MAGIX Music Studio 2005 Deluxe Manual

19942004 MAGIX Computer Products Int. Corp.
MAGIX and MAGIX music studio are registered trademarks of MAGIX Computer Products Int. Corp. All other product names are trademarks of the applicable manufacturers. Microsoft, Windows Media and the Windows logo trademarks of the Microsoft Corporation in the USA and/or other countries. VST is a Registered Trademark of Steinberg Soft- und Hardware GmbH. All other brand names or titles belong to their respective owners.
Preface Preface
Congratulations on your purchase of MAGIX music studio 2005 deLuxe! Creating your own music or video soundtracks in a home studio has become more and more popular. But the wide variety of available equipment and software often confuses beginner and professional musicians alike. MAGIX music studio 2005 deLuxe offers the perfect solution by allowing you to create high quality productions in a quick and easy manner. MAGIX music studio 2005 deLuxe transforms your PC into a complete, virtual sound studio. It combines a multitrack hard disk recording and editing program (MAGIX audio studio) with a MIDI Sequencer (MAGIX midi studio). It allows you to arrange and produce on the highest level with any 16 bit sound card. Of course, you can also integrate other studio equipment without any problems. This program ensures professional production results which can be integrated with existing and future musical studio equipment. The following pages will introduce you in detail to the various functions and possibilities of MAGIX music studio 2005 deLuxe. Experience music like never beforeturn your PC into your own home studio. Enjoy! Your MAGIX Entertainment Team
Table of Contents Table of Contents

Preface 3 Contents of packaging 10 Support 11 Legal Notice 12 System Requirements 13 Computer 13 Optional 13 Installation 14 Our Copy Protection for Your Safety 14
PART 1MIDI STUDIO: TUTORIAL 15

Introduction 16 What is MAGIX midi studio? 16 About MIDI and Audio 16 Hardware and Drivers 22 Audio Installation 25 MIDI Installation 33 About the PDF Manual 35 The Basics of midi studio 37 The Demo Song 37 Controlling WindowsScreensets 37 The Arrange Window 38 The Transport Bar 43 The Menu Bars 45 Zoom Controls 45 The Edit Windows 46 The Audio Mixer 49 Key Commands 52 Tutorial 54 Adapting the Tutorial Song 54 Overview 58 Tracks and Sequences 59 Transport Functions 60 Event List 74 Matrix Editor 76 Score Editor 77 Audio Tracks 81 More on the Mixer 88 The WavePlayer 90 More Files to Try Out 91 4
Table of Contents
PART 2MIDI STUDIO: REFERENCE 93
What is MAGIX music studio 2005 deLuxe? 94 Using midi studio 95 Conventions of this Manual 95 The Mouse 96 Window Functions 100 Selection Techniques 107 Edit Operations 109 General Functions of the Editors 110 Key Commands 114 Global Functions 117 Song Administration 118 Transport Functions 120 The Transport Window 120 Bar Ruler 125 Cycle Mode 126 MIDI Recording 129 Chase Events 132 Arrange Window 134 Overview 134 Tracks 135 The Patch Name Editor 138 The Track Parameters 140 Sequences 142 Sequence Playback Parameters 147 Quantization 151 Groove 153 HyperDraw in the Arrange window 154 Altering the Display 157 Reset Functions 158 Using Audio in the Arrange Window 160 Regions in the Arrange Window 160 Audio Recording 167 Functions 173 Mixers and Audio Objects 177 The Basics 177 The Mixer 179 EQs, Effects and Plug-Ins 180 Audio Instruments 193 The Synthesizers 195 Faders and Level Adjustment 221 Routing 223 Automation 225 5
Table of Contents
Bouncing 226 The Audio Window 228 Layout 230 Display 232 Operation 234 File Administration 238 Other Functions 245 Audio Driver 246 EASI/ASIO 246 The Sample Edit Window 247 Layout 248 Display 248 The Sample Edit Window In Use 252 File Management 257 Functions 258 The Digital Factory 263 Machines 264 The WavePlayer 270 The WavePlayer window 270 The Event List 275 Display 276 Operation 276 Event List Structure 279 Event Type Structure 281 Event Float Window 284 The Drum Editor 286 Event Definitions 287 Event Definition Parameter Box 288 Operation 291 The Matrix Editor 295 Display 295 Editing Notes 296 Functions 299 Score Edit Window 300 Opening the Score Editor 300 Layout and Printing 303 The Transform Window 321 Transformation 322 Transform Parameter Sets 326 Tempo 327 Tempo List Editor 328 6
Table of Contents
The Graphic Tempo Editor 329 Tempo Functions 330 Synchronization 331 Synchronization Window 331 Special Functions 336 Synchronizing Video Files 338 The Basics 338 Song Settings and Preferences 346 Song Settings 346 Preferences 351 Standard MIDI Files 356 Basics 356 Glossary 358
Table of Contents
PART 3AUDIO STUDIO: TUTORIAL 367
Introduction 368 What is MAGIX audio studio? 368 New Features. An Overview 369 Tutorial 372 The first recording 372 The first arrangement 376 Tips & Tricks 382 Working in Projects 382 Mixer 384 Performance 384 Recording/Playback 385 Effects 385 Shortcuts 387
PART 4AUDIO STUDIO: REFERENCE
391
Terminology 392 Overview 392 Clip 392 Destructive and non-destructive editing 393 Handle 393 Marker 393 Objects 394 Play-Cursor 394 Range 394 Section 395 Virtual Projects (VIPs) 395 Editing Concepts 396 Components of the VIP window 396 Working with Objects 397 Working with Ranges 401 Working in wave projects 404 Volume 405 Output Mode 405 Record 406 Effects 410 Offline effects in the Effects Menu 410 Real-time effects in the Object Editor 410 Mixer real-time effects 411 Cleaning FX (object editor) 411 Sound FX (object editor, mixer channels, mixmaster) 414 Delay / Reverb (mixer channels) 417 8
Table of Contents
Parametric Equalizer (mixer channels, mixmaster) 418 Limiter (mixmaster) 420 Effect Calculations and Signal Manipulations 421 MAGIX audio studio as an external effects device 422 The Mixer 423 The Channel Strips 423 The Master Sektion 427 Tips and Tricks (Mixer) 435 Burning of CDs 436 RedBook 436 Data Transfer 436 Burning CDs in MAGIX audio studio 2003 deLuxe 436 DSP Display 438 Internet Functions 440 Web Upload 440 FTP Download 441 Menu File 443 Menu Edit 459 Menu View 466 Menu Track 475 Menu Object 478 Menu Effects 490 Menu Range 510 Menu CD 517 Menu Tools 523 Menu Playback 527 Menu Options 538 Menu Window 559 Menu Help 567 Individual Mouse Modes 569 Button Overview 574 Problems & Solutions 577
INDEXMIDI STUDIO 583 INDEXAUDIO STUDIO 610
Contents of packaging Contents of packaging

Please make sure that the objects indicated here are included in your packaging. Program CD
This CD contains the MAGIX Music World with the installation program of MAGIX music studio 2005 deLuxe.
Manual
The manual in the packaging only contains an introduction into the elementary functions of MAGIX music studio 2005 deLuxe. Please read the detailed PDF document that comes with this program. It will require Acrobat Reader, which you can install from the program directory or the installation CD under the folder called ADDONS in case you do not already possess it. It is always useful to read the introductory chapters of this manual so that you can start working quickly. However, if you want to explore the program yourself, you can also use the manual and its index for reference purposes..
Welcome to the MAGIX network area!

MAGIX networkers get more than the rest. The MAGIX network area is the exclusive customer area at www.magix.com Product specials: Special offers for registered network area customers MP3 file base: MAGIX regularly offers new sounds to download. These can be used for your new compositions using MAGIX products. Free system check: The clever tool for controlling configuration problems for MAGIX products. Free newsletter Simply register your personal network number. You will find your number printed at the back of this manual. Login now! www.magix.com
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Support Support
If you experience any problems with your software, please get in touch with our support team: Support website: http://support.magix.net/ This website will lead you to the MAGIX user service page, which, among other things, contains the following free offers: FAQs (frequently asked questions) and general tricks and tips. In most cases youll find the solution to your problem here. If not, use the Email support form. E-mail support form: By using this you can inform our support staff about your system. This information is used to solve your problems quickly and competently. Simply fill it out and send it with a mouse-click! Support forum: Perhaps other users have had a similar problem and can help you solve yours. Our support staff are also regular contributors. Download section: Updates, improvements and patches are likewise offered free of charge for download. Many problems you may experience are wellknown to us, and can be solved by downloading the latest patch. Besides patches, there are also wizards you can access for checking and optimizing your system. Links: In the links list you will find the contact addresses of all the most important hardware manufacturers. You can also reach our support team either by telephone or by fax. USA Phone: For upgrades: +1-305-695-6363 Fax: +1-305-695-6330 SWEDEN Phone: +46 8-445 50 55 (Monday to Friday: 17.00 to 20.00) NORWAY Phone: +45 89 44 22 79 (Monday to Friday: 16.00 to 19.00) FINLAND Phone: +31 75 750 1126 (Monday, Tuesday, Thursday, Friday: 9.00 to 17.00) DENMARK Phone: +45 89-44 22 79 (Monday to Friday: 16.00 to 19.00) Info: info@magix.net 11
Legal Notice
Please have the following information at hand: Program version Configuration details (operating system, processor, memory, hard drive) Soundcard configuration (type, driver) Information regarding other audio software installed
Legal Notice
Most chart hits and whole CDs can be downloaded from the Internet as MP3 files. However, many of these downloads are illegal. Works protected by copyright may not be downloaded or presented on your own homepage without the express knowledge and consent of the copyright owner. Free transfer and trade of such music files are punishable by law. There are, however, many sites offering free MP3 for downloading. A selection of them can be accessed directly via the MAGIX homepage (http://www.magix.com/). Your own compositions can be presented as you wish on homepages and in the network.
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System Requirements System Requirements

Computer
Processor from 450 MHz Memory from 64 MB (128MB recommended) Hard disk: Minimum 350 MB free Graphic card resolution of at least 800 600 with 16 bit hi-color Full duplex 16 bit soundcard or ASIO-capable soundcard (recommended) CD-ROM drive Microsoft-compatible mouse. Operating system: Microsoft Windows 98/98SE/ 2000/ME/XP
Optional
CD burning with IDE CD-R(W) recorder. Emails sent with standard Email software Microsoft Outlook or Microsoft Outlook Express.
13
Installation Installation
1
Put the Installation CD in your CD-ROM drive.
2
With Windows 95/98/Me/2000/XP the installation manager starts automatically. If it doesnt, open the Explorer and click on the letter corresponding to your CD ROM drive and double click on Mworld.exe.
3
To start the installation process, click on Install MAGIX music studio 2005 deLuxe.
4
The Installation Wizard appears. Simply follow the instructions and click on NEXT to continue. When all files are copied on the hard disk, a program group will be established and the installation is completed. Confirm with Finish. The program automatically starts with a Demo Project. Later you can start the program with the icon in the Windows start menu.
Our Copy Protection for Your Safety

MAGIX midi studio is copy protected in order to stop software piracy. For your convenience, the copy protection is very simple to use: just make sure that the original program CD is in the computers CD ROM drive while booting MAGIX midi studio for the very first timethats all. Please remember that you will need to insert the original CD as described above whenever you launch the program for the first time following a reinstall.
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Part 1
Tutorial
midi
studio
15
Introduction Introduction
What is MAGIX midi studio?
MAGIX midi studio is an audio-recording system, a MIDI sequencer, and a notation system that is easy to learn and operate. MAGIX midi studio transforms your computer into a recording studio. You can create songs and arrange them on your computer screen, and then print out musical notation. By integrating audio recording and real-time DSP (Digital Signal Processing) effects processing, you can add acoustic instruments, or vocals to your songs and use reverbs, choruses and more to enhance your recordings. Youll find that audio is just as easy to deal with as your MIDI tracks. MAGIX midi studio allows the playback of a virtually unlimited number of MIDI tracks and 64 Audio tracks. It also supports up to twelve Audio Instruments per Song. These virtual musical instruments are fully functional, software-based synthesizers, samplers and electric pianos which integrate seamlessly with MAGIX midi studio. Included are: the FMX1, M-RB 6, Carpet Sweeper and the Percusor drum synthesizer, the MAGIX Sampler, 4 virtual drum kit plug-ins (Tech 1, HHop 2, Rock 3, Accu 4) and the EZ piano. You can also use third party VST2.0 plug-ins as Audio Instruments but more on these later. Before getting ahead of ourselves, wed like to spend a few moments discussing this MIDI and audio thing. If youre familiar with the concepts and meanings behind the terms, you can skip this section.
About MIDI and Audio

