in the mix without having to use too
much energy/level on the low frequency components you can first boost the attack frequencies
of the bass (~5kHz)

and kick (~3.5 kHz).

246 ADVANCED PRODUCING

As you can see we've also applied low-cut and high-cut to the kick and bass signals leaving
only the relevant frequency ranges in the mix. This helps to make your mix more transparent.

But if you want to give the kick a bit more bottom end you can extend the frequency range
down to 60 kHz.

Step 2: Now bring the vocals up in the mix by raising the frequency range around 4 kHz.
 ADVANCED PRODUCING 247

Step 3: In addition we'll boost the percussive instruments such as congas and bongos in the
chorus to create a bit more intensity in this part of the song.

Make sure not to enhance too many signals in this sensitive frequency range otherwise it will
cause listening fatigue.
248 ADVANCED PRODUCING

Volume Automation
You can make your mix even more dynamic by using volume automation. This process requires
a bit of endurance because ideally it involves adjusting the song progression relative to the
volume on every track.

Once you have developed a good feel for fader movement with the mouse or a hardware
controller, you can probably make the volume adjustments for each track in one pass.

Step 1: First you should roughly balance out the volume levels for each instrument relative to
each other to make sure that none of the instruments is going to get lost in the mix or stick out
like a sore thumb.

Step 2: For our song we'll set the automation mode for the fader automation to "Touch".

In "Touch" mode, automation data is only recorded as long as you touch the selected control
element with the mouse or touch it from your external controller. As soon as you release the
button, the automation recording stops. Once released, the control element will move back to
the original position.
 ADVANCED PRODUCING 249

Step 3: Fader Riding: Ride" the channel you want to automate by adjusting the volume during
playback to fit the arrangement and song progression.

Step 4: Switch the automation mode back to "Read" to prevent any unwanted writing of
automation.
250 ADVANCED PRODUCING

In the Samplitude arranger you'll see the written automation curve when the option "Show" is
checked in the "Automation" section of the Track Editor and the "vol" button in the track header
is activated.

Note: More information about automation is available in the tutorial Automation" (view page
307).

A more complicated but exact method is to go through the tracks systematically and divide it
into separate objects for the various parts where the volume needs to be adjusted. Once
divided into sections, the volume can be adjusted manually in each object. Let's edit the vocal
track with this method as an example.

Step 1: First we'll use the keyboard shortcut "T" to split our vocal track into small objects
containing the various parts.
 ADVANCED PRODUCING 251

Step 2: Now move the mouse over the middle handle in the object. This turns the mouse
pointer into a double arrow. Drag the handle up or down to adjust the volume of the object. You
can make very fine adjustments by simultaneously holding down the "Shift" key.

When doing this you can cut the objects very small so you can control every nuance in the
vocals.

Setting Accents
Set rhythmic accents at crucial points in order to bring individual instruments forward in the
mix.

Step 1: We'll split the object Guit Pick" after the first few strums using the keyboard shortcut
"T".

Step 2: Now we'll boost the first chords by 2dB to put more dynamic in the mix.

This also produces a psycho-acoustic effect: The human ear perceives an instrument as being
generally louder even when it is only actually louder at the start.
252 ADVANCED PRODUCING

Step 3: We can accent the individual bass drum hits and words at the beginning of vocal
passages in the same way.

By using the sensitivity of the human ear we can create more dynamic and the impression of
loudness by accenting the first note from an instrument or the first word in a vocals section.
This is a great way to "save" on level.

Creating Dynamic with Panorama Automation

By distributing the instruments in the stereo image you can dynamically vary the stereo base in
the song progression to make your mixes more lively.

Step 1: Create a dynamic stereo field in your song structure. As an example you can increase
the stereo width of the chorus relative to the verses by adding additional guitar tracks on the
outside left and right of the panorama or adding short effect accents.

Step 2: For the Bass FX" track we'll automate the panorama and move the signal back and
forth between the left and right channels.

These types of rhythmic adjustments are a great way to add more dynamic to the stereo field.
 ADVANCED PRODUCING 253

Doubling Vocals
Often when mixing you will notice that the main vocal tracks are too thin to be able to mix
down. If EQ changes such as Chorus/Reverb effect cannot solve this problem to your
satisfaction, it is time to make the vocals thicker through doubling.

The effect of voice doubling is best achieved by singing multiple times. For the following tutorial
we assume that the vocal track exists once i.e. has not been sung multiple times.

Doubling Vocals - Wider Using Delay

Step 1: Create an AUX track ("Track > Insert new track(s) > New AUX bus") under the vocal
track and enter a delay in its plug-in slot.

Step 2: Set the delay time somewhere between 15 and 30 ms. Delay in this area still cannot be
considered a stand alone echo. In addition, we set the mix balance fader to 100%, so that only
the effect signal is present at the effect output.
254 ADVANCED PRODUCING

Step 3: Now, send the vocal signal to the AUX path. If you separate the panorama of a vocal
track and AUX track a little, you will notice how the vocals increase in width. Downregulate the
effect signal in order to make the duplication less obvious.
 ADVANCED PRODUCING 255

Doubling Vocals - Denser Through Doubling

Step 1: Copy the vocal object into a new track. By doubling the vocals track and placing one
below the other, you will first achieve only doubling of the signal volume.

Step 2: Delay the doubled object first by a few milliseconds by simply dragging with the mouse
in the arrangement to the right.

Step 3: To get a natural result, insert a chorus effect into the doubled track, which will create a
slight drift.
256 ADVANCED PRODUCING

Step 4: You can also insert a delay here to intensify the drift.

Step 5: Finally, you can adjust the volume and panorama of the original track and the doubled
track in such a way, that your vocals will have a natural breadth.
 ADVANCED PRODUCING 257

Doubling Vocals - Split Harmonizer

The split harmonizer effect is a well-known trick to add density and width to vocals. Two
delayed copies that are slightly altered in pitch are used and arranged in the panorama to the
left and right of the original vocals.

Step 1: Create duplicates of our vocal part on two new tracks.

Step 2: Fade the "Vox_DBL1" panorama to the left and the "Vox_DBL2" panorama to the right.
258 ADVANCED PRODUCING

Step 3: Now, we want to slightly de-tune the copies. Next, open the object editor with a double
click the first duplicated vocal object and lower the pitch by 10 cent (100 cent = 1 semitone).

Step 4: Click the other duplicated object and raise the pitch by 10 cent.

Step 5: Create a submix bus using "Track" > "Insert new track" > "New submix bus". Name this
bus "Harmonizer bus".

Step 6: Now, we embed a delay as an insert into the "Harmonizer Bus" and set it as a single
delay (without feedback) to 20-25 ms. Please make sure to set the effect to 100% wet.
 ADVANCED PRODUCING 259

Step 7: Route the outputs of both vocal track copies to this new subgroup.

Step 8: Finally, we mix in the subgroup signal of the main vocal track until the vocals have a
pleasant drift and sound wide.

Step 9: Experiment with the pitch values and delay times for this harmonizer effect. An
additional reverb embedded into the subgroup can open the vocals even more. Of course, you
can also assign different delay times to the two vocal track copies; you can then do without the
subgroup and control the two groups separately, adding different delay effects.

And one last tip: See what a high-pass filter set to 400 Hz placed before the delay sounds like!
Using it should make your vocals even rounder.
260 ADVANCED PRODUCING

Creative Vocal Effects

In addition to technical dynamics and sound correction, Samplitude offers the option of working
with many special effects creatively. As a rule, bringing additional clarity and comprehension to
the vocals is more important than flashy effects.

Telephone Voice
This effect is common and can be quickly created with the help of the EQ.

Step 1: Separate the vocals at the passage to which you would like to apply the telephone voice.
To do so, place the play cursor at the beginning/end and separate the object using the shortcut
"T".

Step 2: Open EQ116 in the object editor of the selected object to which you would like to add
telephone voice.

Step 3: Select the "Phone" preset from the header of the EQ116 effect dialog.
 ADVANCED PRODUCING 261

The EQ displays a band pass filter. The frequency spectrum for the object is limited to the range
between ca. 500 Hz to ca. 5000 Hz.

Now you can hear a telephone voice for the edited object.

