Demos Samplitude

Demos Samplitude/ Sequoia V8 Doc Samplitude_Demo_2004 This represents a complex demo of a multitrack rock production. The details are described in the project info (open with “I” key, select “Info” on left. Note for all surround demos The surround devices must be set first. To do this, for example, you can right-click on the “P” (panorama) button (first surround bus) in the second track. The Surround panning module opens. The “Setup” button that opens the dialog is located at the bottom left of the panning dialog. This lets you assign the devices. Or you can open the Mixer (key: “M”) and can click on the “Out” button at the bottom right corner of the surround master channel. This also opens the surround setup dialog. Surround Demo 5.1 Roomsim (Tutorial Demo) Description 4 Objects are routed to four different surround busses using the Object surround send function. A surround room simulator is active on each surround bus. This lets you add different surround reverbs to different surround Objects. Instructions - Create a new project using the “Surround” preset - Create 3 surround busses (the commands can be found in the menu (“Track –> Insert new track”) - Set the surround devices (as described above) - Route the Objects to the surround busses using the Object Editor (select the output bus in the surround send section of the Object Editor) - Route the surround busses to the surround master (right mouse-click on the “M” button at the left of the track control elements, then select the entry for the surround master channel) - Set surround panning for the Object. The panning is opened by clicking on the “Edit” button in the surround group of the surround send group of the Object Editor - Activate the room simulator in the track control elements at the left of the VIP. Alternatively, activate the mixer channel strip - Load and adapt presets or make changes to the surround channel grouping for the surround effect. The effect 1

settings for the individual surround channel groups can be changed analogously with regard to the use of the effects for stereo tracks Surround Demo 7.1 Roomsim (Tutorial Demo) (Sequoia only) Description 1 Object of a track has been routed to a 7.1 surround master. A surround room simulator is active in the surround master. Instructions - Create a new project with the “Surround” preset and the 7.1 configuration - Set the surround devices (as described above) - Route the audio tracks (stereo tracks) to the surround master (right mouse-click on the “M” button at the left of the VIP in the track control elements, then select the entry for the surround master channel) - Set surround panning for the stereo tracks. The panning module is opened after clicking on the “P” button in the track control elements to the left of the VIP (or in the mixer channel strip) - Activate the room simulator in the track control elements surround master bus at the left of the VIP (alternatively you can activate the surround master in the mixer channel strip) - Load and adapt presets or make changes to the surround channel grouping for the surround effect. The effect settings for the individual surround channel groups can be changed analogously to the use of the effect for stereo tracks Surround Demo 5.1 FX (Tutorial Demo) Description 3 Objects are routed to three different surround busses using the Object surround send function. Different surround effects are active in each surround bus. These effects are: - Surround room simulator with different reverb for the channels - FFT filter with different frequency curves for the surround channels and the surround room simulator - Surround delay + surround room simulator Instructions The steps are identical to those of the 5.1 room simulator demo 2

The difference is that different surround effects are used. The surround delay is activated via the Mixer.

Surround Demo 5.1 FX (Tutorial Demo) Description 3 Objects are routed to three different surround busses using the Object surround send function. Different surround effects are active in each surround bus. These effects are: - Surround room simulator with different reverb for the channels - FFT filter with different frequency curves for the surround channels and the surround room simulator - Surround delay + surround room simulator Instructions The steps are identical to the 5.1 room simulator demo. The difference is that different surround effects are used. The surround delay is activated via the Mixer.

Surround Demo 5.1 Roomsim AUX (Tutorial Demo) Description 2 Objects in two tracks are on the one hand routed to the surround master and on the other hand to the AUX bus. A surround room simulator is active in each surround AUX bus. The share of the surround reverb can be set individually for each channel by using the AUX sends of the audio (stereo) tracks. Instructions - Create a new project using the “Surround” preset - Create 3 additional surround busses (the commands can be found in the menu (“Track –> Insert new track”) - Set the surround devices (as described above) - Route the audio tracks (stereo tracks) to the surround master (right mouse-click on the “M” button at the left of the VIP in the track control elements, then select the entry for the surround master channel) - Route the surround AUX busses to the surround master (right mouse-click on the “M” button at the left of the track control elements in the VIP, then select the entry for the surround master channel) - Set surround panning for the stereo tracks. The panning module is opened by clicking on the “P” button in the 3

-

-

track control elements at the left of the VIP (or in the mixer channel strip) Activate the room simulator in the track control elements surround AUX bus at the left of the VIP. Alternatively, you can add the Mixer Load and adapt presets or make changes to the surround channel grouping for the surround effect. The effect settings for the individual surround channel groups can be changed analogously to the use of the effect for stereo tracks The AUX sends of the stereo channels (right at the top right of the Mixer in the respective channel strips) can be used to regulate the surround reverb share You can select the “pre-fader” option via the contextsensitive menu of the surround send group (right mouseclick) The channel strip fader then only affects the share without reverb.

