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
128 Effects and effect plug-ins
www.magix.com
Clean: This channel should create no distortions. If the incoming channel is
"hot enough", then it will be distorted in a typical tube fashion. The model will
use only half of a double triode; in principle, a simple amplification takes place
at the "working level".
Crunch: Amplification stage number, circuit and, last but not least, the
resulting sound all vary:
- Two amplification stages are used in the "Classic" preamp setting. This
model uses a long-established design that is similar to the classic
Fender amps or the first Marshalls. The "classic" preamp delivers
saturated lows that are only slightly dampened by the second stage.
As a result, this circuit delivers the typical "brown" sounds of older
vintage amps.
- The "British" switch is inspired by dual input stages, such as Marshall
"Plexi" variants (JTM, "Super Lead", etc.). The signal is sent to half of
each triode circuit, and these favor different frequency ranges ("warm",
"bright", etc). The "British" circuit in the VANDAL amp uses a set
mixing ratio for both tube portions. In contrast to the "Classic" version,
this preamp setting sounds more "alive" and reacts much more
sensitively to dynamics, pick-up selection, and gain settings/guitar
volume.
- "Modern High Gain" delivers the typical fat sound that is rich in highs,
similar to American amps like the Mesa/Boogie & Co. in 3 cascading
amplification stages. Before the second and the third stages, the
proportion of lows and highs is regulated, so that low tunings and
quick passages are amplified without any "mud" and the signal always
remains clear and assertive.
Lead: In all preamp modes, the lead channel consists of an additionally
cascaded tube circuit. In the "Classic" and "British" preamp setting, the lead
channel may be viewed as more of a modification of "tuning" of vintage
aspects. The "Modern High Gain" variant really gets going here. In this setting,
VANDAL playfully takes on even drop-C or -D tunings.
Tip: Even if you don't want to use up all your gain in the crunch & lead
channels, you can still try to go "a level higher" and take the (pre) gain level
down a little for a slightly distorted sound. This increases the sound's
complexity, and it will also seem more lively.