Step 4: To improve the effect, we will add a slight distortion with the "distortion plug-in" and
treat the voice in stereo image using the multiband stereo enhancer.
262 ADVANCED PRODUCING

Reverse Reverb
The reverse reverb effect used to be achieved by putting the audio tape "backwards" on the
tape spool. The audio signal was heard in reverse when the tape machine was turned on.
Reverb was then added to the reversed audio, which was then recorded afresh in another
channel. After repeatedly turning the tape, it was possible to hear the recorded reverb
backwards, i.e. before hearing the loaded signal itself.

This effect leads up to a certain, distinct point in the composition, creating a marked tension
and thus emphasizing the beginning of the following part of the song. It lends itself particularly
well to use with electric guitars, vocals or certain snare hits.

We would now like to show you how you can create this special effect using a vocal sample in a
few steps using Samplitude.

Step 1: Press the "W" key on the keyboard and load a suitable file into the arrangement. Our
track is called "VOX_dry".

Step 2: Now we are going to create an AUX channel for our reverb by clicking "Track" > "Insert
new track" > "New AUX bus".
 ADVANCED PRODUCING 263

Step 3: Insert a reverb of your choice into the new AUX channel. You can find them in the
"Plug-in" section of the track editor. For this example, we are going to use the Samplitude effect
"Variverb".

Step 4: For this special effect, we are going to select a long reverb and then set the effect to
100% wet. Feel free to choose a somewhat more extreme effect with a longer reverb time.

Step 5: Back to our vocal channel "Vox_dry". Now, in the "AUX" section of the track editor, we
are going to set the level of the AUX channel fairly high so that a decent amount signal
processing is applied to the reverb.
264 ADVANCED PRODUCING

Step 6: Now we are going to reverse the original file. Go to the menu "Effects" >
"Modulation/Special" > "Reverse". Upon playback, you will hear the reversed vocal sample with
the effect.

Step 7: Next we want to export just the effect itself and then load the effect file onto a new
channel of its own. This is done by temporarily removing the channel with the vocal sample,
found in the "Audio" section of the track editor, from the complete stereo track so that it is no
longer audible.

The AUX channel however still sends the signal to our reverb. As a result we can only hear the
effect signal.

Step 8: Now you can export to the relevant field (Menu "File" > "Export Audio" > "Wave").
Take care that the range you are exporting to is large enough to allow the reverb to play out
uninterrupted.
 ADVANCED PRODUCING 265

Step 9: We then create a new track and import the file you just made into the arrangement.
You can temporarily mute the AUX 1 track that creates the reverb.

Step 10: Reverse the imported reverb object. As before, we need to go to "Effects" >
"Modulation/Special" > "Reverse". Upon playback, you will hear the reverse reverb! We reverse
our original vocal sample so that it plays the right way around, and in the section "Audio" of the
track editor set the output of the vocal track back to the stereo master output, so that the
original vocals can be heard once again.
266 ADVANCED PRODUCING

Step 11: Shift the reverse reverb sample to fit alongside the original vocal, so that when played
together they sound good. Try out different positions until the increasing reversed reverb fits in
seamlessly with the vocal sample. You can activate the AUX send again and adjust the reverb
settings for the "Vox_dry" track so that the vocal sounds completely natural. Play around with
the fades to achieve a silky smooth transition both in and out of the sample.

Step 12: Now down to the fine-tuning:

Using a Low Pass Filter, the reverse reverb is a given a more compact, tighter sound.
By including Delay, you can make the reverse reverb sound even more spacey.
The Auto Pan function can add some movement to the reverb.
You can further refine the reverse reverb with Phaser, Chorus and Tremolo effects.
 ADVANCED PRODUCING 267

Dynamic Reverb
The fact that a signal's reverb send normally happens after dynamic processing, leads to the
reverb lacking in dynamics. Therefore there is a special technique specifically for reverbs with
long reverberation times that retains the clarity and definition of the original signal, yet gives
dynamic atmosphere and depth without "pulverizing" the signal.

In the following example we want to provide the vocals with a dynamic reverb.

Step 1: Firstly, we are going to place a vocal recording in an audio track. The effect works
particularly well in vocal pauses.

Step 2: Now we are going to create a submix bass track.

Step 3: We are going to add our reverb device to the bass track we created via the "Plug-ins"
section of the Track Editor.
268 ADVANCED PRODUCING

Step 4: To hear the reverb on the vocals set the vocal track's output to "Bus 1".

Step 5: Set a long reverb. We will use the stadium reverb "Arena" from "VariVerb Pro" for this
example. As we are dealing with a dynamic effect bus we can make the reverb a bit more
extreme, which is something we would otherwise not do. Try out longer reverberations and
more diffusion.

Step 6: After the reverb device we are going to integrate a compressor in our effect bus. To
create dynamic reverb we will need a compressor plug-in equipped with a sidechain function.
Here we will the dynamic tool "Advanced Dynamics" found in Samplitude.
 ADVANCED PRODUCING 269

Step 7: Now it's gonna get dynamic! We are going to put the vocal signal in our compressor's
sidechain. From now on, we will hear the reverb become quieter, when the singing starts.

Step 8: To make this effect actually sound good, set attack and release times in such a way that
the voice signal is clearly heard and the reverb moves into the vocal pauses.

Step 9: You can apply the described Ducking effect in lots of different variations. For example,
instead of using reverb use delay, which is rhythmically highlighted in the vocal breaks, you can
also use this special effect subtly on other instruments like drums or brass.
270 ADVANCED PRODUCING

Rhythmic Delay
When used on noticeable portions of the arrangement, such as the last syllable of a line,
rhythmic delay creates spaciousness and depth in vocals.

Step 1: Create a new object using separation as described above (Shortcut "T" or "Edit" >
"Separate" > "Separate objects") at the corresponding syllable in the text.

Step 2: Open eFX_StereoDelay in the object editor of the selected object.

 ADVANCED PRODUCING 271

Step 3: In example, we want to create a rhythmic 1/16 stereo delay. To do so, first select the
"Analog Ping Pong 1-16 preset from the eFX_StereoDelay effect dialog header.

The effect preset already has a nice-sounding stereo delay that reacts synchronously to the
song tempo thanks to the activated "tempo sync" button.

Step 4: Experiment with the "feedback" fader to adjust the transparency setting. With the
"damping" fader you can create a damping of highs in order to avoid audio mush.
272 ADVANCED PRODUCING

FX Delay
Now, we want to have some fun with special effect delays.

Step 1: Again we pick a specific vocal passage in the arrangement which should get
characteristic effects to make it stand out and create an object out of it using the "T" shortcut.

Step 2: For this object we open the object editor with a double click and load "ECOX" and
"Filtox" MAGIX plug-ins into the first two slots.

Step 3: In our example, we select the ECOX effect "space one", supported by FILTOX effect
"tape in the sun". Experiment as much as you like with "ECOX" effect delays and combine them
with special filter settings from "FILTOX".

But don't overdo it with crazy special effects for vocals. In small doses, however, they are the
salt in the soup of the mixing process.
 ADVANCED PRODUCING 273

Timestretch Metal Effect

An interesting vocal effect can be created by extreme stretching of single words or syllables.
Strong timestretching produces as metallic sound a side effect. This effect is especially useful
for the last word at the end of a vocal passage.

Step 1: We look for the last word in our vocals and separate the corresponding range as we
already have, creating a vocal object.

Step 2: Now we switch our mouse mode to the pitchshift/timestretch mode.

Step 3: We then position the mouse on the lower right end of the vocal object and drag to the
right, until we reach the timestretch factor of 4,000.

Step 4: Finally, we make fine adjustments in the "Stretch factor" parameter in the object editor.
To do so, we drag the value in the corresponding field using the mouse cursor.

To amplify the effect, we can change the pitch factor in addition to timestretching in order to
change the the vocal pitch as well.
274 ADVANCED PRODUCING

Tape Stop Effect

Now, we would like to simulate the effect heard when the plug is pulled on a record player
while it is playing and music slowly chokes off.

Step 1: As always, we start by searching and separating out the desired vocal part from an
existing object using "T".

Step 2: Select the object and go to "Effects > Time / Pitch > Elastic Audio...". The vocal object
will be opened in Elastic Audio Editor.

Make sure that the "Resample" algorithm is opened.

