15.0

BitMachine
Audio
material can always be edited into high-quality with Samplitude Music Studio 15. Nevertheless, there are
situations where a more imperfect lo-fi sound would perfectly suit a drum loop or a synthesizer sound.
Remember the first hardware samplers from the 80s that usually only ran in 8 or 12-bit resolution and at
low sample rates? With the BitMachine, changing the sound to suit such an "antique" device is no
problem.
You can use the BitMachine to bring back to life the times when minimalist, scratchy sound chips in home
computers were commonplace.
The BitMachine opens up a gateway to "acoustic time travel" where you can encounter bit and sample
rate reduction and downstream filters based on analog models.
Plus, the effect has a modulation section for you to control individual parameters using an oscillator
(LFO) or the input signal.
We have designed a range of "typical" presets to demonstrate the time travel abilities of the BitMachine.
These can be opened at the top right of the interface.
"Filter" section
The filter in the BitMachine is a digital model of one of the most well-known filters in music electronics,
i.e. the "Chamberlin 2-pole" filter used in old Oberheim synthesizers. These types of filters sound
exceptionally musical. They can also be used quite creatively in the BitMachine, but should not be used
exclusively to smooth out existing artifacts.
The filter works in the so-called "high-pass" mode, i.e. it lets through deep frequency (or medium)
material according to setting, and dampens highs and medium areas.
Freq
:
You can specify the cut-off frequency of the filter using "Freq". Filtering starts above this frequency.
Reso
:
The signal in the area around the cut-off frequency can be strongly elevated to just below self-oscillation.
Sharp, cutting sounds are possible at this level, and the effect becomes even clearer when you vary the
cut-off frequency.
Drive
:
Both of the individual filters of the connections mentioned above have the ability to overmodulate
themselves internally. With the "Drive" dial, you can regulate the amount of overmodulation. The more
you turn this dial up, the more the signal is overmodulated. In this case, the parameters of the internal
workings of the filter interact with one another. Increasing drive weakens the resonance, but, at the same
time, the signal gets more volume, more bass and becomes acoustically fuller.
Note: The two smaller dials from this section are explained under "Modulation".
"Modulation" section
You can automate your effects via the settings in the modulation section.
Here, you'll find the so-called low frequency oscillator (LFO), which resonates with adjustable speed.
You can influence the speed and type of resonance.
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