MAGIX midi studio, as mentioned, can record and play back both MIDI and audio information. The following offers a brief description of both.
MIDI
MIDI is an acronym for Musical Instrument Digital Interface. To break this down furtherthe Musical Instrument part of MIDI refers to electronic musical instruments such as synthesizers, samplers and even MIDI guitars. The Digital Interface part sounds technical, but really isnt. Basically, MIDIs Digital Interface is broken down into two components. 16
Introduction
1. MIDI is a computer-based languageand as you probably know, computers talk digitally. MIDI keyboards, modules and cards are actually computers in disguise. 2. MIDIs Interface is just that. MIDI is a hardware standard which consists of a set of connectors labeled IN, OUT, and THRU. You will find one or more of these connectors on all MIDI devices, like keyboards etc. The MIDI Language: The language of MIDI is understood by all MIDI devices. The purpose of the language is to translate your musical performance into information that can be understood by a computer. (Dont forget that MIDI keyboards and modules are actually computers in disguise). When you play your keyboard, or MAGIX midi studio is playing a MIDI song file, MIDI information which describes your performance is being transmitted as MIDI messages. These instructions tell any connected synthesizer, soundcard etc. how to play a piece of music and the synthesizer receiving the MIDI data actually generates the sounds which you hear. MIDI does not send sounds. It only sends instructions. The MIDI Connection: MIDI, as mentioned, is also a hardware interface which consists of a standardized set of connectors labeled IN, OUT, and THRU. MIDI connectors consist of a round socket with 5 holes arranged in a semicircle. MIDI cables, used for connecting MIDI devices have a matching plug with 5 pins. MIDI only works in one direction on each connector. If you want your MIDI keyboard to send messages TO, and receive messages FROM MAGIX midi studio, you must connect two cables. Heres the way your MIDI connections must be made, in order to work: MIDI OUT connectors must be connected to MIDI IN connectors MIDI IN connectors must be connected to MIDI OUTs If you connect a MIDI OUT to another MIDI OUT or a MIDI IN to another MIDI IN, no communication will happen, and your MIDI system wont work. The MIDI THRU connector is not found on all MIDI devices. It simply mirrors the MIDI messages arriving at the MIDI input, and allows you to daisy-chain more MIDI devices. Before doing this, read the section on channels, which is very important when chaining MIDI keyboards, modules etc. 17
Introduction
The MIDI messages are sent from a MIDI controller such as a keyboard or sequencerlike MAGIX midi studiovia the MIDI OUT connector. The device receiving the MIDI messages (MIDI synth or sound module) at its MIDI IN connector, responds to these messages by playing sounds. N.B.Many MIDI keyboards include both the keyboard controller and MIDI sound module functions within the same unit. In these units, theres an internal MIDI link between the keyboard and sound module. This internal link can be enabled or disabled by setting LOCAL ON or OFF. When using your MIDI keyboard with MAGIX midi studio, and the keyboard is acting as both controller and sound module, you should set LOCAL to OFF. Doing so avoids it sounds like my notes are doubled or flanging problems. If your keyboard is simply acting as an input device, and you dont want to use its sounds (or it doesnt have any, as is the case with controller keyboards), you simply need to connect its MIDI OUT to the MIDI IN on your computer. MAGIX midi studio will take care of the channels, which were just about to take a look at. MIDI Channels: MIDI is divided into 16 logical channels. Each channel is identified by a special channel number message that is sent with the other MIDI messages. Most keyboards can generally be set to transmit on any one of the 16 MIDI channels. A MIDI sound source, or sound modulelike your soundcardcan be set to receive on a specific, or multiple, MIDI Channel(s). Devices capable of receiving on multiple MIDI channels simultaneously are said to be multi-timbral. The term literally means many sounds, which can be a little confusing, as most synthesizers are obviously capable of producing many sounds. Not all synthesizers, however, are capable of producing many sounds at the one time. This capability means that a suitably equipped MIDI keyboard, module or soundcard could be used to produce all of the drum, bass, piano, string and brass sounds in a performance. In this scenario, each part or instrumentdrums, piano, strings etc.will be assigned to a specific MIDI channel. Given the 16 logical MIDI channels available to each MIDI port and a multi-timbral synthesizer, up to 16 different instruments can be played simultaneously. Most modern MIDI keyboards, modules and PC soundcards are multi-timbral.
18
Introduction
In all MIDI systems, the sound module must be set to receive on the channel (or channels in multi-timbral devices) which match the channel/s that the keyboard controller (or MAGIX midi studio) is transmitting on, in order to play sounds. If the channels do not match, the receiving device will not play. As an example: Imagine a 4-way multi-timbral device (a device capable of receiving on 4 MIDI channels simultaneously) was receiving song data from MAGIX midi studio with tracks assigned to channels 1, 2, 4 and 5. The device itself was set to receive on channels 4 to 8. In this case, only the songs MIDI data sent on channels 4 and 5 would be seen by the device and subsequently played. The MIDI data sent on channels 1 and 2 would be ignored. As you can see from the above example, each channel needs to be tuned in to a corresponding channel sent from MAGIX midi studio. This, if you use a little imagination, is not unlike tuning in a TV or radio channel. If the channel isnt tuned properly, you wont see or hear anything and neither will your sound module.
Audio
Audio, as a term, basically refers to any sound that you can hear. In the physical, as opposed to computer world, this is known as Analog Audio. When MAGIX midi studio records analog audio signals via an audio interface connected to, or installed in, your computer, the audio is converted into digital information. This information is stored as a Digital Audio file on your computers hard disk. As with MIDI, the Digital Audio part sounds technical, but really isnt. As discussed earlier, computers talk digitally and need to deal with analog audio signals as digital information. Unlike MIDI, digital audio files are actually recordings of sounds, not an instruction language like MIDI. Digital vs. Analog Recording: While digital audio recording is similar in concept to analog recordings made on tape, the technical differences are significant. For much of the 20th century, analog tape recordings have been used for the storage of audio performancesspoken, sung and played. The analog tape medium (i.e. the tape itself) is a thin plastic strip coated in tiny metal particles. It is usually stored on a roll or spool or as a cassette tape, which youre probably familiar with. 19
Introduction
The process of analog tape recording involves the transmission of small electrical charges, sent to the magnetic heads of a tape recorder. Changes to the strength of these charges alter the magnetic fields generated by the heads and rearrange the positions of the metal particles on the tape. Needless to say, this is a less than precise science and recordings, even of the same source material on the same tape machine, can vary widely in quality. Due to the randomness involved in the rearrangement of magnetic particles on tape, the recordings are said to be analogousi.e. similar to the actual performance. Digital recording, on the other hand, is much less random. Analog performances are converted to digital audio files via the ADC (Analog to Digital Converter) of the audio interface. These files, like all computer files, are stored digitallyi.e. as a series of ones and zeroes. Provided the source material and levels remain consistent, digital recordings will be virtually identical each time they are made. In a copying situation, there is no comparison between analog and digital recordings. Each subsequent copy of an analog recording becomes noisier and less like the source materialremember that random factor of the magnetic particles? Digital audio files, on the other hand, can be copied any number of times, with each subsequent copy adding no noise. On a more practical level, digital audio files stored on hard disk have the following advantages over analog audio stored on tape. Digital audio can be cut, copied and pasted freely from location to location. Could you imagine physically cutting a stereo analog recordingi.e. a tapeinto even four or five segments and splicing them back together? You can move to any spot in a digital audio file almost instantly rather than waiting for the tedious mechanical rewinding and fast forwarding of an analog tape machine. You can process digital audio in ways that are simply impossible with analog audio. As one example, it is possible to adjust the pitch of a digital audio file without changing its speed. Digital Conversions: When an audio signal arrives at the inputs of your computers audio interface, it must be converted into digital information before the computer can deal with it. This process is called analog to digital
20
Introduction
conversion and is handled by the audio interfaces Analog to Digital Converter (ADC). At the other end of the signal path, the digital signal needs to be reconverted into an analog signal so that it can be listened to through analog audio playback systemsi.e. an amplifier and speakers. This process is called digital to analog conversion and is dealt with by the Digital to Analog Converter (DAC).
About Bits and Sampling Rates

When recording a sound into your computer, the ADC on your soundcard takes a sample of a sound source a specific number of times per second. This is known as the sample rate, which is measured in kHz or so-many thousand samples per second. The higher the rate, the more samples the AD converter takes, and the more accurate the digital representation of the sound will be. Put another way, imagine if you considered each sample to be like a photograph of a concert that you were trying to describe to a friend. If you had taken one photo every 10 minutes, youd find it hard to describe the great light show. If you took a thousand photos during that 10 minutes, your friend could easily see what happened. This increased rate, or number of photos (i.e. samples), gives a far more accurate overall picture of what happened, and this is the same with sampling. The more sonic photos taken, the more accurately the sound is represented. The sampling resolutionthats the bit thingis the accuracy or fineness of the measuring scale used to store the numbersremember that computers store audio files as digital informationa series of ones and zeroes. Currently there are two resolutions commonly in use: 8 bits and 16 bits, and recently higher resolutions for more expensive recording systems at 24 bits. These high-end 24 bit systems are used mainly for DVD audio and for film production. To give you an idea of the relevance of the sampling resolution, imagine two people are building a house. One is using a tape measure marked to the nearest foot. The other has a tape measure marked to the nearest inch. Although the house built with the tape measure accurate to the nearest foot may not fall down, the one using the finer scale will build a more accurate house.
About MIDI and Audio File Sizes

Digital audio files consume a great deal of hard disk space. CD quality 16-bit, 44.1 kHz audio storage requires 5 MB of hard disk space for 1 minute of mono audio. For a stereo 21
Introduction
recording, this requirement is doubled, with 1 minute using 10 MB of storage space. MIDI file data, on the other hand, is tiny. An average MIDI song file, three minutes in length and containing a dozen or more tracks will be about 20 kb in size. The reason for this huge difference in size is that MIDI is, as discussed earlier, a language which describes what notes to play. The actual sounds themselves are generated by a connected MIDI device/s. As a great example of the size differences, imagine that you have recorded a MIDI piano performance into MAGIX midi studio, which runs for exactly one minute and thirty seconds. The MIDI file required for this performance is a mere 10 kb in size. As a stereo audio recording, the file created will consume 15 MB of hard disk space. While the terms weve discussed sound technical, you dont need to understand the science behind the technology in order to use MAGIX midi studio. It is important, however, that you understand the basic ideas behind the terms weve had a look at in this section. If necessary, read through it again, or refer to it at a later stage. And now that you have a pretty good idea about MIDI and audio, its time for a brief look at the actual hardware requirements necessary to use MAGIX midi studio.
Hardware and Drivers MIDI Devices and Drivers

Although its possible to run MAGIX midi studio without MIDI instrumentsi.e. as an audio recording and production tool onlyyoull probably want to use it for both. To take advantage of MAGIX midi studios MIDI features, your computer requires a MIDI interface. This interface can be in the form of an internal cardlike your soundcardor an external housing connected to the computers serial, parallel or USB ports. The purpose of the interface is to get MIDI information into, and out of, the computer. All MIDI interfaces require a software driver. This piece of software is installed at the time the interface is physically connected to, or installed in, the computer. The drivers function is to advise the operating system and MAGIX midi studio: that the MIDI interface exists what features it has, such as the number of physical MIDI ports how to communicate with it 22
Introduction
All MIDI interfaces have at least two 5-pin DIN connectors, labelled IN and OUT. Such interfaces offer 16-channel MIDI operation, just like we discussed in the section above. Some interfaces, such as Emagics Unitor8 MkII and AMT8 interfaces have 8 MIDI IN ports and 8 MIDI OUT ports. These interfaces feature these extra ports in order to communicate with multiple MIDI keyboards and sound generators and offer up to 128-channel MIDI operation. Computer soundcards, like the SoundBlasters, have an internal computer MIDI connection. This allows MAGIX midi studio to communicate directly with the card without the need for any MIDI cables. Having said this, if you want to use an external keyboard to get MIDI information IN to MAGIX midi studio, you will need to use a MIDI cable. This is normally connected to the SoundBlaster (or other MIDI soundcard) via a breakout cable, which connects to the joystick port of the card. At the other end of the cable, youll find a couple of MIDI ports. Ask your local soundcard dealer or music store about the right sort of MIDI cables for your soundcard.
Audio Hardware and Drivers

To record and play back audio performances, such as vocals and acoustic instruments into MAGIX midi studio, your computer must be equipped with an audio interface. As with MIDI interfaces, audio interfaces can take the form of an internal card or an external housing connected to the computer. Most audio interfaces in external housings are connected via a proprietary connection (a cable with special plugs at each end) to an internal PCI recording card. There are also a number of external audio interfaces which connect directly to the USB or Firewire ports of Windows computers. N.B.Any audio device used must be able to record and play back audio files at 16-bit resolution. MAGIX midi studio will only deal with files stored in 16-bit format. As with MIDI devices, a device driver must also be installed for any audio peripheral added to the computer. This piece of software is installed at the time the interface is physically connected to, or installed in, the computer. The drivers function is to advise the operating system and MAGIX midi studio: that the audio interface exists what features it has, such as the number of physical in/ out ports how to communicate with it 23
Introduction
Where the driver situation differs for audio devices, as opposed to MIDI devices, is that there are a couple of different ways that audio hardware can be addressed by MAGIX midi studio. This means that a wider range of audio hardware can be used with MAGIX midi studio, as it is capable of communicating with these cards via different drivers. These drivers are provided by the manufacturer of the audio hardware.
Multi Purpose Hardware

Some computer soundcards can act as both a MIDI sound source and an audio interface and a MIDI interface, provided you add a breakout cable. Such devices include; the SoundBlaster Live cards, the Guillemot ISIS, the E-MU APS, several Terratec cards a.s.o. Many of the soundcards mentioned offer reasonable performance and sound quality but the majority of multmedia soundcards are lacking in one or more areas. The units mentioned above are O.K. for users on a budget, and offer great value for money. The downside with most multimedia cards is the driver software. They are designed primarily for games use, rather than audio recording, and few feature optimized, low-latency drivers. Keep reading and the importance of good drivers and latency issues will become clear.
About Latency
Latency is inherent in all digital devices and refers to the delay between audio signals arriving at the inputs and being sent from the outputs. The reason for this delay is due to the fact that when an audio signal arrives at the inputs of an audio device, it must be converted into digital information. This process, as mentioned earlier, is called analog to digital conversion and is handled by the audio devices Analog to Digital Converter (ADC). At the other end of the signal path, the digital signal needs to be reconverted into an analog signal so that it can be listened to through analog audio playback systemsi.e. an amplifier and speakers. This process is called digital to analog conversion and is dealt with by the Digital to Analog Converter (DAC). The conversions from analog to digital, and back, require time, which equals latencyand the process of these conversions can also consume memory and CPU processing resources. If these resources are not handled efficiently by the driver, this can affect performance. 24
Introduction
We have repeated the info on conversions in this section to help you form a clearer mental picture of how all of these thingssample rate, bits, ADC, DAC etc. fit together. The reason was to introduce you to the idea of latency before you started the next section, which will help you to set up your audio and MIDI hardware for maximum performance and minimum latency. This section is a little more technical as were looking at the installation of your hardware. Wed like to get this part out of the way now, so you can get on with making some music and learning about MAGIX midi studio. Its time to roll up your sleeves and get to work!
Audio Installation Sound Card

As discussed a little earlier, your sound card must support the 16-bit/44.1kHz standard (CD quality). Recording at lower than 16-bit resolution is not possible, due to MAGIX midi studios professional audio quality requirements. This also applies to the 44.1kHz sampling rate. MAGIX midi studio supports both the 44.1kHz and 48kHz sampling rates. Tip:Even if you have a soundcard capable of 48kHz recording, we would suggest that you work with the 16 bit 44.1kHz rate at all times, particularly if youd like to create a CD of your finished work. 16 bit/44.1kHz is the sampling rate and bit depth used on audio CDs. There are dozens of different PC sound cards on the market. MAGIX music studio 2005 deLuxe works with all Windows compatible sound cards, i. e. cards that have a driver for 32 Bit Windows Operating SystemsWindows 98/ 98SE/Me/2000/XP. These drivers are listed in the Multimedia section of your Windows Control Panel. Its safe to assume that all modern sound cards are Windows compatible, although not all are currently supported by Windows 2000/XP. Most sound cards have a synthesizer-chip for the playback of MIDI. Additionally, most sound cards support the play back of digital audio data. (as discussed in the section Multi Purpose Hardware from page 24 onwards) If you work with MAGIX midi studio, your sound card must have separate drivers for MIDI and Audio playback (which most modern sound cards do). MAGIX music studio 2005 deLuxe supports all sound cards that can be addressed via an ASIO or EASI driver. 25
Introduction
The available options depend on the specific ASIO or EASI driver you will be using. Please refer to the instructions that came with your driver. MME and DirectSound drivers are supported via the MME-to-EASI and DirectSound-to-EASI wrapper. More on EASI and ASIO is coming up in the section EASI/MME Utility from page 28 onwards. Please note: If you want to use the Waveplayer, you must use a DirectSound driver. Only DirectSound drivers allow the simultaneous use of the Waveplayer and digital audio tracks. MAGIX music studio 2005 deLuxe supports sound cards with one stereo inputs (two mono), four stereo outputs (eight mono) and digital interfaces such as S/PDIF or AES-EBU are also supported. N.B.Some older sound cards cannot play back digital audio data. Still other older sound cards use a single driver for both Audio and MIDI. In this scenario, you can use MAGIX midi studio for either MIDI or Audio but not for both simultaneously. In this situation, wed suggest replacing your card or adding a second dedicated audio or MIDI card.
Full Duplex or Overdub Mode

Ensure that your sound card supports full duplex or overdub mode. Full duplex means that the soundcard is able to record audio, while playing back another audio file at the same time. This capability is really mandatory, even for the most basic of recording tasks. If you are still undecided on which soundcard to select for your system, the full duplex ability mentioned above should be one of the most important factors considered. If your current card does not support full duplex operation, you may be able to upgrade it using a more recent driver (dependent on the hardware, of course). Be sure, however, that it meets the 16-bit/44.1kHz requirements for both recording and playback. If your card supports full duplex, but only allows recording at lower than 16-bit resolution, you will not be able to use it with MAGIX midi studio. A few soundcards, such as the SoundBlaster 16, feature duplex operation with either playback or recording set to operate at 8-bit resolution, while the other duplex channel is set to operate at 16-bit. If using this type of soundcard, you may find that you can disable full duplex operation using the EASI/MME utility (see page 28). This will, however, mean that simultaneous audio playback will be disabled during recording, but MAGIX midi studio will record at the full 16-bit resolution.
26
Introduction
As above with the MIDI hardware, we recommend that you consider updating your audio hardware.
Hard Disk
In order to successfully use MAGIX midi studio with any audio hardware, you need a hard disk with an average access time no greater than 10ms, and a minimum data throughput of 3MB/s. Modern hard disk drives generally meet these requirements, so theres no need to pay too much attention to this aspect of your system.
Input Source and Level