Step 3: Now, press the "Direct" button to edit the pitch sequence with absolute changes and
set the mouse tool to "Rubber band".
 ADVANCED PRODUCING 275

Step 4: Grab the orange line at the end of the object and drag it one octave down. The pitch will
be displayed to the right on the keyboard.

Step 5: Finally, we grab the diagonal line at the position in the object where the slowing down of
the tape stop effect should start and drag it back to the original pitch.

Experiment with the curve by making the braking process longer or shorter. If you are happy
with the result, press "OK".
276 ADVANCED PRODUCING

Pitch Correction with Elastic Audio

Step 1: Load the selected vocal object into the Elastic Audio Editor. Click on the "Elastic audio..."
button in the object editor.

Step 2: Make sure that the "Direct" mode is set in Elastic Audio before conducting the base
frequency analysis via "Pitch > Recognize" button.

After analysis, the vocal object will be displayed in separate slice objects according to
recognized pitches.

Step 3: Select those slices, whose pitch you would like to change and select the "Monophone
voice" algorithm.

Step 4: With the selection tool, drag on the selected slices to change these in pitch.
 ADVANCED PRODUCING 277

Distortion Mix in Parallel Distortion

In order to add rawness to a vocal part and make it sound a bit dirtier, we will now work with
distortion.

Step 1: First, we separate the object again at the desired location and duplicate it. To do so, we
drag the object into a new track while holding Ctrl. By additionally holding down Shift, we can
prevent the object from being moved horizontally.

Step 2: Now we add a distortion effect to the vocals double in the object editor. In this example,
we work with the "eFX TubeStage".
278 ADVANCED PRODUCING

Step 3: Find the "Rough Vocals" preset and customize the settings to fit your audio material.

Step 4: Finally, we mix the duplicated, distorted vocal object with the original vocal part.

Using this method, you can subtly distort vocals to give them more assertiveness.
 ADVANCED PRODUCING 279

Vocoder Effect
The vocoder manipulates a carrier signal (e.g. a pad) to give the impression that the pad is
singing. The manipulation takes place through a modulator, in our example, the vocal signal.

Step 1: Select the "Vocoder" plug-in in the object editor for the selected vocal object.

Step 2: Look for an appropriate preset in the list.

280 ADVANCED PRODUCING

Step 3: Adjust the carrier signal that is created within the effect until you find a sound you like.
Start with the standard sample and listen to all of the options in the list until you find the right
effect sound.

Step 4: Using the "Sample" fader you can set the proportion of the carrier signal. With the
"Noise" fader you add some white noise or even create whispering voices.

Step 5: The vocoder also allows you to modify the red curve of the FFT Filter by using the draw
tool. Simply draw the frequency progression to optimize the vocoder output.
 ADVANCED PRODUCING 281

Step 6: Try interchanging the modulator and the carrier signal to hear how it sounds.

Of course, there are also countless other options to create special effects for your vocals using
preset effects. Try out external flanger settings with the eFX ChorusFlanger or combine a vocal
reverb from VariVerb with the eFX_Phaser.
282 ADVANCED PRODUCING

Mixing Background Vocals

In this tutorial we want to show you how to add backing vocals to the mix in a way that makes
them sound natural. We can achieve this by using depth and room effects to separate them
from the main vocal.

First a very important tip: The more backing vocal tracks you use, the more mixing possibilities
you will have. Also make sure during the recording phase that the timing of each background
vocal take is precise.

Step 1: First we'll roughly set the volume of our choir voices and position the backing vocals in
the stereo image using the panorama knob. We'll leave the main vocal directly in the center.
Ideally the individual backing vocals should be doubled several times. This allows for more
flexibility when positioning them in the panorama.
 ADVANCED PRODUCING 283

Step 2: : Now we want to mix the backing vocals to position them at the back and give the
impression that they are farther away from the listener. To do this we'll lower the high
frequencies using a hi-cut filter at approximately 4 kHz. We'll also lower the dominant
frequencies at 400 Hz and 2.5 kHz.

As you can see, we've also used a low-cut filter at about 65 Hz to avoid any rumbling
frequencies in the bass range.

Step 3: In our example we can simply drag & drop this EQ setting to all of the backing vocal
tracks because they were all performed by the same singer.
284 ADVANCED PRODUCING

Step 4: At this point we can slightly boost the frequencies at 400 Hz and 2.5 kHz in the main
vocal. This will bring the main vocal forward and separate it from the backing vocal even more.

Step 5: Now it's time to automate the volume curves for the individual backing vocal tracks.
Switch the automation to Touch Mode, activate the volume curve "vol" in the track header and
draw each curve while the track is played back. This is a great way of adjusting the dynamic to
fit each part of the song.

In "Trim" automation mode you can make relative adjustments to the drawn volume curves.

Note: An alternative to using automation is to cut each backing vocal track into smaller objects
(keyboard shortcut: T) and adjust the volume of each object.
 ADVANCED PRODUCING 285

Step 6: Next we'll create an audio subgroup which will allow us to edit all of the backing vocals
as one unit.

To do this we'll route all of the backing vocal outputs to a subgroup bus.

Step 7: Now it's time to compress the backing vocals. Here it is acceptable to remove more
dynamic than we would with the main vocal. Making the backing vocals less dynamic is
another effective way of separating them from the main vocal.

For our example we'll use the Samplitude compressor "AM-Track" in the first plug-in slot of the
submix bus

Select the preset "Vintage Warm", open the "expert" toolbar and shut off the "auto makeup"
feature. Now set the "output" knob so that you have a good balance between the backing
vocals and main vocal.
286 ADVANCED PRODUCING

Step 8: Another way to separate the lead vocal from the backing vocals is to use various
reverbs. In our example we'll add an "Ambience" room effect to the main vocal through the
AUX1 output and some reverb to the backing vocals through the AUX2 bus.

For both AUX sends we'll use the Samplitude reverb "VariVerb Pro" and feed the main vocal
through AUX1 with the preset "Want Ambience".

For our backing vocals we'll use the preset "Gospel Choir" from AUX2.
 ADVANCED PRODUCING 287

Experiment with the "expert" options such as the "pre-delay" which defines the felt distance
from the background choir. The shorter the "pre-delay" setting, the farther away the backing
vocals will seem.

The "ER Tail" can be used to adjust the mix ratio between the first reflections and the
reverberations.

Step 9: Make the final adjustments to the backing vocal volume using the backing vocal bus.
288 ADVANCED PRODUCING

DeEssing
DeEssing is commonly used to eliminate excess sibilant consonants in speech and vocals
recordings.

Often when recording and when editing vocals recordings sibilants tend to be overly present in
the foreground and create a hissing sound. This can be caused by being too close to the
microphone when recording or by using a low-quality microphone. Applying compression to
the vocals in the mix can make sibilants especially prominent.

There are several ways of eliminating sibilants.

Reducing Sibilants When Recording

The microphone itself and the distance you stand from it are influential factors, but the actual
intensity of sibilants is also major reason for high frequency s-sounds reaching the microphone
with more clarity than deeper sounds, which tend to diffuse into the room more.

An effective method of reducing their impact is to slightly aim away from the microphone when
making sibilant consonants.

In addition you should always use a pop filter when recording vocals.

Editing Recordings Manually and Reducing the Volume

Step 1: Select "Cut mode" from the toolbar and disable the grid so you can make precise cuts.

Step 2: Now we're going to locate and separate loud sibilant sections in the vocal track.
Sibilants are easy to recognize in the waveform display because they are particularly compact.
 ADVANCED PRODUCING 289

It's helpful to turn auto crossfade mode on at this stage.

When you're finished cutting switch back to universal mode.

Step 3: Duplicate the cut track by selecting all cut objects with "Ctrl + A" and dragging them
into the track below while holding "Ctrl + Shift". Pressing the shift key allows you to move
objects vertically, so they are exactly on top of one another.

Step 4: Now we're going to cut all the sections with sibilants out of the original track, while
keeping them in the duplicated track.
290 ADVANCED PRODUCING

Step 5: Reduce the volume of the sibilants collectively using the volume control in track 2.

Of course you can also adjust the volume of each individual sound separately at object level.

