11.5

112 Effects and effect plug-ins
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the controller to the middle position or even moving it slightly to the right. This
way the "sharp" highs disappear, which all guitar amps generate without the
suitable loudspeaker. At the same time the mids stand out more, which gives
the sound more "kick". On the other hand you can further emphasize the
highs if you want the sound to be more neutral.
 Drive: The level of distortion. This controls the amplification used to operate
the "virtual valve circuit" (max. 60 dB). As the level increases, the valve goes
into overdrive and generates typical distortions. For a slightly distorted sound
("crunch"), it's sufficient to set the controller to 10-11 hours at maximum; the
modeled circuit also provides the usual "weight" for power rock chords, and
more. The further you turn this controller to the right, the more the mids of the
signal move to the fore so that the "high-gain" lead sound is better heard.
You can also use the distortion effect in combination with the amp simulation!
BitMachine
Audio material can always be edited into high quality with Samplitude 11.5
Producer. Nevertheless, there are some situations, for example, a more
imperfect lo-fi sound would perfectly suit a drum loop or a synthesizer sound.
Remember, for example, the first hardware samplers from the 80s that usually
only ran at 8 or 12-bit rates and at low sample rates. With the BitMachine,
changing the sound with such an "antique" device is no problem.
You can use the BitMachine to bring back to life the times when minimalist and
scratchy soundchips 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.
Furthermore, the effect has a modulation section with which you can control
individual parameters using an oscillator (LFO) or the input signal.