Volume Control: The Windows Volume Control accessory provides control of the following: Playback Level Record (input) Level Input source selection It is accessible via the Start menu: Start > Programs > Accessories > Multimedia > Volume Control, or in Windows 98/ME via Start > Programs > Accessories > Entertainment > Volume Control.
As an example, this illustration shows the control panel for the Creative Labs SoundBlaster AWE-32 sound card. You will find similar utilities for hardware from other manufacturers. The playback level for audio recordings is controlled via the Wave slider. This control is placed after MAGIX midi studios output. This means that MAGIX midi studios master output fader (in the Mixer) can only control the full output dynamic range if this slider is set to its maximum level. The dynamic range is the difference between the quietest and loudest signals in your audio recordings. 27
Introduction
You can also switch views to display a mixer control panel that allows you to set the input level for each input source via Options > Properties > Recording from within the control panel shown above. Disable each input source that you dont plan to record (usually everything except the line-in) by unchecking the checkbox found at the bottom of each fader. The line-in will usually provide the best results. Try to avoid the use of the sound cards microphone input, especially with cheaper audio cards. It is a better idea to use an external microphone preamplifier, such as that found on a mixing desk, and then record via the line input. If you dont have a mixer, you can use the microphone IN on your home hi-fi and run out of its LINE OUTS, if these connectors are available on your stereo systemnote that not all do. The Volume control can be accessed more easily if you check the option to Show Volume Control on Taskbar in Control Panel > MultiMedia > Audio This will place a loudspeaker icon on the taskbar, which will reveal a master volume control when clicked once with the mouse. A double click will open the complete mixer shown in the section More on the Mixer from page 88 onwards.
EASI/MME Utility
Under normal circumstances, the identification and set up of audio hardware is automatically handled during the MAGIX midi studio installation procedure. Should you add new hardware to your system after the installation of MAGIX midi studio, or encounter any problems with audio hardware performance, the EASI/MME utility can be used to optimize your audio system. The EASI/MME utility can be found in the MAGIX midi studio program folder. It is launched by double-clicking on the EASI/MME.exe icon. What Does the EASI/MME Utility Do? EASI/MME helps you to take care of the following tasks: Determining whether or not the installed audio hardware has been recognized correctly by the system. Enabling audio hardware in midi studio. Fine-tuning, to help midi studio take full advantage of the performance capabilities of the audio hardware and the computer. Overview: EASI is an acronym for Emagic Audio Streaming Interface. When the EASI/MME utility is invoked, it analyzes your system, looking for all MME or DirectSound audio device
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Introduction
drivers. Any drivers found are added to a list, allowing you to select the most appropriate device for use with midi studio. These audio drivers are called system drivers. Remember the EASI wrappers we mentioned a little earlier? The EASI/MME utility wraps your MME or DirectSound drivers into a new virtual device, which midi studio uses for getting audio into and out of your system. When drivers are NOT found, or have been updated, run the EASI/MME utility and click on the Rescan button found to the lower right. This ensures that any changes to the driver are adopted by the EASI/MME utility, and will be passed on to midi studio, ensuring optimal performance from your system. Using the EASI/MME Utility: The EASI/MME Control Panel consists of two sections. On the left hand side you will find the MME driver list, and on the right, the configuration box. The driver list shows all current MME drivers installed on your system with their respective parameters. A red icon indicates a recording device and a green icon indicates a playback device. From this list, the EASI/MME utility will automatically create a Virtual Device, for use in MAGIX midi studio. The major advantage of this approach is that in the case of most multi-I/O audio cards (cards with more than a stereo in and out), each stereo connection pair has its own driver instance. This means that there are separate system driver entries for each stereo input and output pair for these cards. With EASI/MME, several of these system drivers can conveniently be built into one Virtual Device, which can be integrated into MAGIX midi studios audio setup. Beyond this the Virtual Device created uses EASI to communicate with both programs more efficiently. This reduces overheads on system resources, which means that your computers CPU doesnt have to work so hard when using MAGIX midi studio. This translates to more effects and extremely stable performance. The configuration box shows the current settings of the MME to EASI adapteri.e. the settings of the Virtual Device. If there are two sound cards in your computer, and you would like to use the second card solely for MIDI playback, using its built-in MIDI synth, you can use the EASI/ MME utility to make the audio driver of the first card the only one available for audio purposes in midi studio. This would prevent the unnecessary display of the audio driv29
Introduction
ers of the second card (its MIDI driver will still be available). On the right hand side you will find the Help and the Advanced buttons. Advanced Options: The Advanced button opens another window offering further options for the configuration of your Virtual Device. On the left hand side youll find the Full Duplex checkbox. By default, it set to ON as most modern soundcards work in full duplex mode. If your card is not capable of running in Full Duplex mode this setting must be switched OFF. Remember that Full Duplex means that your card is capable of recording new audio tracks while simultaneously playing other tracks back. Below the Full duplex setting youll find Position Smoothing. Some older audio cards can sometimes report an inaccurate sample position to MAGIX midi studio, which can cause timing drift problems. A timing drift is where your different audio tracks seem to go out of time with each other. With the help of this setting you can smooth the sample position and avoid problems with these older cards. Most modern cards will not have this sort of problem. The third optionOpen Recording Firstdetermines whether the input (recording) or output (playback) driver is opened first. Some audio cards behave strangely when the drivers are not opened in the correct order. Activating the Playback Always Master setting specifies that the playback driver will be used to determine sample position, even during recording. If switched OFF, the recording drivers position will be used. This setting has no effect, when Full duplex is deactivated. Further advanced options include settings for playback and recording delay. These settings can be adjusted to compensate for inaccuracies in audio timing, should they occur. Remember the latency section from a little earlier? The Latency parameter allows you to adjust the driver latency. Smaller values produce short latency periods, which affect mixing tasks such as real-time changes to volume and plug-in parameters. This setting will also reduce the delay sometimes encountered when playing software synthesizers. The gap between striking a key and hearing a sound when playing synthesizer plug-ins is also referred to as latency. N.B.The overall stability of the system may suffer when using values that are too small. Should you detect dropoutsi.e.
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Introduction
gaps in your audioduring playback or recording, you should increase this value. Typical values lie between 80 and 250ms, the default setting is 200ms.
Handling Different Drivers

As mentioned earlier in this chapter, midi studio offers support for different driver types. Namely, AVwhich is set up using the EASI/MME utility, and ASIO. If your audio hardware is supported by different types of drivers, you can switch between them to find the most suitable option for use with MAGIX midi studio. The following section describes how to activate the different driver types. It should be noted that if one driver type is activated, all others will be deactivated. In addition, switching between driver types requires that MAGIX midi studio be relaunched. AV: This driver is the Virtual Device created by the EASI/MME utility. Activating the driver simply requires a click on the AV checkbox found in the Audio > Audio Hardware & Drivers menu within MAGIX midi studio. You will find the AV checkbox on the Audio Driver tab. In the flip menu alongside the checkbox, you may find that you have more than one (virtual) driver choice. These will normally be EASI MME and EASI DirectSound. EASI MME should be selected, but if you experience any playback inconsistencies, you can try the EASI DirectSound option. N.B.NOT ALL audio cards feature a DirectSound driver, so you may only have one option, namely EASI MME. ASIO: The other type of driver supported by MAGIX midi studio is ASIO. Both ASIO 1 and ASIO 2 drivers are supported. ASIO is an abbreviation for Audio Stream Input Output. To enable ASIO support, simply check on the ASIO checkbox, as per the AV driver. The ASIO checkbox is found on the Audio Driver 2 tab. A separate ASIO driver must be installed on the system for ASIO support to work in MAGIX midi studio. On Windows machines, the ASIO driver is normally installed in the Windows > System folder, although it can be installed in other locations. The special parameters available for devices using the ASIO driver interface include: Driver, Clock Source and ASIO buffer delay for Input and Output. To explain, the Driver panel is a flip menu in which you can select a specific ASIO driver for your device. In many cases, an ASIO driver will offer a 16-bit and 32-bit option. As an example, the Yamaha DS2416 card. Where possible,
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Introduction
use the 32-bit driver as this generally offers the most accurate audio synchronization. The downside is that the 32bit driver option, if available, can increase the work your computers CPU needs to do, and can cause problems on computers that are not exceptionally fast. If your computer is a Pentium III/500 and up, it will be fast enough! The Clock Source panel is used for the selection of a suitable digital clock source on audio hardware equipped with this type of facility. If this option is not used on audio hardware capable of digital audio transfers, small pops and clicks can result in digitally transferred audio. The final parameters unique to the ASIO driver panel are the ASIO Buffer Delay flip menus. Here, you can set separate values for the input and output of connected ASIO audio hardware. This is useful for minimizing the effects of latency when recording, so you can avoid doubling or echoes heard between what youre playing live and what is being sent from the outputs of the audio card.
Common Audio Hardware Options

The following parameters are available to each driver type. They can be used to optimize your audio hardwares performance when using MAGIX midi studio. Volume Smoothing [ms]: This parameter defines the length of the fade between two consecutive volume values for an audio track. When setting this value to 0 you might hear zipper noise when moving a volume fader during playback. Higher values soften the volume changes and eliminate the zipper noise. Zipper noise sounds just like the zip on your Levis being opened/closed. In general, you should not need to adjust this parameter. Max. Number of Audiotracks: The Audio Engine requires free system memory. The amount of memory needed depends on the maximum number of tracks to be played, and on the number of input and output channels supplied by the driver. This setting allows you to reduce the amount of memory used by the driver, by reducing the number of tracks. This may be practical should you wish to run other applications or audio hardware types simultaneously. Normally, you will never touch this parameter. Monitoring: This option allows you to switch monitoring (i.e. listening to the actual input signal) on or off. Please note that as monitoring is processed via software a certain amount of delay is inevitable (see Buffer Size). This delay between input and output is called latency remember? 32
Introduction
If you are listening to the recorded signal via your mixing desk, you should switch this option OFF. Larger Disk Buffer: This option influences the amount of audio data that is read from your computers hard disk in advance. It is deactivated by default, matching the demands of fast hard drives and powerful computers. Should you experience frequent error messages while running midi studio in this mode, you can switch this setting ON. This will allow an increase in the number of playback tracks and reliability. The downside? more RAM is needed. Larger Process Buffer: This parameter determines the size of the native buffer used to compute mixes and effects. Do not activate this option if you own a fast computer! If you find your system straining under the load, enabling the Larger Process Buffer reduces response times for operations such as volume changes or track soloing. Experiment with various settings covered above to find the optimal configuration for your midi studio system. In general, you will not need to adjust the settings for either the AV or ASIO drivers as MAGIX midi studio will automatically make the best choices, in most cases. Still, its nice to know that theyre there. When discussing a fast computer above, were talking about a Pentium III/500 (or faster) with 128 MB of RAM. With this sort of system, your version of MAGIX midi studio should run very smoothly.
MIDI Installation Interface Connection

Please consult your soundcard or MIDI interface manual for information on its correct connection. The most common ways to add MIDI functionality to computers are: Multi-port MIDI interfaces, including separate devices like the Emagics Unitor 8/MkII or AMT 8. Sound card with built-in MIDI interface. via a General MIDI module or keyboards integrated interface, usually labeled as To Host.
MIDI Cabling
MIDI Inputs/Outputs: If your computer has an internal or external MIDI port, or has a MIDI-capable soundcard installed, connect your MIDI keyboards MIDI Out to the computers MIDI In (on the interface, soundcard etc.).
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Introduction
If your MIDI keyboard can generate its own sounds, connect the computers MIDI Out to the keyboards MIDI In. If your computer (or the MIDI device) offers more than one MIDI output, connect any other tone generators to these. If the computer only has one MIDI output, you need to connect the second tone generators MIDI In to the keyboards MIDI Thru port. A third device can be connected to the seconds MIDI Thru, and so on. The MIDI Thru port always delivers a copy of the signals coming into the devices MIDI In. It is preferable, however, to use a direct connection from a computers MIDI Out to a device, rather than chaining too many devices, one after another. Timing problems may occur in the chain if a lot of MIDI commands are sent in a short space of time. This is due to the slight delays introduced by each MIDI In to MIDI Thru transaction. If your computer also features several MIDI inputs, they can be used for the connection of MIDI expanders. MIDI Local Off: If your keyboard features an internal sound source, it is important that you stop the keyboard from generating sounds directly from its own keyboard. If you buy a new keyboard that is to be used without a sequencer, and connect it straight to an amplifier, you would expect the device to make a sound when you press its keysin other words, the keyboard is internally connected to the sound generator. This behavior, however, is not what you want to happen when using your keyboard with midi studio. In this scenario, the keyboard is used as the computers input device, and midi studio is sending (i.e. playing) MIDI information to any connected tone generators, be they the keyboards own sound generator, a soundcard or any other connected sound module. If you wanted to control and record another sound module using your keyboard as the input device, its own sounds would play alongside those of the other tone generator which is why the keyboard must be separated from its own internal sound generator. This function is known as Local OFF, and is set directly on your keyboard. Refer to your keyboards manual for information on how to do this. Dont worry about breaking the link between the keyboard and its internal sound generatorMAGIX midi studio will act as the missing link in this scenario. When you want to play your keyboard without the computer running or without MAGIX midi studio opened,
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Introduction
you can simply switch your keyboard from Local OFF to Local ON. Many keyboards will automatically switch to Local ON when first powered up. If you cannot find the Local function under your keyboards MIDI menu, consult its manual on setup for sequencer use. Some keyboards allow you to select from Local, MIDI or Both for each of their Partsin this case, the MIDI setting is equivalent to Local Off. Keyboards and Expanders with a To Host Interface: A To Host interface, which allows a direct connection to the computer, can be found on many of the more cost-effective MIDI sound modules and keyboards. This, in effect, is a simple integrated MIDI interface, with one MIDI In, and one MIDI Out for the computer. An instrument with a To Host interface is controlled directly; the MIDI In and Out serve as MIDI connections for the computer, to allow further instruments, such as another keyboard to be connected. This is an inexpensive option for entry level setups, which may include only one keyboard and another sound module, such as a soundcard in the computer. The expense of a dedicated computer MIDI interface or dedicated MIDI card is not initially required. If you are working with this type of module, first install the driver software supplied by the manufacturer. From there, connect the keyboards MIDI Out to the sound modules MIDI In, and the modules MIDI Out to the keyboards MIDI In (assuming it can generate sounds). Connect the To Host interface to the computer, usually to a serial port. The cable is normally supplied. Having followed the information above, MAGIX midi studio should now have all audio and MIDI hardware correctly identified and ready for use. Were sure that at this point, youre ready to hear some music, but before getting on to the demo, please read the following section on the manual and the Tutorial chapter.
About the PDF Manual

The headings in the PDF reference manual are arranged according to the names of the functions in the program. This way, you can quickly find specific functions in the table of contents. Located in the appendix of this manual is an index, which you can use to look up keywords. The Menu List, found in the appendix, offers an overview of all menu items. The glossary explains the meaning of specialized terms. If you do not find a term there, you can look it up
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Introduction
in the index, and read about it in the corresponding section of the manual.
The Tutorial Chapter

The tutorial chapter will quickly familiarize you with the use of the Arrange window, Event editor, note editing and more in MAGIX midi studio. Following the next section, which will introduce you to the various parts of MAGIX midi studio, we strongly recommend that you work through the Tutorial chapter. This section is arranged in self-contained topic areas. You will find the appropriate Tutorial Song on MAGIX midi studios CD. It takes less than half an hour to work through each section in the chapter. Please invest the time reading through all sections to fully familiarize yourself with MAGIX midi studios use. And now its time for some music!
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The Basics of midi studio The Basics of midi studio

The Demo Song
Phew! After discussing all of that MIDI and audio stuff, and setting up your system, its time to listen to a little music. As you do so, youll be asked to take a look at a few windows using one of MAGIX midi studios nicest features, called Screensets, discussed in the section Controlling WindowsScreensets from page 37 onwards. Youll find the Escape song in your MAGIX midi studio folder. It, and some other songs, plus some audio information, were added to your hard drive when MAGIX midi studio was first installed. Please follow the text instructions in the demo. As we work through this section, youll be introduced to the various parts of MAGIX midi studio, and will get a feel for how the different parts of the program interact with one another. In the demo song, youll be asked to use some Screensets and the Transport Bar, which will help you to learn where things are in the program. Youll also be asked to use your mouse to click on, and click-hold various parts of the programs interface. If you are unfamiliar with mouse use, please refer to the Using MAGIX midi studio section of the PDF documentation. Where a click is described here, it means the use of the left mouse button, unless otherwise specified. And dont worry if you come across some terms that you dont understand, these will become clear to you as you start working with the program, and many are covered in the Tutorial. Anyway, lets get to it! You can think of this as the entree before we get on to the main course of the Tutorial, and after reading them both, youll be well on the road to becoming a MAGIX midi studio guru. Once youve spent some time working through the Tutorial chapter, youll have mastered most of the techniques needed to effectively use the program. From there, its time to start recording your own music, make millions and retire to your private island in the Bahamas.
Controlling WindowsScreensets
Every song you create in MAGIX midi studio can have up to 90 Screensets. Screensets are combinations of edit windows which can be customized by you and then as-
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The Basics of midi studio

signed to a specific numeric key/combination of keys on your computer keyboard. Each Screenset remembers the type of edit window/s opened plus size, position and zoom settings. This facility accelerates your workflow massively and allows you to tailor MAGIX midi studio to fit your needs and tastes. To set up a Screenset: Press any of the numeric keys above your QWERTY keyboard (you can also use the numeric keypad) Open the required edit windows by selecting them from the Windows menu. Resize, zoom and reposition your selected windows to meet your needs Press the numeric key again. N.B.This will only work for keys/Screensets 1 to 9. Should you wish to set up more than nine Screensets: Press the Alt + numeric keys e.g. to set up Screenset 75, you would press and hold Alt and type in 75. To ensure that your Screensets remain as you intended, you should always lock your Screensets by pressing Shift+L. To recall your Screenset/s simply press the appropriate key/s 1 thru 9 or Alt + the two digits. N.B.You can not use the number 0 for any of your Screenset combinations. The reason is that number 0 is assigned for the STOP function, using the computers keyboard. This shortcut is one of midi studios other neat features called Key Commands, which you can read about in the section Key Commands from page 52 onwards in this chapter.
The Arrange Window