A big advantage with this method is that the main vocals can now be eq'd and compressed
without affecting the sibilants. Equally, the sibilants on track 2 can be eq'd in order to soften the
loud consonants and to reduce any lisping.
 ADVANCED PRODUCING 291

DeEssing Using Fader Automation

Step 1: Display the volume curve by activating the "Vol" button in the track header.

Step 2: Now we want to activate the "Trim" automation mode for the vocal track by right-
clicking on the automation button.

Step 3: Switch off the grid view using the keyboard shortcut - that way you'll be able to add the
automation areas precisely.
292 ADVANCED PRODUCING

Step 4: Highlight the offending sibilants by creating an area surrounding the section in question
in the waveform.

Step 5: By moving the fader in the track header or track editor you are able to regulate the
volume of each sibilant.
 ADVANCED PRODUCING 293

DeEssing Using the Multiband Compressor

Step 1: Load the advanced dynamics into the vocal track plugin slot.

Now loop the vocal part you want to edit.

Step 2: We only want to compress the uppermost frequency band for DeEssing purposes. To
do this we'll to set the number of bands to "4". We also want to set the band separation to
"High" and turn off the ""Link bands" option.
294 ADVANCED PRODUCING

Step 3: We also have to set the separation frequency for the frequencies we want to compress
and trim the sibilants in the uppermost frequency band. Set Band 4 to "Solo" and select
"Compressor".

Step 4: Now click on the dotted line in the graphic display, which shows the separation
frequency and using the mouse drag until you predominantly hear the sibilant frequencies you
want to reduce.
 ADVANCED PRODUCING 295

Step 5: Now we need to adjust the other parameters. The ratio can be keep quite high - we're
going to use 5.7 : 1. Set the application threshold to -19 dB. Keep the attack and release times
quite low because sibilant consonants are most often very short percussive sounds. The gate
can stay set at -100.

Step 6: Finally, deactivate solo mode and listen to the effect sibilant compression had on our
vocal track. Now if necessary we make any final changes to the compressor settings.

Final tip: Switch to bypass mode to compare the original signal and the processed signal. Your
ear will naturally get used to the edited vocals very quickly and might not perceive any big
differences.
296 ADVANCED PRODUCING

DeEssing with a Side Chain Gate

Step 1: Create a new AUX track ("Track > Insert new track(s) > New AUX bus") and enter an
eFX_Gate in the plugin slot.

Step 2: Change the send signal in the AUX 1 section to 0.0 (unity gain) in order to get our rap
signal into the gate.
 ADVANCED PRODUCING 297

Step 3: Start the vocal track and switch the AUX 1 track to "Solo exclusive" (Alt + Shift + S) so
that you only hear the signal in the gate track.

Step 4: Now open the eFX_Gate graphical interface and activate sidechain monitoring by
clicking on the speaker icon. As well as that we're also going to adjust the sidechain signal so
we can only hear the high frequencies. Do this by setting the "sc filter" parameter to high-pass,
"sidechain" to "int" and "hold" to "short".

If you now set the sc filter knob to 7kHz you can control frequencies above 7kHz using the
eFX_Gate's internal sidechain.
298 ADVANCED PRODUCING

Step 5: Now deactivate sidechain monitoring by clicking on the speaker icon again.

Let's listen to the edited signal. Keep the attack and release times very short and the range
parameter to the right so the signal beneath the threshold is cut out completely. Finally adjust
the threshold parameter so only sibilants remain audible.

Step 6: Now if you change the phase in the AUX channel and deactivate solo mode you can
check whether you got rid of the sibilants. Now reduce the AUX 1 channel fader to a level so the
sibilants don't stand out and there's no lisp effect.

The advantage of this method is that sibilants are reduced separately from the vocal signal
volume, as opposed to DeEssing with a multiband compressor where loud vocal parts lead to
stronger damping.
 ADVANCED PRODUCING 299

DeEssing Using EQing with a Side Chain Compressor

Step 1: Duplicate the vocal take by selecting the object you need and dragging it into the track
below while holding "Ctrl + Shift". Pressing the shift key allows you to move objects vertically,
so they are exactly on top of one another.

The duplicated track will provide the control signal when compressing sibilants.

Step 2: Load the advanced dynamics into the original track's plugin slot.

Step 3: Activate the side chain input in the effect dialog (side chain in) and select the
duplicated vocal track as the control signal for side chaining.
300 ADVANCED PRODUCING

Step 4: Now we're going to change to the mixer view (Shortcut: M). You will already be able to
see in the AUX area of track 2 that the track signal is being sent to track 1 (Rap 5).

Make sure the "Pre-Fader" send setting is activated. This means that the signal is sent
independently to the channel's fader position. The send signal's amplification in the compressor
of track 1 is now regulated by the send level.

Step 5: Pull the fader in track 2 right down.

 ADVANCED PRODUCING 301

The duplicate vocal track can no longer be heard in the stereo mix. However, this track does
provide the control signal for our EQ in the side chain compressor.

Step 6: Back to our compressor plugin: Activate "Side Chain Solo" to hear the rap track's signal.
Switch this signal to the side chain EQ. Click on "Side Chain Filter" to open the side chain
equalizer.

Step 7: Now we're going to boost the high frequencies by bringing them right up using the
equalizer.

As this signal controls the compressor the boosted frequencies will be heavily compressed and
in turn dampened.

Step 8: Deactivate "Side Chain Solo" and set the advanced dynamics mode to "Compressor".
Choose "Peak" from the reaction settings.
302 ADVANCED PRODUCING

Step 9: Finally, change the attack and release times. A ratio of 5.14 : 1 and a threshold value of -
20.8 dB will compress the boosted sibilants quite heavily.

Step 10: To make fine adjustments to the damping either change the send signal's amplification
level or the side chain equalizer's volume fader.
 ADVANCED PRODUCING 303

DeEssing with the DeEssing Plug-in

The quickest and easiest solution for de-essing is to use the Samplitude DeEsser. It's a
compressor which affects certain frequency ranges.

Step 1: Select the eFX_DeEsser as the plug-in for your vocal track.

Step 2: Select the most suitable preset for your vocal part. We're going with "Male Vox".
304 ADVANCED PRODUCING

Step 3: If you click on the "Monitor" button you will only hear the attenuated sibilants.
Experiment with the frequency settings. This will allow you to hear exactly which frequency
ranges are being dampened.

Step 4: Deactivate the monitor button and using the "reduction" knob select how much you
want to dampen the sibilants. The "Filter Q" parameter might be helpful to you here. Click on
the wrench symbol and select a bandwidth between 0.10 (very wide) and 2 (extremely narrow)
for the filter to work with.

One final tip: In most cases it's best to apply the DeEsser plugin to the signal path after the
compressor and EQ, but before distortion and amp simulation.

The DeEsser can also be really useful if it's used as the first insert plugin in your reverb channel,
by stopping sibilants from being processed by the reverb device.
 ADVANCED PRODUCING 305

Using EQ: General Tips for Editing the

Frequencies in your Mix
The equalizer (EQ) is a very important tool for molding the sound of individual instruments in
the mix. The EQ is also very important for positioning instruments in the frequency spectrum
during the mixdown process. This is done by boosting the frequencies that are characteristic of
each instrument and cutting frequencies that are conflicting with other instruments. In this way
you can establish a niche for each instrument in the mix which in turn lead to a more
transparent listening experience.

Removing Resonance Frequencies

To keep your mix clear from the start you can begin by removing disruptive resonance
frequencies from each instrument channel. To find the resonance frequencies sweep through
the frequency spectrum of the EQ with a high Q-factor and high gain setting. These settings will
make the resonance identifiable as humming or high-pitched chiming.
306 ADVANCED PRODUCING

When you find the disruptive frequency ranges you can lower them or cut them completely.

Feel free to drastically lower the gain factor while doing this because the correction only affects
a narrow frequency band.
 ADVANCED PRODUCING 307

Boosting the Wanted Frequencies

In contrast to the last section we can boost the wanted frequencies with a low Q-factor. The
best way to do this is to use shelving settings on the lowest and highest wanted frequencies.
When performing wideband boosting of wanted frequencies it is best to be more careful with
the gain knob than you were when removing the resonance frequencies.