Surround Demo 7.1 Roomsim AUX (Tutorial Demo) (Sequoia only) Description 1 Object in a stereo track is on the one hand routed to the surround master and on the other hand to the AUX bus. A surround room simulator is active in each surround AUX bus. The share of the surround reverb can be mixed into the surround master by using the AUX send of the audio (stereo) track. Instructions - Create a new project with the “Surround” preset and the 7.1 configuration - Create 3 additional surround busses. The commands can be found in the menu (“Track –> Insert new track”) - Set the surround devices (as described above) - Route the audio track (stereo track) to the 7.1 surround master (right mouse-click on the “M” button at the left of the VIP in the track control elements, then select the entry for the surround master channel) - Route the surround AUX busses to the 7.1 surround master (right mouse-click on the “M” button at the left of the track control elements in the VIP, then select the entry for the surround master channel) - Set surround panning for the stereo tracks. The panning module is opened after clicking on the “P” button in the track control elements at the left of the VIP (or in the mixer channel strip) - Activate the room simulator in the track control elements surround AUX bus at the left of the VIP (alternatively 4

-

-

you can add the Mixer) Load and adapt presets or make changes to the surround channel grouping for the surround effect. The effect settings for the individual surround channel groups can be changed analogously so that they use the effect for stereo tracks The AUX send of the stereo channel (at the top of the Mixer in the respective channel strip) can be used to regulate the surround reverb share You can select the “pre-fader” option via the contextsensitive menu of the surround send group (right mouseclick) The channel strip fader then only affects the share without reverb.

Surround Demo 5.1 Dry/ RS Description Audio objects from four stereo tracks are mixed down to a short surround play, partially statically and partially automatically, for simulating movements on 5.1 surround channels. The Object at the back including thunderstorm noise in track four has been played back with the help of the object surround function only. In the RS version the surround room simulator can be used in surround AUX, so that the surround reverb share can be set for each stereo track via the AUX sends. Real-time Timestretching Demo (Tutorial Demo) Description Four one-bar audio objects are played at different tempos because real-time timestretching abilities are employed. The algorithms were selected according to the audio type of the objects to obtain good audio quality even for greater time changes. Different algorithms were used for the drum loops on the second track at a time compression of 1.4 – Beat Marker Slicing in the first case that cutting the drumbeats and combining them on a new timescale, and Beat Marker Stretching in the second case, where the beats are extended (stretched). Slight echo effects occur at higher time compression rates. Beat markers were added to the drum loop beats for Beat Marker Slicing, as automatic detection did not yield perfect results in this case. Instruction for Object real-time timestretching - Creating a new VIP (arrangement): Keyboard shortcut: “E” 5

-

Load WAV files into the VIP as objects (for example, via shortcut “W”, or drag files from the Explorer into the VIP) Multiple selection of objects where the speed is to be changed by the same factor Double click on one of the selected objects to open the Object Editor You can access the control elements by clicking on the “Timestretch and Pitchshift” buttons at the bottom left The factor (or the new BPM number) can be changed for all objects together The multiple selection should be canceled after closing the Object Editor You can now add the optimum algorithm or the options that refer to the algorithm to each object (the corresponding dialog opens when clicking on the “Edit” dialog)

Performance Tip The “Smooth” or “Monophonic Voice” algorithms considerably increase the CPU load of the PC. The “Freeze” function is quite useful in such a case (Keyboard shortcut: “Ctrl + Alt + F” or “Freeze” checkbox in the upper section of the Object Editor) How to use Beat Marker Patching for WAV files The “Beat Marker Slicing” and “Beat Marker Stretching” algorithms require beat markers that can be detected automatically or can be extracted from the wave. Automatic detection is usually sufficient for “Beat Marker Stretching”. “Beat Marker Slicing” sometimes may require manual correction of the automatic beat marker detection. -

The WAV files have to be loaded into the program before they are used in the arrangements (VIPs) WAV files have to be opened in WAV edit mode (Options/Properties menu of the project) A range must stretch over the entire length of the wave project (key “a”) The timestretch/pitchshift dialog is opened from the “Tools” menu Hints on the patching options can be found in the program help The automatically generated markers can be changed manually in the Wave Editor without closing the Patcher window.

6

Remix Demo Description A track in MP3 format has been split into separate bars using the Remix agent and has been quantized to the beat grid snap of the virtual project. Some of the objects acquired this way have been used as Loops for the new remix track. We have used many Object real-time effects besides timestretching for quantization we have also used pitchshifting for smaller tonal variations of the loops, as well as filters and vocoders. The lower track includes a track delay. The combination of resonance effects due to FFT filtering or vocoders, vario pitch effects due to use of Elastic Audio and track delay result in character distortions. We have used the multiband compressor in the master to try to improve the slightly “splurgy” sound of the initial material due to the use of MP3 data compression. Instructions Step 1: Disassemble an original track into remix objects. - The original track must be an in object form in the VIP - The play cursor at the start of the range should be before the object or at a starting point suitable for rhythm detection, for example, at the end of an intro. - The Remix Agent can be found in the “Tools” menu bar - Hints on how to correct the beat and 1/4 note recognition can be found in the program help or in the help texts in the Remix Agent window - The “Audio quantization” and “Apply object tempo to arrangement” options in the “Create Remix objects – options” dialog must be active Step 2: Arrange a new track - Activate the beat grid and select the “Snap to Grid/bars” option (“View” menu). The remix objects should be positioned precisely in the grid - The remix objects selected specifically for the remix should be arranged vertically, duplicated and muted in the tracks - Unmuting the objects lets you quickly test simultaneously strings of remix objects that make sense from a musical perspective Tips: - You can preview objects in Scrubbing Mouse Mode by clicking when holding the “Ctrl key” – even when the objects are muted 7