After loading the demo song, you will see the Arrange window, plus several other windows. The Arrange window is MAGIX midi studios primary working window. It is divided into three basic areas from left to right, these are; the Parameters, the Track List and the Arrange area. Above the Arrange area, youll find the Bar/Beat Ruler, sometimes referred to as the Timeline. While reading the information in this section, youll learn how these various areas interact with each other and will also discover how similar the handling of both MIDI and audio regions is in MAGIX midi studio.
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Figure 1The Arrange Window showing a number of MIDI sequences and an audio region. Note the floating Transport bar, over the lower portion of the Arrange area.
The Parameters Area

There are three boxes in the parameters area. They are, from top to bottom, the MIDI Sequence/Audio Region parameters, the Tool Box and the Track/Instrument parameters. Sequence/Audio Region Parameters:
Figure 2The Object Parameters Box This parameter box (Figure 2) is directly related to the MIDI sequences and audio regions which appear as colored rectangles in the Arrange area to the right of (Figure 1). When either a MIDI sequence or audio region, is selectedby clicking once on itwith the mouse, this parameter box will update to reflect the parameters assigned to that particular sequence/audio region. Give it a try, and pay attention to the changes which occur in the parameters box. Each object in the Arrange area may have its own parameter settings, allowing independent transposition, quantization and more. The parameters for MIDI sequences and audio regions are different. The reason for these parame-
39

ter differences are due to the very nature of MIDI and audio, which we discussed in the section About MIDI and Audio from page 16 onwards. Some tips for working with MAGIX midi studios parameters: In the Sequence Parameters box, the transpose, dynamics, gate time & delay functions have a couple of zones to the right of the text where you can click your mouse. If you click to the extreme right of the box, you will be able to increment/decrement values in individual steps. If you click the mouse in about a half centimeter from the right hand edge of the parameter box, a flip menu of mathematical variables will show up 1/8th, 1/16th a.s.o.allowing you to select one, if appropriate to the task at hand. Why not give it a try? Double-clicking on almost all numerical values in any parameter box, editor, on the transport bar etc. will allow you to directly type in a value. This method of direct numerical entry can be used for quantize, program changes, effects parameters etc. which will accelerate your workflow. To do this, double-click on the numerical values within the various parameter fields and use your computer keyboard to type in a new value, followed by the Enter key. Once again give it a try. You will also find that direct numerical entry works on many graphical elements in midi studio. Such graphical elements that dont appear to have a direct numerical entry possibility, including pan pots in the Mixer, can be interacted with in this fashion. It should be noted that all of the Object parameters are available as real-time processes, meaning that changing these parameter values can occur while MAGIX midi studio is running. The Tool Box: Key to selecting and altering MIDI and audio information in the Arrange Window and MAGIX midi studios other editing windows, is the Toolbox (Figure 3). This contains a pointer, pencil, eraser, scissors & glue tools plus others which allow you to select, draw, cut, copy, paste, delete, merge and crossfade (audio regions only) sequence and/or audio regions. The toolbox is context-sensitive and additional (or fewer) tools will appear for particular tasks in the various individual edit windows. Toolbox Tip: When you need to use any of the tools, hit the ESC key on your computers keyboard and the Toolbox
Figure 3The Toolbox
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will float at the spot your mouse pointer currently occupies onscreen. When the floating toolbox appears, simply select the approriate tool with your mouse cursor. As usual, try it out. The Track/Instrument Parameters: This set of parameters is linked to the second onscreen areathe Track Listand is used for global parameters such as the selection of instruments (PrgProgram Change), the overall track volume, transposition and more for all objects on the track.
Figure 4Track/Instrument Parameters Box A track is an object/collection of objects (audio or MIDI) in the Arrange area which are aligned horizontally with a particular track name. This parameter box will update each time a new track is selected in the Track List. You know the drillgive it a try. The Track List: The second column from the left is known as the Track List. This is where you can add, delete, select, name and reorganize the tracks/instruments used in your song. MIDI, Audio and Audio Instrument tracks are easily identified by their default icons, which can be changed in the Track Parameters box. The default for newly created MIDI tracks features a General MIDI icon, Audio tracks feature a rectangular Waveform icon, and Audio Instruments are identified by a Keyboard icon. Note the highlighted track in the list. This (or any) MIDI track is automatically armed for recording as soon as the track is selected. Any MIDI input received by MAGIX midi studio, when the record button is depressed on the Transport bar, will be recorded to this track. This recording will then appear as a MIDI sequence in the Arrange area. The light blue M on track 6Soundtrackindicates that all objects on the track are mutedi.e. all objects aligned horizontally on this track are silent. The green indicators you will see to the left of track numbers are level meters. These are useful aids for keeping an
Figure 5 The TrackList
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eye on what tracks contain objects that are currently playing and their relative levels. Recording audio tracks is a little different to that of MIDI tracks. Audio tracks must first be armed, which is achieved by clicking on the R button on the desired track. Once armed, pressing the record button on the Transport Bar will start recording audio data to the selected track. N.B.Before any audio can be recorded, you must first set a recording path and file namei.e. a location on your computers hard disk and a name for your audio files. Well take a look at how to do this in the Tutorial chapter. Muting/unmuting of MIDI or audio tracks is achieved by pressing the M button on each track in the Track List. Reorganizing Your Tracks: You may want to reorganize your tracks to keep things neat onscreen or to group audio tracks or particular instruments together, which can be useful for scoring. To do this, move your mouse pointer over the number on the track you wish to move, and press down the mouse button. This will change the appearance of the cursor to a hand icon as shown. With the mouse button held down, drag the track up or down the Track List to the desired location, then release the mouse button. This will change your track order, and will also move all of the associated Track objects (MIDI sequences or audio regions) in the Arrange area. Please try it out. The Arrange Area: This is where your audio regions and MIDI sequences are arranged into a song. In this area, you can freely drag and drop your audio and MIDI objects from position to position, make loops, copies and more. Audio and MIDI data can be recorded directly into the Arrange area as mentioned earlier in the Track List section. You can even add audio regionsin either WAV or AIF formatdirectly to the Arrange area by drag and dropping them from any folder on your hard disk. By default, the Arrange area will display a grid aligned to the bars and beats of the Bar/Beat ruler, and to the tracks in the Track List. This grid display can be toggled on and off via the View > Grid menu option. HyperDraw: Further to all of these facilities, you can record and edit parameter movements such as volume and pan for each sequence or audio region within the Arrange window using the HyperDraw function. The Hyper42
Figure 6
Figure 7Arrange Area

Draw function allows you to visually insert a set of points, which are automatically connected by the function as a segmented line, shown below.
Figure 8Hyperdraw Tip:HyperDraw is easiest to use when an object is zoomed, as you can see the events or waveform contained in the object. Use the zoom controls described in the section Zoom Controls from page 45 onwards in this chapter, to get a close up look. To use Hyperdraw (and do give it a try): Select the sequence or audio region you wish to alter Open the View > HyperDraw menu Select a type of controller such as Volume or Pan This will change the selected regions visual appearance to a blue background, provided the sequence or audio region is zoomed in enough. Click directly in the blue region with the mouse at points you would like to insert the specified controller. The Bar/Beat Ruler: At the top of the Arrange window, you can also visually refer to your current song position via the Song Position Line (SPL) and the Bar/Beat Ruler.
Figure 9The Bar/Beat Ruler. Note the light colored areas. The longer portion indicates a cycle region and the shorter one shows drop in/out points. The LEFT & RIGHT Locators in the Transport bar and in the Bar/Beat Ruler at the top of the Arrange window allow you to set cycle region boundaries to facilitate cycling over a part. You can do this by clicking and dragging from left to right directly in the Bar/Beat Ruler with the mouse. Any changes made directly to the cycle region start & end points in the Bar/Beat Ruler or to the Locator values in the Transport Bar will be reflected in the other.
The Transport Bar

The Transport Bar is used to transport you to different points in the music. The buttonsPlay, Rewind, Pause, Fast Forward etc., work just like those found on a tape 43

player. Well explore the uses of the cycle, drop etc. buttons in the Tutorial chapter. The record button, to the top left of the Transport Bar, is used for recording both MIDI and audio data on any currently selected track in the Track List. It is also possible to simultaneously record a MIDI and audio track in midi studio. To do so, press the Shift key while clicking on multiple tracks in the Track List.
Figure 10The Transport Bar A long mouse-click on the sync button accesses synchronization options for both audio and MIDI plus tempo operations. Spend a little time exploring the options found in this menu, particularly if you are interested in locking MAGIX midi studio to video, film or digital devices with word-clock synchronization facilities. The SMPTE/Bar Position area indicates the current bar number occupied by the Song Position Line. In Figure 10 above, the display shows 1 1 1 1, which means: first bar, first beat, first 16th and first clock pulse. The time position, 00:00:00 etc. means0 hours, 0 minutes, 0 seconds, 0 milliseconds/frames. and so on. The lower two sets of numbers, from top to bottom, are the LEFT and RIGHT Locators, which are used for setting cycle region points, as discussed in the section The Bar/Beat Ruler from page 43 onwards (see Figure 10). The Tempo and (Time) Signature display indicates the tempo accurate to 1/10,000 of a Beat Per Minute. The /16 below the Time Signature of 4/4 indicates the Bar or display resolution. Changing this value will make any edits you may perform on your MIDI or audio data more precise. The /16 refers to the number of divisions in the bar. Click and hold your mouse button, and drag up or down to change this value. Beneath the tempo, you will notice the number 2809579. This indicates the maximum number of MIDI events that it would be possible to record on this particular computer. This value may be different on your computer. 44

The MIDI Activity display shows all MIDI input & output and also serves as a Panic button. If you have hung notes you can click once in the MIDI Activity Window to send a MIDI reset message to your specified system channel, or double-click to send a Full Panic Reset which systematically works through all MIDI channels and ports and resets all connected MIDI devices. The Song End box displays the bar number at which the song will end and sets a maximum song length. By default this is set to 201 bars. Clicking on the downwards pointing arrow beside the Song End box will open a menu of Transport Bar display options, which will allow you to customize the appearance of the Transport bar to meet your requirements. We suggest that you select Legend which will turn on the function titles, as shown in Figure 10 above, while using MAGIX midi studio.
The Menu Bars

The Main Menu Bar, at the very top of MAGIX midi studio, is where all basic file operations, such as save, open etc. occur. From the various Menu Items you can access additional system parameters, open windows, access help and will find many data processing options. MAGIX midi studios menuing system is context-sensitive and the Main Menu Bar will update to reflect the functions available to the currently active edit window. As an example, when in the Score Edit window, the Main Menu Bar will update to display options which are relevant to notation only, such as Enharmonic Shift or Stems Up/Down. Naturally, choices like these would have little place in another edit window, such as the Event List editor, as you cant see note stems, nor enharmonically shift a list of numbers & letters. This smart menuing keeps the menu lists nice and short in each window, making functions much easier to find.
Zoom Controls
The Zoom Controls step though several levels of magnification. The zoom bars found at the bottom right corner of many of midi studios windows are for both horizontal & vertical zooming. Clicking on the section of either zoom bar with the narrowly spaced lines will reduce the size of objects displayed in the Arrange area. This allows you to see a wider range of your song. 45

Clicking on the section of the zoom bar with the widely spaced lines will enlarge your view. Give it a try!
The Edit Windows

MAGIX midi studio features a number of windows that can be used for different MIDI and audio editing tasks. These can all be accessed from the Windows menu at the top of the screen. All edits in these windows are real-time, so as data is altered, you will receive direct feedback from any connected MIDI devicei.e. youll hear any changes as you make them. All edits can be made while MAGIX midi studio is running. Common to many of the edit windows in MAGIX midi studio is the Quantize buttondisplayed as Q. Click and holding on this button opens a flip menu containing a list of different quantize types which can be applied to selected events within each editor. As individual MIDI events can be selected and quantized, it is possible to have a single sequence which contains several independent quantize values. Put simply, quantizing is the equivalent of a spell-check function in a word-processing program. Where a spell-checker corrects your spelling, the quantize function corrects the timing of MIDI notes, fixing any small timing mistakes you may have made when recording. Youll learn more about this in the Tutorial chapter.
The Matrix Editor
In the Matrix Editor window, MIDI note information is represented by horizontal bars onscreen, with longer bars indicating longer note lengths. A piano keyboard along the left border of the main editing area indicates the note pitch/key played. Velocities (i.e. how hard the note was hitand usually how loud it is) of notes are indicated by colorwith hot colors, such as 46

reds used for higher values and cool colors, such as blues used for lower velocities.
The Event List Editor

This editor shows all data contained within a selected sequence as an alphanumerical (a collection of numbers and letters) listing. Individual MIDI data types, such as system exclusive information, controller data, aftertouch info etc., plus note information, can be visually filtered via the collection of buttons to the left of the list.
The Score Editor

MAGIX midi studio features extensive notation facilities. Note data is displayed as it is played when in record mode. Direct note input with the mouse or keyboard is also possible, as is the use of alternative score fonts. If you have a need for high-end notation facilities and high quality score printing, MAGIX midi studio is capable of handling everything from single line drum notation through to orchestral scores. If you would like to explore the notation facilities of MAGIX midi studio, keep reading. A quick score tutorial is coming up in the second half of the next chapter. A full score tutorial is available in the PDF reference manual.
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The Drum Editor

This editor is useful as a drum grid editor, and also for graphical controller drawing. When used for drum editing, it is somewhat similar to the use of pattern-based drum machines of yesteryear. To insert either note or controller information, simply click, or click and drag with your mouse. Higher note velocities/controller values appear as taller vertical bars.
The Sample Editor

MAGIX midi studio features an integrated stereo sample editor with zoom facilities accurate to single sample resolution. A number of destructive sample editing tasks can be achieved in this window including: cut, copy, paste, reverse, normalize and fade in/out. 48

Also available from within the Sample Edit window are a range of digital signal processing tools, available from the Factory menu. Among these tools are: time stretching and pitch shifting, quantization of audio material and more.
The Sample Editor plus several of the Factory Tools.
The Audio Mixer

MAGIX midi studio features an audio mixing console with full automation facilities. You can record fader and pan pot moves, mute and unmute tracks, send multiple tracks to different busses in series or parallel configurations and can even bounce your audio with all mix automation to a stereo file for CD mastering. The different parts of the channel strip are indicated in the diagram shown. See the information below for specific details. Equalization Section: Each channel can have up to three-band EQ. Clicking on the Thru panel(s) opens a flip menu where you have three EQ types to choose from. The ON button to the top right is a toggle switch with which you can automate your EQ, or use to isolate particular frequencies. EQ (equalization) is used to add (boost) or reduce (cut) particular frequencies in audio signals. Put another way, 49