Preventing Masking and Interference with Multiply

Occurring Wanted Frequencies
To ensure a balanced and transparent mix it is absolutely crucial that you create a frequency
gap for another instrument in the same frequency range when boosting the frequencies of an
instrument. For example, to keep the sound transparent it is recommended to boost the bass
drum under 100 kHz using shelving EQ while removing exactly this frequency range from the
hi-hat using a high-pass filer.

Considering that the frequency selection is affected by many factors such as the style of music,
instrumentation, recording space, microphones used etc. these instructions are only meant as a
rough guideline. When using EQ - as with all mixing processes - there are no strict rules. The
best thing to do is trust your own ears and use our recommendations as a starting point for
developing your own sound.
308 AUTOMATION

Automation
The following types of automation are available in Samplitude:

Track automation
Object automation
Master automation
Surround automation
Wave project automation (volume/draw waveform mode)

Automation Modes
Before you actually start with the automation, specify how you want Samplitude to record and
play the automation data.

To do so, right-click the automation button in the mixer channel or the track editor and select
the animation mode of your choice:

Automation off mode: In this mode, all automation functions are deactivated and existing
automation processes will be ignored.

Read mode: In this mode, all recorded automation parameters are played. This is the default
mode of the automation button.

Touch mode: In this mode, automation data is recorded only as long as you touch the selected
control element with the mouse or touch it from your external controller. As soon as you
release the button, the automation recording stops. Once released, the control element will
move back to the previously recorded position.

Latch mode: Also in Latch mode, automation data is written only when the control element is
touched with the mouse or the external controller. As soon as you release the button,
automation continues to be written on the last value until you end playback or switch into
another mode.
 AUTOMATION 309

Overwrite mode: In this mode, automation data is recorded immediately as soon as playback
begins, irrespective of whether you touch the fader. The automation continues to be written
until you end playback or switch into another mode. This allows you to quickly overwrite a
previously recorded automation curve.

This mode is available only for the currently activated, selected curve.

Trim mode: Trim mode is useful if you want to maintain the existing automation movements,
but wish to increase or decrease the overall level.

In "Trim" mode, automation data is only recorded as long as you touch the selected control
element with the mouse or touch it from your external controller. As soon as you release the
button, the automation recording stops. Once released, the control element will move back to
the previously recorded position.

Note: You can determine the fader release time for the Touch or Trim mode in the "Effects" >
"Automation" > "Automation Release time" dialog.

Clicking this button toggles between the last activated mode and "Read" mode.
310 AUTOMATION

Track Automation
Step 1: Select the track recording mode for creating automation curves. In this example, we will
pick touch mode.

Step 2: Select the track parameter to be controlled in the Track Editor using the "Effect" field of
the automation display. We chose for the "Volume" volume curve.

If you check the box next to "Show", you see the (inactive) automation curve for the volume
parameter in the arranger.
 AUTOMATION 311

3 step: To start recording automation, press "Play". Whatever changes you make using the
volume fader will be recorded in realtime during playback.

You can draw fine steps in the curve if you hold down "Shift".

Track Automation in Realtime Using Plug-in

Control Elements
Now, let's embed and automate a VST plug-in in our track.

Step 1: In the "Plugin" section of the track editor, select the VST plug-in that you want to
automate. We will choose the MAGIX plug-in "AM-Pulse".

Step 2: Select the track recording mode for creating automation curves. In this example, we will
pick Latch mode.
312 AUTOMATION

Step 3: Click "Automate next parameter" in the plug-in menu, and then the desired function
button in the plug-in dialog, for example, the knob controller, "HF details level".

You can also select the plug-in parameter to be controlled by right-clicking the automation
display in the Track Editor.

The arranger now displays the automation curve (inactive) for the selected parameter.
 AUTOMATION 313

4 step: To start recording automation, press "Play". Whatever changes you made to the
selected control element, will be recorded in realtime during playback.

Note: If you only want to subsequently move curve points vertically using the mouse, select the
corresponding curve points in Curve mode and create a lock against unintentional horizontal
movement by holding down "Shift". You can now move the selected curve points vertically. You
can deactivate the fine grid by simultaneously holding down the "Alt" key in order to make
rough changes.
314 AUTOMATION

Using the Pencil to Draw a Track

Automation
Step 1: To draw a curve path of an automation parameter or a MIDI controller, select
Automation Draw Mode in the toolbar.

Step 2: Now click a control element in the Track Editor/mixer or VST plug-in and hold down
"Ctrl + Alt" at the same time.

Step 3: You can edit the inactive automation curve for the selected parameter that appears in
the track using the pencil tool. Simply click anywhere in the track display and then draw the
automation curve by dragging with the mouse cursor.
 AUTOMATION 315

Object Automation
At the object level, you can automate the volume, panorama, AUX sends, surround, EQ and
VST plug-in parameters.

Step 1: First, select an object.

Step 2: A context menu appears when you right-click in the automation area of the Track
Editor. Switch to the "Display object automation" mode.

Step 3: Switch into the object editor and activate the Automatic Draw Mode by clicking the
corresponding button. Right-click to view a list of all available object automation parameters.
Select the desired automation parameter (e .g. AUX send 3).

The dotted, inactive automation curve is now displayed in the object.

316 AUTOMATION

Note: Newly created, inactive AUX Send curves are placed at the bottom edge of the object.

Step 4: Hold down the mouse button and use the pencil to draw the automation for the
selected parameter into the selected object.
 AUTOMATION 317

Master Automation
At master level, you can automate the volume, EQs, VST plug-ins, and MIDI controllers.

An automation button for volume automation of the stereo sum is available in the master
section of the mixer.

Step 1: Select the recording mode for creating automation curves. In this example, we will pick
touch mode.

2 step: To start recording automation, press "Play". Any volume changes you make, will be
recorded in realtime during playback.

Step 3: To display the master track in the arranger, right-click the automation button in the
master channel. Select the option "Display master track in arranger". Select the option "Display
master track in arranger". A track highlighted in color called "Master" is now displayed in the
arranger.

Step 4: You can automate this track in the arranger too. Use the keyboard combination "Ctrl +
Alt" and click the first EQ knob button "Hi" in the Track Editor of the master track. If you check
the box next to "Show", you see the (inactive) automation curve for the selected parameter in
the arranger.
318 AUTOMATION

Step 5: Just as described in the track automation, we can now do the master automation in
realtime using the EQ control elements or in Automation Draw mode using the pencil.

Surround Automation
If you are working in the surround mode at track level, you can automate surround panning. To
do this, proceed as follows:

Step 1: In the surround project, choose the automation curve "Surround Y" for the track you
want to process. It makes no difference which track automation mode is selected.

Now you see the inactive automation curve for the panning movement of the surround sound
source.
 AUTOMATION 319

Step 2: Switch into Automation Draw mode and draw the desired panning movement.

Step 3: Now open the surround panorama module by right-clicking the surround pan display in
the Track Editor.

Step 4: If you switch on automation using the corresponding button, you will see that the sound
source matches the surround curve in the sound field, i.e backwards and forwards. If you have
selected the "Surround X" as an automation curve instead, the sound source moves horizontally
to the right or left according to the drawn automation curve.

Step 5: Play the track again and drag the sound source around freely in the sound field using the
mouse. The "REC" button will light up, indicating that the movements are being recorded.

Step 6: Back in the arranger view, you will see the automation panning changes again in the
surround curve.

Of course, you can edit the respective curves in Automation Draw mode at any time.
320 AUTOMATION

Range Automation in the Surround

Panorama Module
Step 1: Select the range which you want to draw in the surround-automation using the
Surround Panorama Module.

Step 2: Switch into the Surround Panorama module and activate the Automation and drawing
mode using the corresponding buttons.

Step 3: Now draw any sound source path you like in the sound field using the mouse.
 AUTOMATION 321

Step 4: Now press the "Play/Stop" button. You see that the sound source moves through the
range along the pre-drawn path.

If you are not satisfied with the path, you can always redraw the curve.

Step 5: If you want to edit the curve path afterwards, select the automation parameter
"Surround X" or "Surround Y" in the arranger and use the Automation Draw mode to make the
changes you want.

Volume Draw Mode in the Audio File

The Volume Draw Mode allows you to draw volume paths, even in a wave project.

To edit a selected object as a wave project, in the menu select "Object" > "Edit audio file...".
Doing this will open the object appear as an independent wave project in a new window,
displayed as a waveform.

