11.5
Table Of Contents
- Copyright
- Preface
- Support
- Before you start
- More about MAGIX
- Introduction
- Tutorial
- Program desktop overview
- Mouse functions and mouse modes
- Button overview
- Functional overview
- Effects and effect plug-ins
- What effects are there, and how are they used?
- Saving effect parameters (preset mechanism)
- Dehisser
- "Sound FX" (object editor, mixer channels, Mixmaster)
- Parametric equalizer (track effects, mixer channels, Mixmaster)
- MAGIX Mastering Suite (Mixmaster)
- Vintage Effects Suite (track effects, mixer channels, mix master)
- Essential FX
- Vandal SE
- Track dynamics
- Track delay/reverb
- 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
- Installing VST plug-ins
- Effect calculations
- Samplitude 11.5 Producer as an external effects device
- Automation
- Mixer
- MIDI in Samplitude 11.5 Producer
- MIDI editor
- Notation display, movement, zoom
- Synchronized MIDI editor and VIP screen view
- Multi-object editing (MO editing)
- Using the MIDI editor: Selecting events
- Editing events: Piano roll
- Controller editor
- List editor (midi event list)
- Drum editor
- Score editor
- Opening the score editor
- Score editor modes
- Linear view
- Page view
- Score sheet
- Editing MIDI data in the score sheet
- Adjusting and optimizing the score
- Note allocation in multiple staves
- Multi-voice notation
- MIDI score settings dialog
- Stave settings
- Note display: Interpretation options
- Notation symbols
- Page format settings
- Printing score
- Print notes
- Quantize
- MIDI editor shortcuts
- Software / VST instruments
- Installing VST plug-ins
- Load instruments
- Loading routing settings with software instruments
- Load effects plug-ins
- Route MIDI instrument inputs
- Instruments with multi-channel outputs
- Adjust instrument parameters
- Play and monitor instruments live
- Routing VST instruments using the VSTi manager
- Preset management
- Freezing instruments (freeze)
- Tips on handling virtual instruments
- ReWire
- Surround sound
- Synchronization
- Burning CDs
- Tools and wizards
- File menu
- Edit menu
- Track menu
- Object menu
- Object editor
- MIDI editor
- Wave editing
- Edit
- New MIDI object
- New synth object
- Cut objects
- Copy objects
- Insert objects
- Delete objects
- Duplicate and move
- Duplicate objects multiple
- Build loop object
- Split objects
- Split objects on marker position
- Split objects on marker position
- Trim objects
- Trim MIDI objects
- Group objects
- Mute objects
- Lock objects
- Unlock objects
- Locking options
- Separate MIDI objects according to channels
- Quantization
- Object effects
- Select objects
- Groups
- Move object
- Snap point (Hotspot)
- Object color / name
- Tempo and beat recognition
- Harmony Agent
- Harmony display
- Audio ID
- Timestretch/pitchshift patcher
- Playback / Record menu
- Automation menu
- Effects menu
- CD menu
- View Menu
- Tasks menu
- Online menu
- Help menu
- Preset keyboard shortcuts
- General settings
- Project settings
- Index
122 Effects and effect plug-ins
www.magix.com
consider your entire computer system. On-board sound systems are not
recommended due to their rudimentary or unsuitable driver sets and the often
below-average signal quality.
Before making any "serious" endeavors in VANDAL, please make sure that
your audio interface is supplied with a sufficiently controllable signal level from
your instrument. The input signal at the audio interface should be "saturated",
but it should not be overmodulated. Compared to the possibly desired
distortions created within the plug-in, an AD converter distortion will sound
abrupt and horribly digital, and the the worst part is that you will never be able
to remove it.
If very loud velocities sometimes reach the upper modulation limits and the
average level stays at -12 or even -20 dB, everything is normal. The less noise
your audio hardware has in the process, the better. We recommend working
with devices that feature a resolution of at least 20 or 24 bits. A simple 16-bit
sound card will stop being fun to use at the very latest when high-gain sounds
come into play.
If possible, use an interface with a high-resistance instrument input (often
labeled "HiZ"). Line or microphone inputs are not very well-suited for this; due
to the relatively high impedance values of (passive) guitars or basses, this sort
of input has a dampening effect on the instrument. The sound will seem dull
and "dead" as a result...
If the interface does not feature an instrument input, insert a separate guitar
pre-amp, a DI box, or even a simple pedal (not switched to "true bypass).
Instruments with active pickups or electronic components are less affected by
this adjustment problem.
Please take this opportunity to also check the latency or the buffer size used
by your audio system. A good ASIO driver should let you play with a latency of
only a few milliseconds between the stroke and the calculated sound output
from the software. Values under 5 ms are considered good. You may have to
experiment to find the lowest limit at which your system functions stably. If you
notice ugly crackling or even long drop-outs, then try a higher latency.
Input level reloaded: VANDAL's input level