EQ is used to add or cut bass, treble and mids, much like the controls for these on your home hi-fi. Needless to say, the EQ section found in MAGIX midi studio is more flexible than the average stereo system. Channel Buses: Each channel in MAGIX midi studio can use up to four onscreen pan pots (knobs) which appear to the right of the bus selection panels in the SENDS section of the mixer channel strips. Clicking and dragging on these pan pots will adjust the bus send leveli.e. the amount of the audio signal sent to the busses. Busses are another name for the Effects faders, which well take a look at in a moment. If you reduce the level of the channel with the volume fader, the amount of both the audio signal and the send level is reduced. As each channel is capable of using multiple busses, setting up parallel effects configurations is as simple as the selection of two or more busses. Effects Faders: The busses can handle up to three separate insert effects. Click-holding on the panel/s at the top of each Effects fader will open a flip menu showing you midi studios range of over 10 high-quality effects plugins. Just scroll to the desired effect in the list and release the mouse button to select an effect. Tip:You can also use VST 1.0 and 2.0 plus DirectX effects in MAGIX midi studio. See the reference manual for more info. To edit the effects parameters, double-click on the insert panel with the newly activated effect insert. Active inserts are shown in blue, and indicate the name of the selected effect. When an effect is opened for editing, a new window will appear onscreen showing a number of horizontal faders. Adjusting these faders by click-dragging with the mouse to the left or right will make changes to your effects settings. These changes can be saved individually as presets, or as part of your song file. You can decide on which method best suits you.
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Input/Output Selection: If the computer system on which midi studio is installed has supported audio hardware with multiple audio inputs and outputs, each channel can use a specific mono or stereo output pair. Other Controls: The remaining channel strip controls are for volume, mute and solo and record arming, which should be straightforward enough to use. The final control is for stereo/mono ganging. This button, to the left of the REC button at the bottom of each fader is used to switch between mono/stereo tracks, dependent on the type of audio filestereo or monoused on each track. Other Types of Audio Faders: Apart from the audio faders discussed above, midi studio offers two other types. These are: the Master faders the Audio Instrument faders The Master Fader/s behave as you would expect, giving you overall volume control over all audio routed through this fader. The one differentiating factor, in MAGIX midi studio 2005 deLuxe, is the BNCE button found at the bottom of the fader. This button is used to bounce all of
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your audio and audio instrument tracks to a single stereo or mono file for inclusion on a CD but more on this a little later. MAGIX midi studio 2005 deLuxe also features two Insert panels on the master faders. The Audio Instrument Faders support the included FMX1, M-TB 6, Carpet Sweeper and Percusor synthesizers, the SAMP-7, 4 virtual drum kit plug-ins and the EZ piano plus VST 2.0 compatible software instruments. MAGIX midi studio 2005 deLuxe supports up to 12 discrete Audio Instruments, dependent on available CPU resources and system RAM. Audio Instruments are accessed via the insert panels on Audio Instrument faders, just as you would insert an effect on an Effects fader. The advantage of the integration of synthesizers and samplers within MAGIX midi studio is that all of the tools necessary for audio recording, synthesis, sampling plus effects and mixing can occur within your computer.
Bouncing Audio
Included in MAGIX midi studio is the bounce facility. On each master fader, a Bnce button is available. When this button is pressed, a further window will open, giving you options for the type of file you would like to create, and also the left and right (beginning and end) boundaries of the region you would like to select. On clicking the OK button, MAGIX midi studio will then play through the selected region and all audio routed to the selected Master output, including effects and mix automation, will be bounced to a new mono/stereo file. This file can then be mastered to CD or further processed.
Key Commands
MAGIX midi studio 2005 deLuxe features over 160 usercustomizable Key Commands which you can set up to cater to the tasks/functions you use most in the program. These shortcut keys, which can be assigned to your QWERTY (i.e. your computers) keyboard, accelerate the use of MAGIX midi studio, enabling you to achieve your end results in the shortest possible time. A window called Key Commands is accessible from the Options > Settings menu. The Key Commands window allows you to alter MAGIX midi studios default keyboard shortcuts to match your personal needs and tastes. This makes things easier as you acquaint yourself with the software and allows you to set 52

up the program so that functions are accessible via shortcuts that match the way you think. To customize a Key Command: Open the Key Commands window via the Options > Settings menu. Locate the function you wish to change by scrolling through the list or via the inbuilt Key Command search function. We would suggest that you scroll through the list to see the range of options available within MAGIX midi studio. While doing so, please note that Key Commands can be either program-wide or specific to individual edit windows. Press the Learn button with your mouse and select any unused Key Command by pressing the appropriate key or key combination on your computer keyboard. Modifier keys, such as Shift, Alt etc. can be used freely. Press the Learn button again to avoid overwriting your newly created Key Command. Close the Key Commands window. Congratulations. Your newly created keyboard shortcut will now be available as a global function in MAGIX midi studio or within the specified edit window. Please spend a little time with the Key Commands window, and set up one or two Key Command shortcuts following the steps above. This will help you to understand how this extended functionality in MAGIX midi studio could be of immense benefit to your work speed. Thats about it for this chapter. By now you should be acquainted with most of MAGIX midi studios editing windows, screensets, the transport bar and the use of Key Commands. In the Tutorial chapter, well put some of your new-found knowledge to work, as you get hands-on with MAGIX midi studio. Dont worry if it hasnt all sunk in yet, after all, its a whole lot of info to take in. As a word of encouragement, the more you learn about this MIDI and audio thing, and MAGIX midi studio itself, the easier it becomes. Once you start working through the MAGIX midi studio tutorial, youll find that all of the things youve learned (and are about to learn) will start fitting together. As with the first chapter, if youre unsure about anything, re-read any (or all) of the topics weve had a look at here and dont be afraid to experiment. You cant break anything.
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Tutorial Tutorial
This chapter introduces you to the features of MAGIX midi studio by using examples. It touches on all of MAGIX midi studios important functions. You will learn how to arrange a song, record a sequence, insert audio sequences, and prepare your arrangement for printing, plus a few other techniques. Before you begin you will be introduced to a number of new terms throughout this chapter, which will be explained as you read through the text. Please dont skip ahead, and please read through things in order as this will introduce you to the functions and the general working methods used in MAGIX midi studio. Some things that we looked at in earlier chapters will also show up here, so please refer back to them, if youd like to refresh your memory. As youre working through each section, take as much time as you need, and practise each step a couple of times, if necessary. Remember, this is your studio, so theres no need to watch the clock. Oh and dont forget to have fun! In order to follow the tutorial you should: have installed MAGIX midi studio have a General MIDI tone generator or an equivalent multi-timbral device (such as a soundcard installed inside your computer) correctly connected to your computers MIDI interface.
Adapting the Tutorial Song

As you work through this chapter, use the provided tutorial song. This song is configured for General MIDI (GM) tone generators but you wont have any problems using the song with tone generators that dont follow the GM specification. The only difference when using a non-GM device, is that you will need to set the sounds and MIDI channels manually the first time you run the song. You may also need to transpose some tracks. If any of these steps are necessary, be sure to save your changes, so that you dont need to repeat the procedure every time you load the Tutorial song.
Load the Tutorial Song

You can start the Tutorial Song by: 54
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Starting MAGIX midi studio, selecting File > Open, and browsing to the Tutorial Song or by double-clicking the Tutorial song icon in the midi studio folder. Important Information The .msp file extension is used by the midi studio and also by Microsoft-Update-Installation files, so a doubleclick onto one of these fileslike the Tutorial.msp song (in Windows Explorer) may try to open the file as a windows-update on many computers. You should now be looking at the following screen:
Arrange window with tutorial song
General MIDI Tone Generator

The program change, volume, and pan settings for this song are customized for GM tone generators, and are sent to your device via MIDI. The transmission of these settings happens automatically, if you play the song from the beginning. You will find the settings in a separate sequenceGM Setupat the start of the song. As delays can occur with some synthesizers when they receive program change data, you should mute this sequence after it has been played through once. To mute the program changes, select the mute tool from the toolbox, and use it to click on the sequence named GM Set-Up. (If youd like a quick run-down on the Toolbox and its tools, take a look at the section The Toolbox from page 67 onwards. If youre the more adventurous type keep reading) The sequence will turn black, to indicate that it is selected, and an asterisk will appear in front of the sequence name. This asterisk, plus a green outline, indicate that the sequence is muted.
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Non GM, Multi-Timbral Tone Generators
If you do not have a GM tone generator, you need to consider the following points: One prerequisite for GM compatibility is that the sounds listed in the following table are available. If necessary, find similar sounds in your own device. In addition, the drum kits note assignment needs to match that of the GM drum map (previously Roland drum map), otherwise the percussion passages in the tutorial will be reproduced with the wrong drum sounds. Set the appropriate receive channels in your multi-timbral synthesizer, and assign sounds similar to those listed in the tables. If you need to rearrange your drum kits note assignments, follow the percussion instrument table in the Drum Kit section.
Sounds and MIDI Channels

MIDI Ch. Function 1 2 3 4 5 6 7 10 chord bass accents melody carpet accents solo drums Sound combination piano/E piano normal E bass Possible Name Electric Grand, LA Grand Pick Bass, Rock Bass, E Bass Vol 110 127 127 100 90 80 120 110 Pan 0 0 R 0 0 L 0 0
muted E guitar Mute Guitar, Slap Guitar long dying away Synthbell melodic sound string section wind section flute-like solo sound Slow Strings, Pad Brass Section Stream, div. Solo
GM-compatible GM Kit drum set
Drum Kit
Here is a list of percussion instruments used by the tutorial song, and their locations. (C3 = Note number #60)
Note C1 D1 E1 F1 F#1 G1 G#1 A1 Instrument Kick Snare (normal) Snare (hi) Tom lo HHT closed Tom mid HHT closed short Tom hi
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Note A#1 C#2 D#2 E2 Instrument HHT open Crash Ride Ride Bell
Transposition and relative volume values are only automatically correct with GM devices, so you should play the song a couple of times to see how it sounds after assigning compatible sounds. Open the Mixer via the Window > Mixer menu and use the faders to set volume levels, if needed.
Starting the Song

To listen to the Tutorial Song, simply press Enter on the numeric keyboard. To return to the beginning of the song, push 0 on the numeric keypad, twice in succession. These Key Commands for the Transport Bar are much faster to use than clicking on the buttons with the mouse. Throughout the tutorial, we will use (or indicate) the appropriate Key Command for the function. Please use them as this will help you to memorize them, and by the end of the tutorial, you probably wont even think about which key? youll just know them.
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Overview
After opening the tutorial song, you will see the following onscreen:
2 1
9 7 8 6
1 Transport field This is where you control the operation of MAGIX midi studio. You can turn on Cycle, set drop in/ out points for recording, adjust synchronization settings, and many other options. 2 Main menu bar This is where you will find global functions, e.g. for saving and loading songs or for opening various windows. 3 Bar ruler The bar ruler displays midi studios time axis. Here, you can set markers with the mouse, or jump to any desired place in a song. 4 Arrange area, with sequences A track may contain any
number of sequences. Sequences contain the actual data, such as notes, controller data, etc. The data can be edited in a variety of ways.
5 Zoom bars If you click on the zoom bars in the bottom right corner, you can alter the magnification factor of the various windows contents and adapt them to your screen resolution. 6 Transport window The transport window performs the
same functions as the transport field, but can be located anywhere onscreen and is variable in size. A slider enables quick jumps to any song position. 58
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7 Track column Here, you can determine the MIDI channel for each track, swap, insert or delete tracks. 8 Toolbox Using tools from this box enable you to edit sequences, notes or other data in a variety of ways. 9 Sequence parameter box The sequence parameter box is
where quantization, transposition and other aspects of the playback for a sequence can be non-destructively edited.
Tracks and Sequences

MAGIX midi studio offers the usual elements found in most Windows programsthe main menu bar, and various windows that you can open and close, move and adjust to size. When you load a song into MAGIX midi studio, you will see the Arrange window, as shown above. This is MAGIX midi studios primary workspace and where you record and arrange your songs. Like a multitrack tape machine, MAGIX midi studio also works on the basis of tracks. You can see and access these tracks in the Arrange window. Narrow rectangles known as sequences are found on the tracks. A sequence represents an individual recording, or take. Each time you record to a MIDI track, a sequence will be created on the selected track. You can consider the sequence a container for the actual MIDI data. This data can include any combination of; note events, control data, program changes, or even sysex data for your MIDI tone generators. To explain; note data is the actual notes you play from your MIDI keyboard control data includes things like volume and pan position changes program changes allow you to select different sounds (or patches) from your MIDI synthesizer or soundcard and sysex (short for system exclusive) is a part of the MIDI language which can be used to store the entire memory of your MIDI devices, amongst other things.
Tracks with sequences
Information Track and Instruments

Take a closer look at the track plan. 59
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On track 1, you can see the sequences A intro, B groove, and subsequent entries. No Output is displayed in the track column of track 1. This is a dummy track, which does not contain any MIDI notes or other information. The sequences on this track are simply used as markers for the various song parts and, for the time being, are empty. As you continue to work through the tutorial, you will be using this information track as a reference. Instruments for the tutorial song are found on the remainder of the tracks: piano on track 2, bass on track 3, guitar on track 4, and so forth. The MIDI channel used by each track is visible in the track parameters box. In addition, an icon is displayed for each track. This visually indicates the type of instrument in use. You can freely change these by clicking on the icon in the Track Parameters box.
Transport Functions
The second, smaller window, displayed after loading the song is the floating Transport window. It is laid out like the control surface of a tape machine, and is used for operating the Play and Record functions. In addition, you can change the tempo settings and engage operations such as solo, synchronization, or cycle.
You can start the song by clicking on the Play button on the Transport bar, or by pressing enter on your numeric keypad. We suggest that you go with the Key Command its faster. You may hear that the song is not completely arranged, and contains a few inconsistencies. As you continue to work through this chapter, you will finish arranging the song, add a few details, and correct one or two mistakes that we intentionally left in. Following this, the song will be completed with the addition of some audio files. In this section, you will learn how to move to different parts of the song, start and limit passages, and to isolate and audition specific portions and components within the songin short, youll learn how to navigate through the song. As youre reading, follow the steps and try out the functions. You cant break anything. 60
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Try out the buttons in the upper row of the transport field. You should be familiar with them as they are identical to the functions found on tape machines and cassette recorders.
Start Song Positions

There are several ways to jump to specific song positions. At the top of the Arrange window, you can see the bar/beat ruler. Click at various spots in the lower half of this ruler and youll immediately jump to that position. At the same time, a blue vertical line will appear in the Arrange area aligned with the point selected on the bar ruler. This is the song position line (SPL) which, in the most general sense, is comparable with the tape position indicator on a traditional tape recording device. Engage Play via the Transport Bar or Enter key. Now click on the bar ruler, and hold down the left mouse button. Take note of the SPL, which moves to align itself with the mouse position in the bar ruler. You can move to any position in the bar ruler, and audition different sections of your song instantly, by moving the SPL in this way. Play must be engaged for auditioning (i.e. hearing) to occur. If you would like to jump directly to a specific position when the sequencer is not in play mode (press the stop button now, if its presently running), you can also take advantage of MAGIX midi studios locators. To the right of the transport buttons, the current song positionin both absolute time (thats hours, minutes, seconds, in plain language) and as musical measuresis displayed. Click on the song position indicator, and hold down the mouse button. With the mouse button depressed, drag the mouse on the vertical axis (up and down) until the song position displays 17 1 1 1, and start playback you know the Key CommandMAGIX midi studio will begin playing at measure 17. Another way of doing the same thing is to double-click on the current song position locator on the Transport bar. This will open a text dialog box, where you can directly type in 17 1 1 1. N.B.It is very important that you type 17 and then press the Space bar, then 1, and then the Space bar, and so on. Once all numbers have been entered, just press Enter. If the space is not added between numerical values, midi studio will interpret this as bar 17, 111 and will ignore your entry. 61
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Tip:As a great shortcut, you can simply type in 17 and then press the Enter key when you want to jump directly to the beginning of a bar. If you want to go to any position other than the first beat in any bar, you must include all 4 numerical positions. As an example, 17 3 2 2 (dont forget the Space bar), which translates to bar 17, measure 3, beat 2, sub-beat 2.
Display Current Song Position

If you manually enter and jump to positions, the song overview displayed can, on occasion, not correspond to what you hear. You can, however, guarantee that these two things always match. Click on the catch button found to the upper left of the Arrange window, and the song overview will update, following the song position line again. This facility ensures that when the song position line exits the visible portion of the song overview, the display will update to follow it. In general, catch mode should be activated while using MAGIX midi studio.
Zoom a Window Excerpt

You can view the entire song in the Arrange window by using the two zoom bars found on the lower right corner of the window. Click on the left half (narrowly spaced lines) of the horizontal zoom bar until you can see all of the sequences in the window. Give it a try!
Cycle Mode
In cycle mode, you can endlessly repeat a section of the song as long as Play is engaged. This is useful for editing sequence parts livei.e. as the song is playing, or for the recording of new tracks to a specific section of the song. Two locators can be used for setting cycle regions. These are position markers that mark the left and right boundaries of a song segment. They are found directly to the right of the bottom row of the Transport windows control buttons. To use MAGIX midi studios cycle functions: Turn on the cycle mode. To do this, click on the cycle button in the Transport window. When active, the cycle button will turn green. In this example, well use part C in the information track as the basis for setting the cycle region boundaries. If necessary, use the horizontal scroll bar (by clickholding and dragging left or right) at the bottom of the 62
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Arrange window to scroll the window view, until you can see sequence C. Click on this sequence once, which will invert its color scheme. In other words, it will turn black, which indicates that it is selected. In the Functions menu, select Set Locators by Objects. This will create cycle region boundaries which match the size and position of sequence Cs left and right boundaries. Pay particular attention to the display changes that occur in the bar ruler at the top of the Arrange window:
This visual representation of the cycle region (the highlighted section) can be interacted with directly in the bar ruler. You can move it by grabbing it in the middle and dragging your mouse to the left or right. You can also change the cycle region borders by grabbing either the bottom left or right corners of the highlighted section on the bar ruler, and moving the mouse left or right. When Cycle mode is engaged, pressing Stop twice will move the SPL to the beginning of the cycle region, rather than the beginning of the song, which is its default behavior.
Solo and Selection