Note: In "Destructive" mode, wave projects are written directly to the hard drive. Changes in
the editing window affect the audio wave file immediately. To be able to undo actions in the
opened file in this mode using "Ctrl + Z", you have to activate the "Undo function for wave
projects" in the program settings (Y -> "Program" -> "Undo").
322 AUTOMATION

Step 1: The Volume Draw Mode as the mouse mode.

Step 2: The mouse pointer will turn into a pencil if you are in the waveform display. Click inside
the waveform at the point which you would like to make a volume adjustment. This
automatically makes Samplitude zoom into a display where you are able to work with the
Volume Draw Mode very precisely.

Step 3: Move the pen to the point you want to work with and drag upwards or downwards
while holding the mouse button to adjust the volume properties.

Step 4: Now adjust the timing of the volume by holding down the mouse button and dragging
the defined dB-adjustment left or right along the waveform. You will see that the waveform will
change accordingly.

You can adjust the left and right channels independently.

 AUTOMATION 323

Draw Waveform Mode in Wave Projects

Changing the waveform in the wave window is useful if you want to edit short impulse
disturbances manually for example.

Step 1:As mouse mode, select the draw waveform mode

Step 2: The mouse pointer will turn into a pencil if you are in the waveform display. When
inside the waveform click the point at which you would like to make waveform adjustments.
This automatically makes Samplitude zoom into a display where you are able to work with the
draw waveform mode very precisely.

Step 3: Move the pen to the point you want to work with and whilst holding the mouse button
draw in the waveform adjustments.

You can adjust the left and right channels independently.

324 MASTERING

Mastering
Mastering involves the final technical and audio editing that is performed on mixed music
recordings. It is meant to achieve a perfect balance between the dynamic and frequency curve
at an appropriate volume.

Mastering originated from technical adjustments that were necessary to transfer music to vinyl
and cassettes etc. This opportunity was used to make further efforts at improving the mix.
Creative mastering is a product of this process.

Sending your mixes to a professional mastering studio is obviously the best way to give them
the necessary power, depth and transparency. These studios have very expensive analog and
digital equipment that is operated by mastering engineers with years of experience and very
specialized know-how.

If, however, you want to save yourself the costs of going to a mastering studio you can use the
handful of tips in this workshop to achieve respectable results in your home studio using the
Samplitude mixing board.

Preparation:

Before beginning the mastering process you should be sure that the mixing process, including
automations, is complete, and that you are happy with the results. Avoid heavily compressing
or maximizing the stereo mix in the mixing stage. When the mix sounds balanced and
transparent it's time for mastering. In addition you should have a good monitoring system,
reliable acoustics or at least a very good pair of headphones.

Step 1 - Export mix: First we're going to export our final multi-track mix as a stereo track. To do
this go to "File > Export > Wave..." In the format settings we'll select 88200 Hz and 24-bit
stereo.
 MASTERING 325

As for export settings, we're going to select "Complete project (until last object)".

Step 2 Create new VIP: Now open a new VIP by going to "File > New virtual project (VIP)...
and load the previously exported audio file by going to File > Import... > Load audio file....
When importing adjust the VIP sample rate to 88.2 kHz.
326 MASTERING

Step 3 Remove DC component: The first technical correction we'll make is to remove the DC
component from the track. If the signal contains a DC component it can lead to a slight
movement of the waveform so that the axis no longer lies directly on zero. This can lead to
further problems with interference in the low frequency range and imprecise calculation of
subsequent plug-ins. Got to Effects > Restoration > Remove DC component... to correct this
displacement of the DC component.

At this point you want to remove any crackles, hissing, humming etc. using the restoration tools
DeClicker, DeCrackler, DeHisser, DeNoiser and Spectral Cleaning. We will go into more depth
on these special tools in another workshop.

Step 4 Normalize: Now we want to adjust our signal according to the maximum amplitude
values. Go to Effects > Amplitude > Normalize... and set the maximum output level to -0.4
dB. This value gives you sufficient headroom to make other adjustments. The resulting level
adjustment will then be displayed.
 MASTERING 327

Step 5 - Fades: Before setting fades for your song, use the left and right handles on the bottom
of an object to adjust its start/end position.

Now we are going to set the object's fade in/out phase using the handle above.

In the "Fades" section of the Object Editor you can adjust curve forms and fade in/our lengths
more precisely. For our fade in we are going to choose "Exp" for "exponential" and fade in time
on 2557 milliseconds. For the fade out we're going to choose "Cos" for "Cosinus" and a fade out
time of 11409 milliseconds.

Step 6 EQing: First we'll make a few "technical" corrections to the frequency response. To do
this we'll open the EQ116 and set up a high-pass filter at 30 Hz so that the lowest inaudible
frequencies are eliminated.

To clean up the kick drum and bass drum in the bass range we're going to cut the narrow band
frequencies at 130 Hz.
328 MASTERING

Next we can freshen up the 12 kHz signal using a light High Shelf Boost.

Step 7 EQ Fine tuning: After these general frequency adjustments we are now going to
devote ourselves to fine tuning the equalizer settings. For our song, a narrow band increase of
the 70 Hz range will give our bass a bit more body.

In the 5th frequency band we are going to boost the range around 3 KHz to bring out the lead
guitars and vocals.
 MASTERING 329

Finally we are going to bring the vocals and cymbals forward a little using a small boost at 7
kHz.

You can quickly detect unwanted frequencies by sweeping through the frequency range with an
increase of 12 - 15 dB. Reduce any sections if you hear booming or any nasty resonance. At this
stage a healthy balance of removing interfering frequencies and keeping the rest is important.
Work quickly so your ear does not become accustomed to extreme EQ settings and constantly
use AB comparison listening.

You should be aware of the frequency response using the Spectroscope as well as keeping an
eye on the Peakmeter.

Step 8 Stereo Enhancer: At this point in the mastering process you should check the stereo
base width. If you think that your track isn't spacious enough you can increase the stereo base
width. The Samplitude multiband stereo enhancer allows you to perform detailed modifications
and corrections to the stereo image in three independent frequency bands.

Open the multiband stereo enhancer: "Effects > Stereo / Phase > Multiband Stereo
Enhancer...". We can use the base width knob of the middle band to increase the stereo base
width.
330 MASTERING

We only want to broaden the stereo base subtly. To do this we're going to select the "Enhance
Stereo Smart" setting, adjust the individual bands' separation frequencies by dragging the
mouse in the graphic display and then experimenting with the middle band's stereo width. We
are going to leave the base width of the bass band and high band as they are.

Be aware when editing the stereo base width that phase problems may arise, affecting the
mono compatibility. To avoid this you should always control your signal with the Phase
Oscilloscope and Correlation Meter.

To guarantee mono compatibility avoid fraying the signal too far either left or right in the Phase
Oscilloscope. The Correlation Meter should display values between 0 and 90 at all times.

Step 9 - Multiband compressor: You can edit various frequency bands in your music
independent of one another and with specific compression properties using the Multiband
Compressor. This allows you to make precise volume changes by delving deeper into a song's
dynamics.
 MASTERING 331

Open the Samplitude Multiband Dynamics and select the "MaxLoudness1" setting as a start
point.

First we're going to define the separation frequencies between bands. Click on the graphic
display "Frequency separation/Level increase/reduction" to change the separation
frequencies for individual filter bands by dragging with the mouse. Choosing which frequency
bands to adjust is based on what kind of musical style you produce - e. g. the following
separation frequencies are suitable for rock mixes:

Lowest separation frequency ~ 150 Hz: With this setting you can edit the important bass
frequency range, for kick and bass drums.

Separation frequency ~ 400 Hz: The body of the guitars and the base for the snares are
somewhere between 150 Hz and 400 Hz.

Separation frequency ~ 5000 Hz: The main vocals and most other instruments are somewhere
between 400 Hz and 5000 Hz.

Above 5 kHz: Certain hi-hats, cymbals, elements of the vocals and sibilants are located in this
range.

Using "Solo" feature for individual bands you can hear the selected frequency range and can
regulate compression in detail.

Balance out the individual bands using the "Ratio", "Threshold", "Attack" and "Release"
parameters - aim to achieve an equal dynamic relationship between bands. Use the "bypass
DYn" function regularly to compare the unedited song with the compressed signal.

