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
84 Functional overview
www.magix.com
The precision with which the A/D converter measures the analog signal is
determined by the sample resolution. The finer the resolution, the better the
digital transformation.
CD-quality audio recordings are recorded with a sample rate of 44.1 kHz and
16-bit resolution.
Recording source
First of all, the recording source must be connected to the sound card. There
are several ways to do this, depending on your equipment.
Microphone: Microphone signals must first be amplified before the sound card
modifier can record them. Most sound cards have separate microphone inputs
that pre-amplify signals, but the results are rarely professional.
Quality: Connection to an external mixer or external microphone amplifier
produces far better results.
Amplifier: If, for example, you possess a guitar amplifier that has a line-out
output, you can connect it with the line-in input on the sound card.
Stereo system: The stereo system’s amplifier usually has a separate line-out. If
instead, you see ”Aux. out sockets,” then you should use these. Connect them
with the input on the sound card (usually shown in red). Normally, a
high-fidelity (hi-fi) amplifier has cinch sockets and sound card mini-stereo catch
sockets. You must have the corresponding cable to connect these properly.
If the amplifier doesn’t have separate outputs (other than the loud speakers),
then you can use the headphones socket for recording. In this case, you need
a cable with two mini-stereo headphone connectors. This process has an
advantage: you can control the signal level through the phones input. The
disadvantage is that phones outputs are normally not very good. With cassette
recordings, always use the cassette deck line out. Record transfers often leave
you no other choice... Never connect a record player’s outputs directly to the
sound card, because the phono signal must be pre-amplified first. If you don’t
have a pre-amplifier, the only way to do this is via the phones output or an
external amplifier
Adjusting the signal
Digital recordings through the sound card need optimal control in order to
obtain the best sound quality.
Once the recording source is connected to the sound card, open the recording
dialog with the "Record" button and start the recording source.