In order to edit any data in MAGIX midi studiobe it sequences or notesyou first need to select it/them. All functions and operations will only affect items that are highlighted or selected. To start, turn on the solo function by clicking on the solo button in the Transport window. The solo button and the bar ruler at the top of the Arrange window will turn yellow. Ensure that Cycle mode is also enabled, and that the Cycle region boundaries extend from bar 25 through 33 (Section C). Start playback, and click once on the Piano C sequence to highlight it. As mentioned earlier, highlighted sequences will turn black indicating that they are selected. You will hear the piano part in isolation, because when solo is active, only selected sequences will play. Click on the other sequences in section C, one at a time, to solo them. Once youve got the hang of this, you can go one step further by soloing several selected sequences. Select Piano C once more.
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Now, hold the Shift key down, and click on the Bass C sequence. This will also be selected and played. With the Shift key still depressed, click on the Groove Real-time sequence. You should now hear the piano, bass, and percussion parts. While still pressing the shift key, click just below the Groove Real-time sequence, and keep the mouse button depressed. Now, drag a lasso over all of the sequences in section C. Your previous selection will now be reversed and you will hear all sequences except for piano, bass and percussion. Try out the selection functions with other sequences, individually and grouped (using the shift key), if youd like more practice. And congratulations! Youve just mastered the most essential of MAGIX midi studios techniquesthe selection of objectssequences, notes, audio regions you name it!
Quantize
Quantizing is the rhythmic correction of notes, aligned to positions on a grid. When quantization is applied to any selected event or sequence, MAGIX midi studio will move all note events to align perfectly with the nearest grid positions. Well use the Groove Real-time sequence as an example. The timing of note data in this sequence was intentionally left slightly off the beat. To correct these small timing errors, you will use MAGIX midi studios quantization facilities. To best illustrate how quantization affects MIDI note timing, we strongly recommend that you enable the Metronome. To do this, click on the metronome button found towards the lower right of the Transport window buttons. By default, MAGIX midi studio transmits the metronome click to channel 10 of the first MIDI port. Ensure that your tone generator (preferably a GM device) is connected to this port. Press play and solo the drum sequence, using the technique you learned earlier. When compared to the metronome click, you will hear that the groove is not perfectly on the beat. In the Sequence Parameter box, click-hold on the Off (3840) text alongside the Qua entry. In the flip menu which opens, select the 16D Swing setting, and release the mouse button. This quantize value will then be
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displayed in the Sequence Parameter box. As the sequence continues to play, youll discover that it now sounds rhythmically perfect. Try out the other quantize values on this sequence, in order to hear the effects of MAGIX midi studios quantizing options. Once youre done, reselect the 16D Swing setting. Also spend the time looking at the quantize settings used on the various song parts. Remember that selecting each sequence will update the Sequence Parameters box for each. You will notice that the swing factorsQuantize values followed by an alphabetic characterare different for many of the sequences. Judicious use of these groove factors can make your choruses sound like they swing more than verses do, for example. This is a great thing because your music will sound like its played by you, rather than your computer, even if you do use the quantize functions. Another thing to consider, while experimenting with different quantize settings, is that this operation happens in real-time, while the sequencer is playing. As youve also discovered, you can jump to different song positions and solo tracks while MAGIX midi studio is playing. This realtime functionality is available for most of MAGIX midi studios operations and allows you to concentrate on your music, not the program, while listening. Keep reading, there are many other real-time features and functions for you to discover.
Loops
Loops are automatic repetitions of a sequence. The loop function enables you to repeat a passage as many times as you wish, without having to copy it. Lets add a cabasa to the tutorial song. Well use it in the B Theme and Groove sections of the song, as outlined in the information track. A sequence named cabasa can be found on track 10 at the beginning of bar 17. You will notice that it is muted. Muted sequences are identified by an asterisk which precedes the sequence name, and are also outlined in green. Click on the cabasa sequence with the mute tool, which will unmute, and select it. Click once with the mouse alongside the Loop entry in the Sequence Parameters box. This will then display the word ON to indicate that the loop function is active. You should now see the following displayed onscreen: 65
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The cabasa sequence will now be repeated until the end of the song is reached. In this example, however, wed like to stop it before then. Loop repetitions are displayed as gray rectangles of the same length as the original sequence. The way the loop function works is as follows: A looped sequence is repeated until it encounters another sequence on the same track (or the song ends). To turn off the cabasa repetitions at a desired position, simply insert an empty sequence onto the cabasa track. For now, wed like you to do this at the beginning of section C. Heres how Select the pencil tool from the toolbox, and click once in the cabasa track at position 25 1 1 1i.e. directly on top of the loop repeats. This will insert a new, empty sequence and your screen should now look like this:
The insertion of this blank sequence onto the cabasa track will stop the looped cabasa part at measure 25. As a final step for you to try with this loop example, wed like you to copy the cabasa part to the groove section of the song. While pressing the shift key, click on the cabasa sequence, and also the stop sequence you just inserted. When both have been selected, release the Shift key and then Press the Ctrl key. Click on the cabasa sequence, and drag the entire section to measure 33, while keeping the modifier (Ctrl) key pressed. The entire passage, including the stop sequence, will be copied, and youre done! The loop function, and the copy function that you just used are a great way to quickly create drum tracks, bass parts etc. that are repeated throughout your songs. In many musical styles, the use of recurring motifs (the same bassline, drum part, chorus etc.) is commonplace, and you now know this technique which will help you to arrange your future songs more quickly and easily.
Resizing a Sequence
Each sequence (or audio region) can be resized by clicking on its bottom right hand corner and dragging to the left or right. With audio regions, you can only drag to the left, to make the region shorter. 66
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The reason why you would want to do this may be to create a drum fill or simply a variation on an existing sequence (or copy). Using the looped cabasa section you just created, click and hold on the bottom right-hand corner and adjust its size by dragging the mouse left or right. As you can see, the cabasa sequence and all of its loop repetitions have changed length. Now play the sequence (and its loops) and hear how things have changed. This is a real time function, so why not set up a cycle region over this section and resize a few other sequences to see how using a portion of some parts, and lengthening others, can completely change your arrangement. This functionality, combined with the looping and copying functions is a great creative tool that can help with quick song construction. While experimenting, ensure that any changes you make to your sequence lengths are returned to their original state.
The Toolbox
In the toolbox, you can select any editing tool required by simply clicking on it with the mouse. You can also select a second tool with the right mouse button.
Mouse Arrow
Using the mouse arrowthe default toolyou can move sequences onto other tracks, or to other positions within the Arrange window. To illustrate this, well insert a B part in front of the groove section of the Tutorial song. From there, well transpose this newly created B section by a semitone. Before beginning, however, we need to create a little bit of room in the arrangement to accommodate this new section. Heres how: Press the mouse button and rubber band select (thats the lasso technique that you used earlier in the section Solo and Selection from page 63 onwards) all of the groove section sequences. Once all are highlighted, grab and drag them eight measures (bars) to the right. Use the position display on the Information Line as a reference point. The information line should read 41 1 1 1 when you release the mouse button. Tip: As part of your general working method, you should always refer to the Information Line when carrying out any of the following operations in MAGIX midi studio: Move, copy or cut. This will help you when editing and ar67
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ranging, and can aid in avoiding disastrous mistakes. See the Undo section below. The Information Line appears at the bottom of the screen whenever you are performing an edit. Once youre done, the Arrange area should look like this:
Undo/Redo
Did you make a mistake, like not selecting all of the sequences, or perhaps you moved them to the wrong place? If so, this is a good time to become acquainted with one of the most important functions in MAGIX midi studiothe undo. With the undo function, you can always undo the last editing step, should things go wrong. (**2) MAGIX midi studio continuously remembers the last 5 program actions performed. This means almost all actions executed in MAGIX midi studio can be undone and redone up to 5 times. There is only one exception: destructive audio edits can only be undone once, immediately after their execution. To undo an action, select the Edit > Undo menu item. Once an action has been undone, it can be redone - using Edit > Redo. (**2) In this example, the sequences will be restored to their original positions and you can now re-attempt your edit. Give it a try, even if you got the edit right and obviously redo it.
Copies of Sequences
Following the repositioning of the groove section and the creation of the blank measures between bars 33 and 41, its time to insert our B part. Rather than recording an entirely new section (dont worry well get to that shortly), you will now copy the B groove section to the empty area created when we moved the groove section. Rubber band select the sequences of the B groove section and release the mouse button. Press and hold Ctrl and click-hold on any of the selected sequences and move the mouse to the right. A copy of
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all selected sequences is now dragged with the mouse pointer. (As youre dragging, you will see a ghost outline appear) Drag these sequence copies to measure 33 1 1 1 (keep an eye on the Information Line) and release the mouse button, where they will fill the space left when you moved the groove section. These newly created sequences will have the names of the originals, with the text *copied appended to the end of the name. Tip: You can decide whether or not this extension should appear in the sequences name by opening the Options > Settings > Global Preferences dialog. Click in the checkbox to the left of the Add Last Edit Function to Sequence Name option if you want a description of any edit operations to appear on edited sequences. If not, uncheck the box.
Scissors
Now, lets cut the sequences (in the section we just copied) in half, using the scissors tool. Following this, we will then take a look at the transpose function. Rubber band select the sequences that were just copied. Select the Scissors tool by clicking the scissors symbol in the toolbox. This will change the appearance of the mouse pointer to that of a pair of scissors. Click on one of the selected sequences, hold the mouse button down and move the mouse left or right. While doing so, constantly refer to the Information Line. When position 37 1 1 1 is reached, release the mouse button. This will cut the selected sequences at the beginning of bar 37.
Transposition
Rubber band select the sequences between measures 37 and 41. We will now transpose this half of the newly created B section, while leaving the first half in the original key. Transposition simply means that you change the pitch of a MIDI event or sequence by a number of semitones. There are two semitones to every tone. A tone you may remember from school music lessons where you did that do, re, mi, fa, so, la, te, do song. Transposition makes the note/sequence play back higher or lower in pitch. Take a look at the Transpose parameter in the Sequence Parameter box. It contains an asterisk (*). This means that the selected sequences each have different transposition values. A nice feature of MAGIX midi studio is that global adjustments made to multiple sequences, work relatively. In other words, this means that individual transposition dif69
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ferences (the relative pitches) between sequences are maintained, even if all sequences are transposed. Lets get on with the job. Click on the asterisk that appears alongside the Transpose parameter in the Sequence Parameters Box, and with mouse button depressed, move the mouse upwards until the value + 1 is displayed. Release the mouse button. The passage has now been transposed up a semitone. A value of +2 would transpose by a tone. Move the song position line to measure 37, press play, and listen to the result. Youll hear that this transposed section doesnt sound particularly good, and that some fine-tuning is required. Heres what went wrong. The percussion part will sound somewhat strange. This is because you unknowingly transposed the percussion sequences, causing the drum note placement to shift. You will need to undo the transposition for the percussion tracks. To do so, select the drum sequences, and drag the +1 transpose setting down, until the line is empty. This indicates no transposition. Another problem is that the bass in the copied and cut Bsection we have transposed (between bars 37 and 41) is a loop repeat, not a real sequence copy. Loop repeats are merely pointers to the original sequence and can not be transposed. Only a real sequence (or a copy) may be transposed. In order to transpose the bass part, you will need to change the loop repeat into a real sequence. Select the Bass themecopied sequence in this section. Choose Functions > Turn Loops to Real Copies. A new sequence now will replace the gray loop repeat. Transpose this up one semitone, from 12 to 11 and your transposed section, between bars 37 and 41, will now be perfect.
Your First Recording

The final MIDI exercise in the Arrange window is to make your first recording. Rather than starting a new song from scratch, you can play a solo over the C-section. A flute solo is already in this section but it could almost certainly be replaced by a better one. As youre new to using MAGIX midi studio, you may not play the solo perfectly on your first attempt. To aid you in this regard, plus introduce you to a nice feature, well set things up so that you can record several takes automati70
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cally. Once youve finished recording, you can then select your favorite version of the solo. Step One: Delete the existing solo. Select the eraser from the toolbox and click on the flute sequence. It will be deleted. Now set the cycle and record parameters. Youll probably want a bit of a lead in, before the solo starts, to get ready to play. We therefore suggest that you extend the cycle regions start point (remember the left corner drag discussed in the section Cycle Mode from page 62 onwards) to be longer than the actual recordingi.e. from 23 1 1 1 to 33 1 1 1. This will give you two extra measures before section C commences at measure 25. Were sure that you dont want to manually start and stop recording with every cycle region repeat and, thankfully, you dont need to. MAGIX midi studio offers the Autodrop function which engages and disengages record automatically at predefined points (this is often called Punch In/Out). To do so: Click on the Autodrop button in the Transport window, just to the right of the Cycle button. On doing so, the bar ruler will divide into two sections. The Autodrop bar appears just below the cycle region. Adjustment to the left and right ends is as per the cycle region.
Set this to span bars 25 through 33, as shown above.
Song Settings
For the next step, a few settings need to be changed. Open the Options > Settings > Recording Settings window.
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Check the Auto Mute in Cycle Record box. Selecting this setting causes each previous take to be automatically muted when the cycle repeats. This way, you can record one passage after another, without being distracted by (i.e. hearing) your previous takes. If you would like to hear the metronome while recording, you should enable MIDI click now. The metronome is sent on channel 10the drum channel. Confirm the changes to the Auto Mute in Cycle Record option by clicking OK.
Lets Record!
Select track 8 on the track listthe one with the small flute iconby clicking on it. Simply selecting the track will set it as the recording track. You can now play the flute sound from your MIDI keyboard. You can also select other tracks to try them out MAGIX midi studio automatically addresses the right instrument (MIDITHRU). Finally, switch back to track 8. To have a few practice runs, you can simply start playing the cycle and do a little experimenting on the keyboard while listening. Tip: If soloing in E major is difficult for you, transpose the MIDITHRU four semitones DOWN (4) to C major. If
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youre unfamiliar with musical keys like C major, transposing the MIDITHRU as suggested will allow you to play any of the white notes on your keyboard and this should sound pretty good i.e. in key. MIDITHRU always appears in place of a sequence name in the Sequence Parameter Box, when no sequence (i.e. anywhere on the orange background) is selected in the Arrange window. Any changes to settings made in the Sequence parameter box will be applied to any subsequently recorded sequences. When youre confident enough to record the solo, begin recording by clicking on the numeric keypad, or by pressing the Record button on the Transport bar. As usual, we recommend the use of the Key Command. The count-in of two measures will play through and the cycle region will begin to play repeatedly. You can play over the first two measures of the cycle region, until MAGIX midi studio reaches the left Autodrop point (measure 25) in the song. Anything you play from measure 25 onwards will be recorded. At measure 33, recording will automatically stop, and a sequence will be created on the selected track. Allow MAGIX midi studio to continue running. After reaching the right cycle region boundary (measure 33), the SPL will jump back to the left cycle region boundary (measure 23). At measure 25, the next recording will begin. Repeat the section, recording on each pass, until you feel that you have one or two good takes recorded. MAGIX midi studio will create a new track automatically, for every cycle repeat, and will move previously recorded tracks down the list. Using the mute tool, you can now audition the individual takes. Once youve decided on a take, simply delete the unwanted takes by clicking on the corresponding track(s) in the track column. Once selected, use the Track > Delete Track menu function (or the Backspace key) repeatedly, until all unwanted tracks are removed. If you accidentally delete the good take, dont forget the Undo function.
Saving the Song