In addition to the multiband compressor we are going to use another powerful tool for
increasing loudness. This changes the sound and gives the song more character...
332 MASTERING

Step 10 - AM-Munition: AM-Munition is an extremely versatile, dynamic tool for editing

groups or master signals. It has separate units such as compression, filtering, side-chain, limiter
and clipper. The aim is effective signal compression without disturbing artifacts, a high
maximum loudness level, and an "analog" behavior featuring its own audio signature.

To keep things simple we are going to choose the preset "Pop Master 8dB louder" for our song.
Adjust the compressor, limiter and clipper settings manually according to the fit the "feel" of
your song.

We will go into more depth on the various Am-Munition settings in another workshop.
 MASTERING 333

Step 11 - sMax11: The maximizer sMAX11 is a tool for increasing the loudness of your audio
signal.

This is done by entering the input amplitude (gain-in). The signal will be amplified by this level.
The sMax11 simultaneously ensures that the signal doesn't exceed the output level (gain-out)
that has been set. This requires regulation of the response time set via the mode and release
time. Essentially, this involves a hard or brickwall limiter with input amplification.

Proceed as follows:

First, turn on the Link option. This way, volume will stay constant and you can better
compare your changes.
Now, raise the input amplification Gain in until the sound changes become unacceptable.
Adjust Gain in to a lower level.
You can also minimize distortions by raising the Release time. However, the compression
effect and the volume increase are thereby minimized.
Switch Bypass on once in a while.
When you've found the optimal setting, switch the Link option off.
Finally, switch the Output gain to 0 dB.
334 MASTERING

Step 12 - Limiter: To be on the safe side we are going to set another peak limiter at the end of
our mastering chain as an "Advanced Dynamics" preset, to cut off all level peaks of -0.1 dB.
Using a headroom of -0.1 dB you can to be sure that clipping doesn't occur on other systems,
e. g at the CD pressing plant.

Step 13 - Audio export - Dithering: At last we are going to export our project with a sample
rate of 44100 Hz and in 16-bit stereo. This means our song is ready to be burned to CD. We are
going to select the default "Dithering with triangular noise distribution" as our dithering
method.

Listen to the exported file one more time and make sure that no errors occurred during export.
 EX PORT AND BURN 335

Export and Burn

Burning a CD
You can burn straight to CD from the arrangement:

Step 1: In the arranger, switch to the Master mode in the "Workspace".

Step 2: Set the play cursor at the start of the song and click the "T" button to set a CD song
index marker.

Step 3: Now position the play cursor at the end of the arrangement and click the "E" symbol to
set a CD track end marker.
336 EX PORT AND BURN

Step 4: Now we're going to click the CD button.

You can produce a CD on-the-fly if your project contains a few effects and can be burned in
realtime. If this is not case, you should use the "Generate completely new file" option. You can
also burn the data CDs with the following file formats: MP3, AAC, WMA, Ogg Vorbis and
FLAC.
 EX PORT AND BURN 337

Step 5: With the "Generate completely new file" option, a new stereo file is created that can
also be used for the following burning processes. Click "Burn CD".

Step 6: In the following dialog, choose where you want to save the wave file, and what you
want to call it.

Step 7: The CD is now rendered into a Wave file

338 EX PORT AND BURN

and the bounced file appears in a new window in Samplitude.

Step 8: Please insert a blank CD-R into the CD drive. In the following dialog, you can define the
write speed and CD writing configuration, such as burn CD text and simulation options.

Step 9: Selecting the "Write" button will begin the burning process.
 EX PORT AND BURN 339

Step 10: To test the CD, go to "File" > "Import" > "Import Audio CD tracks(s)..."

With this dialog, you can import any audio CD tracks into Samplitude.
340 INDEX

Index
64

64-bit .......................................................................................................................................... 32

A/B Comparison of Object Editor Settings......................................................................128

Activating Samplitude.............................................................................................................. 16
Activation by Email, Fax or Post........................................................................................... 25
Activation on a Separate Computer with an Internet Connection............................... 18
Add Punch - Make Space......................................................................................................241
Adding Several Tracks .......................................................................................................... 144
Adjusting Object Volume .................................................................................................... 146
Advanced Parallel Compression .........................................................................................215
Advanced Producing ............................................................................................................. 188
Arrangement of a Song (Example).....................................................................................132
Arranger...................................................................................................................................... 36
Arranging and Producing ..................................................................................................... 109
Audio Devices ........................................................................................................................... 52
Audio Editing in Samplitude..........................................................................................41, 108
Audio Recording ....................................................................................................................... 58
Audio Settings........................................................................................................................... 50
Automation.............................................................................................................32, 250, 308
Automation Modes .............................................................................................................. 308

Basic Program/Project Settings ........................................................................................... 46

Begin/Finish Recording .......................................................................................................... 63
Boost Frequencies between 2 kHz and 5 kHz ................................................................245
Boosting the Wanted Frequencies ....................................................................................307
Broadcast Wave Manager ..................................................................................................... 32
Burning a CD ........................................................................................................................... 335

Careful Use of the Limiter ....................................................................................................238

Change Range Borders.......................................................................................................... 104
Clips ............................................................................................................................................. 36
CodeMeter Runtime and CodeMeter Control Center..............................................14, 28
Compression Panel ................................................................................................................226
Configuration of the Dongle/ Setting up the Server ....................................................... 29
Contact ..................................................................................................................................11, 29
Controller Changes.................................................................................................................. 87
Controlling Attack - Tape Saturation with AM-Track..................................................229
 INDEX 341

Copy and Paste a Range........................................................................................................ 133

Copy Object ............................................................................................................................. 133
Copy Settings to Other Objects ..........................................................................................130
Copyright ...................................................................................................................................... 2
Create a New MIDI Object...................................................................................................160
Create AUX Bus/Effect Send...............................................................................................147
Create Project Folder .............................................................................................................. 46
Creating and Naming a Track ............................................................................................. 140
Creating Dynamic with Panorama Automation............................................................. 252
Creating Spaciousness with Reverb...................................................................................188
Creative Vocal Effects ..........................................................................................................260

DeEssing...................................................................................................................................288
DeEssing Using EQing with a Side Chain Compressor ................................................299
DeEssing Using Fader Automation ....................................................................................291
DeEssing Using the Multiband Compressor................................................................... 293
DeEssing with a Side Chain Gate.......................................................................................296
DeEssing with the DeEssing Plug-in .................................................................................303
Depth Layering ........................................................................................................................198
Distortion Mix in Parallel Distortion .............................................................................. 277
DN-e1 ............................................................................................................................................31
Documentation and Help.......................................................................................................... 8
Doubling Vocals ..................................................................................................................... 253
Doubling Vocals - Denser Through Doubling ................................................................ 255
Doubling Vocals - Split Harmonizer ................................................................................. 257
Doubling Vocals - Wider Using Delay ............................................................................. 253
Draw Waveform Mode in Wave Projects ....................................................................... 323
Drawing Events in the Matrix Editor (Piano Roll) ..........................................................163
Drawing Waveforms with the Pencil Tool ................................................................ 41, 108
Ducking Techniques in Samplitude.......................................................................... 221, 229
Ducking with the Compressor............................................................................................. 221
Ducking with the Gate (Gated Send) ............................................................................... 223
Duplicate Objects ....................................................................................................................113
Dynamic Reverb ..................................................................................................................... 267

Editing MIDI Drum Recordings .............................................................................................78

Editing Objects in Spectral Mode ........................................................................................118
Editing Recordings Manually and Reducing the Volume ............................................288
Effect Categories...................................................................................................................... 43
Effect Routing............................................................................................................................ 30
Effects in Audio Objects (Object Effects) ......................................................................... 43
Effects in the Master............................................................................................................... 45
Effects in Tracks (Track Effects) .......................................................................................... 44
Elastic Audio on multiple tracks ............................................................................................31
Export and Burn...................................................................................................................... 335
342 INDEX

Fading Objects In and Out....................................................................................................138

Free Plug-in Routing ................................................................................................................ 30
Freezing MIDI Tracks.............................................................................................................. 88
Freezing/Bouncing MIDI Tracks .........................................................................................155
Frequency Separation .......................................................................................................... 244
FX Delay ................................................................................................................................... 272

