MX
Table Of Contents
- Copyright
- Preface
- Support
- System requirements
- Uninstalling the program
- Before You Start
- Serial Number
- More about MAGIX
- Introduction
- What is MAGIX Music Maker MX Production Suite?
- What’s new in MAGIX Music Maker MX Production Suite?
- The Features
- Multimedia Library
- Arranger with 96 tracks
- Independence Basic Sampler Workstation
- BeatBox 2
- Media database
- Audio effects
- Import
- High-end 32-bit floating point
- Software synthesizers
- Own recordings
- Audio & MIDI
- Mixer
- Harmony Agent
- Song Maker
- Easy mode
- Formats and interfaces
- InfoBox
- Live Sessions
- SoundVision
- Internet upload to many platforms
- Additional features of the Premium version
- Overview of the Program Interface
- Quick start
- Arranger
- Media Pool
- Videoscreen
- Mouse modes
- Arranging Objects
- Audio Objects
- Audio formats
- Load and process audio files
- Smart Preview for the incorporated samples
- Audio recording
- Import audio CD
- Change the playback tempo or pitch
- Remix agent - Tempo and beat assignment
- Requirements for using the Remix Agent
- Preparation - Setting the start marker and object end
- Automatic Tempo Recognition
- Setting the manual and Onbeat/Offbeat
- Determining the start of a measure
- Using BPM and beat detection
- Save only Tempo & Beat information
- Tempo adjustment
- Problems and Remedies regarding the Auto Remix Assistant
- Remix Maker
- Harmony Agent
- Text to speech
- MAGIX Music Editor
- MIDI Objects
- Arrange MIDI objects
- Load MIDI files
- Connect external equipment
- Playing and recording MIDI synthesizer
- MIDI Editor
- Select sounds
- Play/ PlaySolo
- Playing instruments with the keyboard
- MIDI Record options
- Step recording via keyboard or controller keyboard
- Notation display, movement, zoom
- Piano Roll - Edit events
- Controller editor - Selecting and editing events
- List Editor
- Quantize
- MIDI functions
- MIDI editor techniques
- MIDI Editor shortcuts
- Drum Editor
- Synthesizer objects
- Live Performer
- Audio effects
- Effects
- Using audio effects
- Using plug-in effects
- Buttons and controls
- Further Console Elements:
- VariVerb
- Object and master effects rack
- Equalizer
- Sketchable filter
- Compressor
- Invert phase
- Reverb
- Sound Warper
- Elastic Audio Easy
- General information on the Elastic Audio editor
- Edit window
- Axes labelling and legends
- Fundamentals of the Elastic Audio editor
- Description of all control elements
- Playback control
- Tools in the Elastic Audio easy editor
- Applications of the Elastic Audio easy editor
- Pitch-sliced-objects and VIP objects
- Fundamental frequency analysis correction
- Keyboard commands and mouse-wheel assignments
- Vocoder
- Gater
- Backwards
- Timestretch/Resample
- MAGIX Mastering Suite
- Essential FX
- Vintage Effects Suite
- Vintage Effects Suite
- Vandal SE
- Video and Bitmap Objects
- Video and bitmap formats
- Adjusting the video screen
- Loading and editing videos and bitmaps
- Simplify object presentation
- Visualizer objects
- Video scrubbing
- Extract sound from videos
- Video effects
- Title Editor
- Video capturings
- Video recording dialog
- Video Compression
- Choppy or uneven playback
- General notes on AVI videos
- Create a video project for the Internet
- Video export via TV-out
- Automation curves
- Mixer
- 5.1 Surround
- Integrating other programs - Synchronizing and ReWire
- Reprocess arrangement
- File Menu
- Edit Menu
- Menu effects
- View menu
- "Share" menu
- Tasks menu
- Help Menu
- Buttons overview and keyboard shortcuts
- Index
234 Audio effects
www.magix.com
This effect is a result of the speed of the sound which first increases and then
decreases, thus also changing the sound pitch. The wave length also changes
relative to the frequency. If there were a second siren at your location, an
oscillation would develop between both sounds (just like when two instruments
are out of tune).
Chorus also splits the signal into at least two components: a direct sound and
an effects portion, and there are multiple effects components in CORVEX.
The Doppler effect is created by a short signal delay from the effect. For most
equipment, this delay is within the range of 10-30 ms (as in this one), this
means that it is short enough to be perceived as an "echo". The times would
also be similarly short if you duplicated a guitar track, for instance. A short
delay in the mix already sounds "duplicated", but this is not authentic. This is
where the above-mentioned "out-of-tune" effect comes in: the pitch of the
effect signal is slightly modulated by gently "drifting" forward and backward in
the delay curve. The result is a floating effect where the speed is influenced by
drifting.
The "Flange" effect is similar to that of the chorus, but does have a different
technical and historical background. It resulted by chance: someone (various
sources say John Lennon) slowed down one of two running interconnected
tape machines in a studio with his hand. The result was a rather brief delay of
the second signal compared to the first, brought about cancellations within the
frequency spectrum, leading to a so-called comb filter effect (the sum of both
signals creates "peaks" and "dips" in the spectrum that look familiar to the
teeth of a comb).
Flanging is basically a chorus effect with a low delay time (less than 10 ms).
"Release" or doubling of signals is not the main focus in this case; more
creative deformation of the frequency response is what we are interested in.
A complete flange effect will definitely require feedback: the flange portion is
returned to the input to increase the effect. People often refer to this as the "jet
effect" since it resembles a jet on take-off.