Heres how to save the tutorial song, with your new solo: Choose File > Save As , and enter a new namei.e. not tutorialfor the song to be saved as in the ensuing file dialog. MAGIX midi studio will automatically add the .MSP extension to all saved song files.
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Important Information: The .msp file extension is used by the midi studio and also by Microsoft-Update-Installation files, so a double-click onto one of these files (in Windows Explorer) may try to open the file as a Windows-update on many computers. Reload the original tutorial song for these additional exercises.
Event List
In the event list, you can see all MIDI events in a sequence displayed as an alphanumeric list. Open the Event List for the flute sequence, via the Windows > Event List menu.
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The status column displays the event type. The flute sequence contains both note and other types of events. You can hide/show specific event types by using the filter buttons to the left of the list. Click on each of the buttons, except for the one showing a slider at the bottom of its range, so that they turn dark. The event list will now only display control change events. Click on each button, re-enabling the display of all events. Note that as you do this, events of that type will re-appear in the list. We will now insert two program changes into the solo, changing from a flute sound in the first half, to a synthesizer sound in the second. A program change message is part of the MIDI language. It tells a synthesizer or soundcard to select a particular sound or patchlike a flute or synthesizer sound from a particular memory location. If you think about it in a different way, this is like telling your computer to select a particular file for copying or editing. Remember that MIDI synthesizers and soundcards are really computers in disguise, so a program change is a lot like a select this file now message.
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As the solo begins at measure 25, well place the first program change for the flute at measure 25. Move the song position line to bar 25 1 1 1 in the Arrange window. The SPL is used to determine the insert position for the program change event (message). Select the Pencil tool from the Event Lists toolbox, and click on the program change button shown to the right. (As an alternative, you can simply click with the right mouse button on the Program change button in the Event List). A program change event will be inserted at position 25 1 1 1.
The program number is found in the VAL column. Set this to 73 if you own a GM tone generator. If you are not using a GM tone generator, find a program change that selects a flute (or flute-like) sound. Now, well insert a second program change: Move the song position line to position 29 1 1 1, and click on the program change button. Choose value 87 if using a GM tone generator, or a program change that selects a synthesizer solo sound with non-GM devices. Select the arrow tool from the Event Lists toolbox and use the buttons to hide all event types, except program change events. Your event list should look like the following:
Graphik
Move the SPL to the beginning of the solo sequence (position 25 1 1 1) and press play. Youll hear the solo switch sounds halfway through the sequence. Congratulations, youve mastered the insertion of program change events. The Event List is very useful for very microscopic changes to your sequences. Make sure you read the chapter on it in the Reference manual.
About Program Changes

It should be noted that the Event List procedure outlined above physically writes the program change message to a sequence object on a track. The advantage of this method is that if a program change message is written to a sequence (or several sequences) at the beginning of your
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song file, then this information will be sent to your MIDI module or soundcard every time you load and play the song. This guarantees that the right sounds will be selected every time. As MAGIX midi studio is full of options which allow you to work the way you prefer It is also possible to send a program change event by clicking the checkbox beside the Prg entry and inserting a number (or scrolling through a list, with the mouse button held down) from the Track Parameters box in the Arrange window. You can also do the same from within the Mixer window via the top panel in each MIDI fader. The problem with the latter two methods is that the Program Change message is not written anywhere. Even though the settings you make using either method are saved with your song file, theres no guarantee that your MIDI module or soundcard will actually see these messages. If you find that youve loaded a song and your sounds arent quite right, you should enable the Send Used Instruments checkbox in the Preferences and resave your song. Note that this must be done for all songs.
Matrix Editor
Although it looks very different, the Matrix editor is similar to the Arrange window. Unlike the Arrange window notes, rather than sequencesare displayed as horizontal bars in the Matrix editor.
The Strings C sequence displayed in the Matrix window. Select the Strings C sequence in the Arrange window and open the Matrix window via the Windows > Matrix menu. The keyboard along the left edge of the Matrix window indicates the pitch of the notes in the display. A chord is represented by a group of overlapping bars. You can easily see that the note lengths of the second chord are unequal. In
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our example, weve included a wrong note in the 4th chord, which well get you to fix. Take a look at this sequence in the Event List as well, by choosing Windows > Open Event List. As you can see, picking up these inconsistencies in the Event List isnt quite as easy as with the Matrix editor. Close the Event List by clicking on the X in the top right hand corner of the window. Select all notes in the first chord by rubber band selecting it. Now, grab the lower right corner of one of the selected notes, and drag it to measure 26, so that the end of the bar (i.e. note) connects to the start of the next chord. Any change made to the length of one note, will affect all other selected notes equally in the Matrix editor. Repeat the process, to lengthen each chord so that it meets the beginning of the next. This will create a legato effect (where the end of one note meets the beginning of the next) on playback. Increase the zoom level to aid in the editing of the events. Now its time to get rid of that wrong note, but before we do, grab it and drag it up and down. You will hear that as you move it, the pitch will change. Any note, or group of notes, can be adjusted in this way. Select the eraser from the toolbox, and click on the short note at position 28 1 1 1. The note will disappear. Congratulations, youve now completed the edits for the strings sequence. Nearly all sequences in the tutorial song contain slight mistakes, which you can easily repair in the Matrix editor. Select one or two of the other sequences and edit them as you did with the String part. You will probably notice a big difference when optimizing the lengths of notes in the bass sequences.
Score Editor
Note events can be represented as traditional notation, and can be edited in the Score editor. You can simply use the Score editor, and the other editors, to correct MIDI events. The possibilities that the Score editor provides, however, are much more comprehensiveallowing you to control the page layout with many functions useful for the printing of music. You can skip this section if youre not into notation, but if youre enjoying the tutorial, it wont hurt to give it a try. Double-clicking on the Bass theme sequence will automatically open the Score editor. 77
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The representation of notes is indeed mathematically correct, but its currently barely readable as a score. Facets such as transposition, key, and more must be edited before it will be ready to print.
Display Parameter Box

Click the arrow alongside Bass theme in the parameter box to the upper left of the Score window. This opens the Display Parameter Box.
Style
The Display Parameter Box contains several functions that can be used to quickly and easily correct the visual representation of notes on screen and, therefore, on your printouts. One of these is the style parameter. There are around 20 preset styles for the most commonly used instruments, transposition of display, and number of systems. From the Style flip menu, select Bass 8. The score looks better immediately:
Now, enable Interpretation. This should clean up the display, by automatically rounding up the durations of the notes, so that they are represented in a more readable way:
You can see that the notes are now much more cleanly displayed, with the number of short notes and rests mini78
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mized or removed entirely. Even staccato passages can be notated correctly.
Key Signature
Enter the correct key. The tutorial song is in E major. Enlarge the window, until the part box is visible. Click on the field with the key icon, as shown to the right. Under the field, a box displaying all keys will open. Hold down the mouse button and drag the letter E to the beginning of the score display. The correct key signature (4 sharps) will now be shown in the stave. Sharps for diatonic notes will no longer be displayed.
Text
For printing purposes, you may want to name the note system. MAGIX midi studio allows you to input text in the Score editor using the text tool. Select the text tool from the toolbox and click onto the field above the clef. A text input box opens. Type Bass here, and press Return. The text will appear above the notation system. Should you wish to reposition any text, you can move it in small increments with the mouse. You can change the appearance of the text by using Options > Score Font.
Page Edit View

The page edit view in MAGIX midi studio is very practical for editing longer passages, or for editing the scores appearance for printing. In this mode, you can see an overview of your sheet music onscreen before printing it. Suppose that you want to be able to see and edit the entire bass track on the screen, or want to print out a chart for the bass player. First, switch to full-page view by clicking the Page Edit button in the Score editor. The button will displayed in a lighter shade and you will see two lines of notes:
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Song-Level
Often, you will want to see the whole track. To do this, youll need to switch to the song-level display in which all tracks of the song are represented simultaneously in the Score editor. Double-click on an empty space (i.e. not on a note, bar etc.) in the Score window, and MAGIX midi studio will switch to the song-level display.
As the other song tracks have not been edited, youll see that the score layout is far from perfect. The piano, for example, (middle system) is not represented as a piano system. For now, we wont worry about that, but rather concentrate on the bass track.
Track Filter
To hide all other tracks, we are going to use the track filter. It is the upper flip menu in the Score editors parameters. its initial display shows ALL TRACKS. Open this flip menu by clicking and holding down the mouse button, then select CHA2the bass track: You can select and edit individual sequences at the songlevel. Click on different parts within the bass notation, and keep an eye on the sequence name, which is shown in the Display Parameter box. Double-click on any blank space in a system (not on the stave itself) and MAGIX midi studio will switch back to the individual sequence level. Click in the sequence level on any empty spot and you will switch back to the song level display again. The Score display will show the entire bass track when you are at the Song level. With the exception of the small portion you have already edited, this track needs to be cleaned up. You can do this relatively quickly, by editing all bass sequences simultaneously. In the Score editor, select Edit > Select All. All sequences will be selected, and will now be flashing. Set the display parameters as shown: 80
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If you now enter the key of E major, as you did before for the single bass sequence, all selected sequences will be set to the key of E major. The whole piece almost looks ready to printor at least ready enough to try.
Print
If your computer has a correctly connected and installed printer, you can immediately print the displayed page. In the File menu, choose Print, and confirm by clicking OK. In a few minutes, you should be holding a printout of the page in your hands. As a tip, change the number of pages in the second printer Range field to 2, rather than 999, if this option is available for your printer. This will save time and computer resources as the computer will not try to calculate this number of pages before printing.
Audio Tracks
With MAGIX midi studio, you can make and play audio recordings. As with MIDI tracks, audio recordings are displayed in the Arrange window. Audio regions, as they are referred to in the Arrange window, are actually visible portions of audio files. When you cut or resize an audio region in the Arrange window, the audio file itself is not cut or resized. The region that you see is a visual representation of a part of the audio file, and changes that you make to it in the Arrange window simply instruct MAGIX midi studio on how to play the audio file. In other words, the audio regions are simply pointers to the underlying audio file, and the reason they look like the MIDI sequences (with a waveform display when you zoom in) is to make things easy to deal with. After all, youve spent a lot of time learning how to deal with MIDI sequences, so the handling of audio regions should be pretty similar. As we mentioned much earlier on thankfully they are! It should be noted, however, that although the handling of audio regions and MIDI sequences is similar in MAGIX midi studio, it is not exactly the same. As a result, the editing and parameter options available for MIDI/audio tracks is slightly different. Reload the initial Tutorial Song for more exercises.
Create Audio Tracks

We will now create an audio track in the Arrange window, to which a drum loop will be added. 81
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Select the piano track in the track list, and create an audio track in the Arrange window by choosing Track > Create Audio Track. In the Arrange window, a new track called Audio 1 will appear below the piano track. You can rename this audio track by double-clicking on Audio 1 in the Track List. It may make more sense to you if you were to name it Drums. This name will be reflected in the Mixer, making it easier to identify when in this window. In the Track Parameter box, use the Cha flip menu, to select which of the available audio channels the track should be set to. Audio objects are sub-grouped by class in a hierarchical menu structure, namelyAudio Tracks, Audio Instruments, Busses, Master Output(s). To set the desired output track, click on the Cha parameter value in the newly created tracks parameter box. The hierarchical menu structure will display the various groups, with a further sub-menu option, indicated by a triangle on the right. Drag the mouse down this menu to see what options are available in each sub-menu, and, once done, select Track 1 from the Audio Tracks menu. In Display Preferences you can disable the hierarchical instrument menu. If disabled, the old style long instrument menus will be displayed. Newly created audio tracks always appear below the currently selected track in the Arrange window. Each audio track must have its Cha parameter defined in order to be displayed in the Mixer.
Mixer with Audio Channels

Audio and MIDI tracks can be controlled from the Mixer window. To open it: Select Windows > Open Mixer from the main menu. Once launched, you should see a new channel strip in the Mixer named Audio 1 or Drums (depending on what you named the track). The number of the corresponding track in the Arrange window is shown below. In addition, four more channels (Effects 1 and Effects 2 etc.) appear to the right of the created track. These four channels are used as effects returns. There are also up to 4 stereo faders which act as master volume controls for all audio channels (Out 1-2 etc.). This audio section appears in the Mixer as soon as an audio track has been created in the Arrange window, and its Cha parameter has been defined in the Track Parameter box. 82
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Change the audio channel from mono to stereo operation by clicking the button on the lower left corner of the channel strip. This is necessary, because we are going to import a stereo audio file. As a rule, you should use stereo tracks when importing (or recording) stereo audio files. Obviously, the same applies to mono files and mono tracks. Switch back to the Arrange window by closing the Mixer window.
Importing an Audio File

Now, lets import an existing audio recording of a drum loop into the tutorial song. Select the pencil tool, and click at measure 5 of the audio track. MAGIX midi studio will now ask for the files location via the standard Windows file dialog interface. Browse to the drive and folder that contains the tutorial drum Loop Atmo-Drums.wav. The default location is the MAGIX midi studio program folder. Double-click on this file and it will appear in the Arrange window. As an alternative method, you can resize MAGIX midi studio by clicking on the standard Windows application buttons at the top right of the program. With Windows Explorer open, and both it and midi studio visible, you can browse to the MAGIX folder and simply drag n drop the Atmo-Drums.wav file to the desired location in the arrange window. If you enlarge the display with the Zoom bars, you will see a waveform display in the audio region that was just imported. The audio file name is displayed above this waveform overview. After the name, a symbol indicating whether the file is mono or stereo will be shown. Stereo files show two interlocked rings.
Start playback from measure 5, using one of the navigation techniques learned earlier. At this point, you should be hearing the audio file and will notice that the speed of the MIDI tracks and the drum loop are out of time with each other. We can fix this by adjusting the speed of the song. 83
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Sample Editor
Open the Sample Editor by double-clicking on the drum loop region in the Arrange window. For precise editing of audio, this is the window to use. Youll notice that the starting point of the drum loops waveform is not exactly aligned the first beat of measure 5. Enlarge the display with the zoom bars so that you can see the waveform startpoint precisely. Move the start playback indicatorthe small S icon below the waveformso that it is perfectly aligned with the beginning of the waveform, as shown.
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Now press the button featuring the loudspeaker symbol, to listen to the audio file. The startpoint should now be correct, but the audio regions end point must still be corrected. It must be moved forward (to the left) until the drum part loops smoothly. The best way to check this is by engaging cycle mode in the Sample editor. Do so by pressing the button shown. Scroll to the end of the drum loop and move the end point back (i.e. to the left). To do so, drag the end playback indicatorthe small E icon below the waveformuntil there are exactly two measures between the start and end points.
You should optimize the beginning and end points until the loop actually cycles smoothly. It should be noted that this can be done as the audio file is actually playing, which makes setting loop boundaries much easier. Listen to the loop and adjust these points as many times as you need to get a smooth cycle. This is very important, as the loops length will be used to adapt the tempo of the song to the audio file. 84
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Once youre done, disengage the speaker button (by clicking on it again) and return to the Arrange window by closing the Sample Edit window. In the transport window (or Bar Ruler), set the locator points to cycle between measures 5 1 1 1 and 7 1 1 1. Select Options > Tempo > Adjust Tempo using object length & Locators. At this point, you will be asked whether the tempo for the entire song (global) should be changed to match the audio file, or whether a tempo change should be inserted at the left cycle point, 5.1.1.1. If global is selected, your arrangement should look similar to this:
The song speed is adapted precisely to the drum loop, which you just defined using the locator points. The drum loop is two measures long. The length and position of the audio region now corresponds exactly to the start and end point changes made in the sample editor. You can move, cut, and copy the audio region in the Arrange window, just as with MIDI sequences. As we mentioned, the handling of MIDI and audio is different, so the Matrix editor, the Score editor, and other MIDI-specific functions and editors are unavailable for audio regions.
Making Your Own Audio Recordings