General System Requirements .............................................................................................. 13

Grid .............................................................................................................................................. 35

Hard Disk..................................................................................................................................... 13
Hardware Controllers............................................................................................................... 31
Help.................................................................................................................................................9
Hide Tracks...............................................................................................................................153
Horizontal Movement of a Range...................................................................................... 104
How To Get More Dynamic In Your Mix........................................................................ 244
How To Put More Punch In Your Mix...............................................................................238

Improved Functionality for the Visually Impaired and the Blind ................................. 32
Improved Project Docking ..................................................................................................... 32
Installation .................................................................................................................................. 14

Leaving a Range...................................................................................................................... 104

Legato.........................................................................................................................................179
Level Adjustment ..................................................................................................................... 63
Load Project ..............................................................................................................................132
Loading Audio File and Adding them to the Arrangement ......................................... 140
Loading Audio Files ............................................................................................................... 109
Loop Mode.................................................................................................................................112
Loop Recordings ....................................................................................................................... 66

Make It Loud - Using Compressors and Limiters in Your Mix...................................226

Marker......................................................................................................................................... 37
Masking Effect ........................................................................................................................242
Master Automation ................................................................................................................317
Mastering ....................................................................................................................... 237, 324
 INDEX 343

Maximum Loudness with a Limiter................................................................................... 234

Melody Inversion ....................................................................................................................170
Metronome Options ................................................................................................................62
MIDI Drum Recording Process..............................................................................................77
MIDI Drum Recordings ...........................................................................................................77
MIDI Editors .............................................................................................................................163
MIDI Functions........................................................................................................................160
MIDI Settings .............................................................................................................................53
MIDI Velocity...........................................................................................................................180
Mixer ........................................................................................................................................... 40
Mixer Effects ............................................................................................................................. 45
Mixing Background Vocals.................................................................................................. 282
More Attack for the Kick - Sample Trigger ..................................................................... 243
Multi Object Editing ................................................................................................................181
Multiple Copying of Objects................................................................................................142
Multiple outputs....................................................................................................................... 30
Mute Objects ........................................................................................................................... 137

Network Installation.................................................................................................................29
New Functions...........................................................................................................................33
New MIDI Functions ................................................................................................................33
New Project Templates (keyboard shortcut: E) ................................................................31

Object Automation................................................................................................................. 315

Object Editor .......................................................................................................................32, 39
Object Editor - Snapshots.....................................................................................................128
Object Manager ........................................................................................................................32
Object-oriented Audio Editing ..............................................................................................39
Objects ........................................................................................................................................38
Offline Activation of Samplitude .......................................................................................... 18
Offline Effects ........................................................................................................................... 43
Only in Samplitude Pro X2 Suite...........................................................................................33

Parallel Compression ............................................................................................................ 238

Parallel Compression (New York Compression)..................................................206, 241
Parallel Compression of a Drum Loop..............................................................................206
Parallel Compression of Combined Drum Tracks ..........................................................210
PDF Documentation................................................................................................................... 8
Pitch Correction with Elastic Audio .................................................................................. 276
Pitch Shift-/Time Stretch-Mouse Mode........................................................................... 122
Play Project ............................................................................................................................... 132
Positioning Audio Files in the Arrangement ....................................................................145
Preparing MIDI/VSTi Recordings........................................................................................ 68
344 INDEX

Preventing Masking and Interference with Multiply Occurring Wanted

Frequencies..............................................................................................................................307
Program Installation on Workstations................................................................................ 29
Project Options ......................................................................................................................... 49
Punch Recording with Markers ............................................................................................ 67

Range Automation in the Surround Panorama Module...............................................320

Ranges......................................................................................................................................... 37
Reactivate Range.................................................................................................................... 104
Real-time Effects ...................................................................................................................... 43
Recording Options ................................................................................................................... 58
Reducing Sibilants When Recording .................................................................................288
Remove Overlaps ....................................................................................................................178
Removing Resonance Frequencies ....................................................................................305
Renaming a MIDI Object.......................................................................................................162
Retrograde (Reversed) ..........................................................................................................175
Retrospective MIDI Recording..............................................................................................90
Reverb for Bass? ......................................................................................................................192
Reverb for Drums ................................................................................................................... 189
Reverb for Guitar .....................................................................................................................193
Reverb for the Stereo Master...............................................................................................197
Reverb for Vocals ....................................................................................................................195
Reverb/Delay .......................................................................................................................... 199
Reverse Reverb .......................................................................................................................262
Rhythmic Delay ......................................................................................................................270

Samplitude Fundamentals - Basic Terms .......................................................................... 34

Samplitude on Windows x64 (64-bit)................................................................................ 12
Samplitude on Windows x86 (32-Bit) ................................................................................ 12
Save Project as Template....................................................................................................... 55
Saving and Opening Ranges / Special Range Commands .......................................... 105
Scrolling .................................................................................................................................... 100
Selecting a Range ................................................................................................................... 102
Selecting Objects ..................................................................................................................... 111
Set Hotspot................................................................................................................................115
Setting Accents .......................................................................................................................251
Setting and Naming Markers ...............................................................................................139
Setting Ranges .......................................................................................................................... 74
Settings for a New Project ..................................................................................................... 47
Shift Objects ..............................................................................................................................113
Sidechain Ducking.................................................................................................................. 227
Snap ............................................................................................................................................. 34
Snap and Grid Setup................................................................................................................ 64
Spectral Distribution with the Equalizer .......................................................................... 199
Split Object ...............................................................................................................................138
 INDEX 345

Splitting Objects.......................................................................................................................114
Step Recording.........................................................................................................................167
Support Area and User Forum............................................................................................... 10
Surround Automation ............................................................................................................318
System Requirements.............................................................................................................. 12

Tape Stop Effect ..................................................................................................................... 274

Telephone Voice ....................................................................................................................260
Timestretch Metal Effect ..................................................................................................... 273
Track.............................................................................................................................................36
Track Automation...................................................................................................................310
Track Automation in Realtime Using Plug-in Control Elements .................................311
Track Color ............................................................................................................................... 152
Track Name .............................................................................................................................. 152
Track Settings ........................................................................................................................... 60
Tracks.........................................................................................................................................147
Transparency and Loudness in the Mix - Multiband Dynamics................................230
Transport Console/Click Settings ........................................................................................75
Tremolo Effect ........................................................................................................................ 242

Use Samplitude with CodeMeter dongle............................................................................27

Using EQ: General Tips for Editing the Frequencies in your Mix ..............................305
Using the Pencil to Draw a Track Automation................................................................314

VCA (Voltage Controlled Amplifiers)................................................................................ 30

VIP ............................................................................................................................................... 34
Vocoder Effect ........................................................................................................................ 279
Volume ......................................................................................................................................198
Volume Automation .............................................................................................................248
Volume Control Settings........................................................................................................ 89
Volume Draw Mode in the Audio File............................................................................... 321
VST Plug-in Path and ReWire............................................................................................... 54
VST3 support ............................................................................................................................ 30
VSTi/MIDI Synth Recording ................................................................................................. 84

Welcome....................................................................................................................................... 7
What's new in Samplitude Pro X2 / Pro X2 Suite? ........................................................ 30
Working in the Project Window ...........................................................................................93
Working in Virtual Projects....................................................................................................93
Working with Bar Markers in Pitchshift-/ Timestretch-Mouse Mode.....................126
Working with Markers...........................................................................................................106
346 INDEX

Working with Ranges............................................................................................................ 102

Working with Tempo Markers in Pitchshift-/Timestretch Mouse Mode................124

Zoom Mode ............................................................................................................................... 96

Zoom Tool (Keyboard Shortcut: Z)..................................................................................... 96
Zoom with the Position Bar ................................................................................................... 94
Zoom with the Scrollbar Buttons ......................................................................................... 94
Zooming ..................................................................................................................................... 94
Zooming In and Out of the Project.....................................................................................137
Zooming with the Keyboard.................................................................................................. 94
Zooming with the Mouse - Vertical Zoom........................................................................ 95
Zooming with the Mouse Wheel ......................................................................................... 94
Zooming with the Overview Mode ..................................................................................... 97
Zooming with the Scrollbars ................................................................................................. 96