-

Holding the “Shift” key and right-clicking on the objects mutes and unmutes the objects in this mouse mode

Step 3: Creating tracks for objects that contain effects… Elastic Audio Tutorial Demo Some areas of application of Elastic Audio are demonstrated here. EADemo_Choir_Resample_Vs_PitchShifting Description Changing the pitch of choir sample. When automatic re-sampling is used, the length changes with regard to the original. This is not the case when pitchshifting is used. Instructions - Open the Object Editor by double-clicking on the object - Select the pitchshifting and timestretching group (see below) - Select the Elastic Audio button – the Elastic Audio Editor opens - The pitch can be changed continuously by editing or sketching the orange curve - The algorithm can be selected in the combo box on the left - Re-sampling should not be used for small pitch changes so that the changes to the length are not too great - The “Smooth” algorithm is most suitable for pitching a choir sound without changing the length EADemo_Hands-Demo Description The pitch of a sample of a female voice has been hardquantized in the first object. This causes a characteristic distortion of the voice. In the second Object the pitch is altered in such a manner that the same sample can be used as second vocals. Instructions - Open the Object Editor by double-clicking on the object - Select the pitchshifting and timestretching group (see below) - Select the Elastic Audio button – the Elastic Audio Editor opens - Switch to Direct Mode 8

-

Trigger pitch detection (button at bottom left) You should use the “Monophonic Voice” algorithm

Object 1 - Select all slices (“A” key) - Trigger the Tune! Function for the pitch (button at the center left) - The “Curve smooth” and “Cont. smooth” buttons should be set to 0 - You can make corrections in “Relative Mode” if artifacts should occur due to uncertainties in the pitch detection (smooth the curve with the mouse) Object 2 - The pitch slices can be moved vertically with the mouse – the pitch is changed according to the piano keyboard on the left EADemo_Klarinette Description The pitch of a solo clarinet melody phrase recording has been changed. The first two objects in the upper track are variations of the original tune. In the third object we have attempted to play the clarinet on a single note only. This requires considerable manipulation of the signal depending on the deviation from the original note. Instructions Described in the “Hands” demo for the first two objects as well as the second object. Instructions for quantizing the pitch to a third note (third object): -

Open the Object Editor by double-clicking on the object Select the pitchshifting and timestretching group (see below) Select the Elastic Audio button – the Elastic Audio Editor opens Switch to Direct Mode Trigger pitch detection (button at bottom left) You should use the “Monophonic Voice” algorithm Select “Pen for quantized drawing” mouse tool Draw a horizontal line on the level of the new pitch In Relative Mode you can smooth irregularities (aberrations)that are caused during pitch detection

EADemo_Rap 9

Description Additional vocals are added to a rap recording to create a variation and intensification. The changes to the melody have been created with the Elastic Audio feature, like in the other examples. Instructions The same as the second object in the “Hands” Demo (creating additional vocals). EADemo_Saxophon Description A saxophone phrase has been varied. Some additional voices have been added. In addition to the pitch change the second object has been compressed with regard to time (timestretching). Timestretching was added by changing the time factor by means of the controller in the Object Editor. The pitch changes set for the object in Elastic Audio should be retained. Not only have we added new notes to the variations further at the back, but we have also added glissandos. Impulse Response Recording Demo (Tutorial demo) (Sequoia only) Description The first track of the virtual project containing a chirp (sweep sine) of a length of 47 seconds is played back through a loudspeaker in a room. The second track contains a recording of the chirp in the room with added reverb. The impulse response has been calculated and is behind the object containing the chirp including the reverb. Even though the recording is partially disturbed by bell ringing and hiss, a good SNR was obtained during reconversion: The chirp process is robust with regard to background noise. Instructions – Open “Impulse Response Extraction” from the tools menu. The options for creating the chirp can be found on the right side of the dialog. – Insert an impulse response at the upper track of a VIP. – Playback the track with the chirp through a loudspeaker in a room. – Record the reverbed chirp on the second track. 10

– Re-calculating: – Open “Impulse Response Extraction” from the tools menu. The options for creating the chirp can be found on the left side of the dialog. The two required samples (original chirp and reverbed chirp) are loaded automatically. The impulse response is calculated after the OK button has been pressed.

11