First, connect the sound source (a mixer, CD player, or microphone, for example) to the audio input(s) of your system. Create a new audio track, using the method described earlier. Arming Tracks: Unlike MIDI tracks, audio tracks must be armed before they can be recorded to, just as the tracks on a tape recorder must first be armed. There is a switch marked with an R to the left of the icon for each audio track in the track list. Simply clicking on this R prepares the audio track for recording. The R button will turn red, indicating that the track is armed. You can also click on the REC button on an audio channel in the Mixer, in order to arm the appropriate audio fader/ track. 85
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Setting a Record Path: Unless youve already configured your audio path, the following dialog will open.
Insert pic
Click on Set, and in the dialog window that appears, set the name of the audio file (by default, this will be called Audio) and path for your recording. You do not need to repeat this procedure before every recording. Subsequent recordings will automatically be assigned the same name, with a number appended to the end of each file created. Tip: We suggest that you set up a different file name (and folder) for each new song you create, so that the song title and the audio files used in it are the same. As an examplerocksteady.msp should be in the rocksteady folder and your audio files should also be called rocksteady, and also be recorded to this folder. The advantage of working this way is that all songs and audio files associated with a particular project are contained in one place, and have an associated (or the same) name. This makes things much easier to find if one of those strange computer things happen and your files end up all over the hard drive. Its much better being safe than sorry. The record path is saved with the Preferences, and will be used as the default path the next time MAGIX midi studio is launched.
Stereo Recording: To make a stereo recording, you must first configure the selected tracks audio fader as stereo in the Mixer. Open the Mixer and click on the symbol to the left of the record switch on the highlighted audio fader. This will toggle the track between stereo and mono. The symbol on the button indicates the current status as follows: A single circlemono. A pair of interlocked circlesstereo. The level meter will also divide into two discrete meter displays. While in the Mixer, note that there is now an additional audio fader. As you create new tracksMIDI or Audioin the Arrange windows Track List, a new corresponding fader will be created in the Mixer. 86
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Once youre done with setting the stereo/mono status of the audio channel, close the Mixer. Levels: As soon as you arm an audio track, you will hear any signal being sent to the audio inputs of your system. With the audio tracks fader on the Mixer you can control the level of the monitored signali.e. what youre hearing. The fader always controls the playback level, not the recording level. Recording levels must be set externallyi.e. on your mixer, or at the original sound source. You can also use the Windows mixer to adjust INPUT levels. Please refer back to the section Input Source and Level from page 27 onwards and your Windows help files, if you need assistance with this. Tip:Its often quite useful (or necessary) to have the Windows mixer utility open while recording into MAGIX midi studio. This allows you to set an input level for your audio recordings which doesnt overload midi studio. Trust us when we say that you dont want to record your signal too loud as digital audio will clip when overloaded. To most peoples ears, this sounds like a car being chainsawed in half, so unless youre into some really heavy music, we wouldnt recommend overloading the inputs. Starting to Record: Start recording by pressing the record button on the Transport Bar, or by pressing on the numeric keypad and start singing or playing your guitar, CD player, or whatever. You will notice that a waveform is drawn in real time in the Arrange window during recording. Keep an eye on the level meter on the audio faders. In the event that the clip indicator (top, red LED) lights up, you will need to record again, using a lower level. To avoid having to watch the level meter constantly; the overload indicator remains lit until it is clicked. Once youve finished recording, press STOP on the Transport Bar or by pressing 0 on the numeric keypad. Congratulations, youve recorded your first audio file. Please do not forget to disarm the track(s) after recording has finished. Do this by clicking on the illuminated (red) R button which will then turn back to its default color. If the track is not disarmed, you will not be able to listen to the audio recorded on this track.
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More on the Mixer Internal Audio Effects in the Mixer
The internal audio effects of MAGIX midi studio are inserted into the Effects faders (Buses 1 and 2) or the Master faders. You can select the desired effect from a flip menu, accessible via the Insert button found on each bus or master channel strip. Highlight the effect you want to use in the flip menu, and then release the mouse button. The insert button will turn blue, with the name of the selected effect displayed on the button. You can edit the effects parameters by doubleclicking on the (active) button. Well let you experiment with the effects settings on your own. You can refer to the Mixer section of the reference manual for more information on the effects. Tip:Dont forget that you must adjust the level of the send knobs alongside the appropriate bus panel on each audio fader to send your audio signals through the effect assigned to that bus. When inserting an effect on a master channel (Main outputs), the level of the Audio channel and the bus send knob, plus the bus fader can all add volume. The effects inserted onto busses and the master faders can also add volume, so take care to adjust your levels carefully to avoid clipping on the main outs.
Automatic Mixing
Open the Mixer and the Arrange window so that you can see the Track List and a few of the faders in the Mixer. Resize both windows if necessary. Now click on any track in the Track ListMIDI or audio and pay attention to the Mixer window. You will see that as you select a track in the Track List, the corresponding fader in the Mixer will be outlined in red. To record changes to the volume, simply press record on the Transport Bar (or use your Key Command) and move the highlighted fader up and down in the Mixer. As you do so, youll see a new sequence being created in the Arrange window on the selected track. Once done, press stop. The same method can be used for the pan knob and also for the EQ on/off buttons on audio faders. As an alternative, you can use the HyperDraw function we discussed in the last chapter for volume and pan changes on your sequences and audio regions directly in the Arrange window. 88
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Tip:If youve made a small mistake with your mix on a track, you can: delete the newly created sequence use HyperDraw to correct things or and the best method use the Event List editor to adjust the Val of selected events, and while using it, dont forget to use your filter buttons, so you can hide any other events.
Audio Instruments
The next thing well look at is the use of the Audio Instruments. To create an Audio Instrument track, ensure that youre in the Arrange window and select Track > Create Audio Instrument which will create a new track in the Track List. Open the Mixer and youll see the new Audio Instrument fader. Towards the top of the fader, youll see an insert panel, like that found on the Effects faders. Click in the panel and a flip menu will open allowing you to select one of the available software instruments built in to your copy of MAGIX midi studio. To quickly run through the synths available: FMX1 FM synthesizer M-RB 6Is a bass and lead sound synth Carpet SweeperIs great for warm and lush pad sounds PercusorIs ideal for creating harder sounds EZ pianoIs a recreation of classic electric piano sounds MAGIX midi studio 2005 deLuxe includes four virtual drum kit plug-ins: Tech I, HHop 2, Rock 3 and Accu 4. Each of the 4 drum kit plug-ins includes 3 stylistically different drum kits each consisting of 16 drum sounds. SAMP-7Is a RAM-based sample playback unit which allows you to load Sampler Instruments. These instruments are collections of audio files which have been mapped across a keyboard range and can be played from a MIDI keyboard Once youve made your selection, a double-click on the panel will open up your software instrument, and as youll discover, there are lots of knobs, sliders and more to experiment with. This, well let you try on your own. To actually record some new music using your selected Audio Instrument, you need to return to the Arrange window, so for now, close the Mixer window. Recording Audio Instruments is just like recording MIDI instruments, so simply press record on the Transport Bar (or use your Key Command) and start playing your
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MIDI keyboard. Once youre done, press stop. Audio Instrument tracks can be edited in the same fashion as MIDI tracks. N.B.You may notice a delay between playing your keyboard and hearing the sound. This is another form of latency, as we discussed in Chapter 1. Please refer back to this chapter to adjust your audio card settings to minimize this latency. Importantly, you may not be able to completely eliminate this gap, as this form of latency is completely reliant on your sound cards driver, but try to make it as small as possible.
The WavePlayer
With the inclusion of the SAMP-7 in MAGIX midi studio, the WavePlayer functionality is of less importance than in previous versions. We have retained the WavePlayer in MAGIX music studio 2005 deLuxe for compatibility reasons. This will allow users who have upgraded from earlier versions to conveniently continue working with previously created song files, which may have made use of this facility. For new MAGIX midi studio users, you may make use of either the SAMP-7 or WavePlayer for your sample instrument playback. We would recommend the SAMP-7s use, as it is more convenient and flexible than the WavePlayer. The WavePlayer is MAGIX midi studios in-built sampler. This is kind of halfway between the standard audio tracks and the Audio Instruments, at least in theory. With the WavePlayer, you can assign samples (audio files) to specific MIDI notes, which can then be played from your MIDI keyboard. The advantage with this is that pitched instrument sampleslike pianos, guitars etc. can be assigned across a range of MIDI notes and actually played on your keyboard as you would normally play a MIDI instrument. We have set up a special song file with some samples already key mappedi.e. already assigned to MIDI notes. Please close the Tutorial song and open the Waveplayer song file, which is accessible in your MAGIX midi studio program folder. We ask that you have a good look at what has been done in the Waveplayer window, and also to pay attention to the Waveplayer track assigned in the Arrange window. The Waveplayer will only work if assigned to this track and you can only have one WavePlayer track per song. Another point to note is that the WavePlayer will only work if your soundcard has a DirectSound driver. 90
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Please read the reference manual section devoted to the WavePlayer for information on how to assign audio files to different keys, and its general use. For MAGIX midi studio 2005 deLuxe users, your bonus CD-ROM contains hundreds of audio samples which can be used with the WavePlayer.
More Files to Try Out

The Tutorial Song Audio/1 file is an example of a combined MIDI/audio arrangement, based on the original Tutorial song. The delay and quantizing parameters of the MIDI tracks were changed, because the swing groove value originally chosen does not work well with the drum loop. Effects from the Mixer were added to the drum loop and rap sequence. Load it up. There is a stereo file named Audio Tutorial (2 Track) on the MAGIX midi studio CD. This is the outcome of edits to the audio portion of the tutorial. This is a mini audio master of the Tutorial Song Audio/1 file.
Now Its Your Turn

If youve worked through the tutorial up to this point, then you should have a good overview of MAGIX midi studios most important functions and a working knowledge of its operation. The electronic reference manual, and the on-line help system is there to give you detailed information on the different parts of MAGIX midi studio. Use it, if you need specific assistance, and do read it all at some stage soon. Given what you already know, having worked through the tutorial and preceding chapters, you will gain a lot from checking out the reference manual. Before leaving the tutorial chapter, wed like to thank you for sticking with it. Please run through it again, if youd like more practice or try out some of the suggestions below. The tutorial song contains useful source material for your own experiments. We encourage you to spend some more time working with it and that you give the following a try. Record more tracksMIDI and audio (e.g. percussion, vocals). Replace existing tracks with your own recordings, e.g. piano, bass, drum parts. Create more audio tracks, and insert additional audio files. In the Sample editor, experiment with the various Functions menu options and listen to the results on a range of different audio files.
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In the Mixer window, use the bus inserts to add effects to the audio tracks. Experiment with different delay and reverb effects parameters by entering their editors. Look for mistakes in the sequences, and remove them by using the various editors. Use the Score editor to print out smaller sections of the song. That concludes our tutorial, and this portion of the manual. Please consult the reference manual for detailed information on the various edit windows, functions and methods available to you in MAGIX midi studio. Have Fun. Your MAGIX Entertainment Team.
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Reference
midi
studio
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What is MAGIX music studio 2005 deLuxe? What is MAGIX music studio 2005 deLuxe?
MAGIX music studio 2005 deLuxe uses your PC as a complete, virtual sound studio. Your hard drive becomes a highly sensitive recording tool. The sound chip of your soundcard, a microphone, your instruments or the soundtrack of your video become the sound sources. You have access to two highly optimized programs that are compatible with each other: MAGIX music studio 2005 deLuxe combines a hard disk recording program (MAGIX audio studio) with a MIDI Sequencer (MAGIX midi studio). Harddisk-Recording means digital recording of audio signals directly to the hard drive. Through the analog/digital transformer, analog audio signals are transformed into digital information that are saved to the hard drive as WAV files. MIDI means Musical Instruments Digital Interfaceand controls the sound sources such as synthesizers or sound cards. A MIDI file only contains information which note is played when and how whereas WAV files are digital representation of real audio signals. Thats why MIDI files are much smaller than WAV files. MAGIX audio studio allows the perfect recording and editing of sounds in WAV format. You can work with many professional effects and editing tools. In MAGIX audio studio, you fine-tune your recordings and burn them on a CD. MAGIX midi studio controls the synthesizer-chip on your sound card (or of external MIDI instruments). In addition you get several virtual instruments. Both studios are only a mouse click apart! Take your audio tracks from MAGIX midi studio to MAGIX audio studio and vice versa. MAGIX music studio 2005 deLuxe lets you do all this and more with a very user-friendly interface. Right after the first steps, youll be able to use the programs intuitively.
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This reference manual summarizes MAGIX midi studio 2005s general operating functions. Using the index in the back of the manual, and the Acrobat or Windows Help search facilities, you can quickly locate detailed information on specific midi studio functions. At the top of each section, youll find a short description of what the chapter contains. This will help you to quickly decide if youre in the right place or not, rather than reading through a lot of pages, only to discover that youre barking up the wrong tree. Before continuing, please check out this quick word on the manual.
Conventions of this Manual

Menu Functions: If the text deals with functions which can be reached via hierarchical menus, the different menu levels are described as follows: Menu > Menu entry > Function. Key Commands: When a function can be operated by a Key Command of the same name, you will see this symbol at the side of the text. If names differ, or if a function is only available as a Key Command, its name will be printed like this: Key Command. Options and Parameters: The options you can set from the Preferences or Song Settings, and the parameters in dialog boxes are printed like this: Parameters. Different parameter values are printed like this: Parameter value. Graphics: In some locations this manual uses graphics from other MAGIX programs. This is due to technical reasons and does not influence the usability of this manual. However we apologize for this inconvenience. This portion of the manual deals with the mechanics of navigating midi studio. You will learn the fundamentals of mouse use, and the terms we use throughout the remainder of the manual, so when we say double-click, youll know what we mean. Other mechanics that youll learn about here are; the use of windows, selection techniques, basic editing and general file handling. This info is pretty fundamental to the use of any computer program, but we included it just in case Throughout the manual, we will refer to MIDI sequences and audio regions, plus various parameter boxes or fields 95
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as objects, where the handlinglike selection, checking or clicking etc.is the same or similar.
The Mouse Basic functions

Unless otherwise stated, the left mouse button is the one you should use whenever the mouse button is mentioned. Clicking: Place the mouse pointer on the object (button, input field, etc.) and press the mouse button once. Double-clicking: The same as clicking on an object, but you press the mouse button twice, in quick succession. You can set the appropriate timespan for this in the System Controls. Grabbing or Clicking and Holding: The same as clicking on an object, but you keep the mouse button held down. Moving or Dragging: Grab the object and move the mouse (keeping the mouse button held down) to the desired position.
Mouse Input
Checkboxes: Checkboxes are square boxes which become checked when you click them to activate an option (or function). Click them again to remove the check and deactivate the option. Pull-Down (also known as Flip) Menus: Pull-down menus open when you click and hold on certain input fields or buttons. You can choose a command by moving the mouse onto the desired item. If you want to select an item which is outside the visible section, move the mouse over the top or bottom edge of the menu; the further you move it, the faster you will scroll through the menu. now click using the right mouse button. You can then let go of both mouse buttons. Mouse as Slider: You can adjust virtually all numerical parameters, (even note values or names) by click and holding on the parameter value and moving the mouse up or down. If the parameter is made up of several separate numbers (e.g. song position), you can adjust each number individually. Using the Mouse for In/Decrementing: all of the parameter values which can be set using the mouse as a slider may also be increased or decreased in single units 96
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by clicking on the top or bottom half of the value with the left or right mouse buttons while holding down alt. Numerical Input: Double-clicking on a numerical parameter value opens an input field. The previous value appears pre-selected, (i.e. highlighted) to allow it to be overwritten by a new entry. You can also use the mouse to make a partial selection in an input field so that only the highlighted part is overwritten (for more on this, see the section Numerical Value Input from page 278 onwards). As long as the input field is open, all of the computer keyboards keys are limited to data input only, and may not be used for Key Commands (the exceptions are the menu functions). by arithmetic: At any time, you can enter numbers by typing in an arithmetical operation, e.g. +2 or 5, which then simply changes the current value by that amount. as ASCII-symbols: You can also input numbers as ASCII symbols: just put a ` or " in front of it, and the ASCII code will be input as a number. For example: "! gives 33 "a gives 97 This function is particularly useful for entering text in SysEx strings. Text Input: You can input text names in the same way as numbers, but you only need to click the name fields once to allow input. Numbered Names: As you might expect, you can give any number of selected objects the same name. If the name ends with a numerical suffix (i.e. a number), the number will automatically be incremented by a value of 1 for each object. This allows you to name all of the sequences on one track quickly.
Disabling automatic numbering: To turn off the automatic numbering, place a space after the number at the end of the name. All of the selected objects will then end in the same number.
Tools and the Toolbox

midi studio allows recorded data to be handled graphically. This means that you dont need to carry out opera97
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tions by inputting commands via number tables, but rather by manipulating graphic objects. When editing objects graphically, you always have two tools available at the mouse pointer position: one is already active, the other is activated by the right mouse button. You can change the currently active tool by clicking on the icons found in the toolbox. The mouse pointer then adopts the shape of the tool selected, so you can tell at a glance what its function is by simply looking at the symbol: the Eraser is used for deleting, the scissors for cutting and the glue tool for merging objects. To assign a tool to the right mouse button, click on the desired tool in the Toolbox, with the right mouse button. Effective Range of the Tools: Tools are effective only in the working area of the window in which they were selected (you can define individual tools for each opened window). A tool basically affects the objects you click on. If the clicked object has already been selected, the tool operates on it plus all other selected objects. Selecting Tools: You select the tool you want to use by clicking on it in the toolbox (or clicking while holding down the right mouse button for the alternate tool). If a toolbox is opened at the mouse position you can also use one of the number keys to select a tool at the corresponding position. The tools are always numbered from left to right and top to bottom. Press the Show Tools key again to switch to the pointer, and close the box. Opening the Toolbox at the Mouse Position: Use Show Tools (default: esc) to open a toolbox at the mouse position. This window will disappear as soon as you choose a tool by mouse click, you choose a tool by pressing a number key, you click anywhere outside the tool window or press any key. Info Line: When operating many of the tools an Info Line appears at the bottom of the screen for as long as the mouse button is held down. The Info Line provides useful feedback about the type of operation you are performing.
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The Tools: Pointer: The pointer is the default tool. The mouse also takes on this shape outside the working area when you are choosing from a menu or inputting a value.
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Within the working area the pointer is used for selecting (by clicking on objects), moving (by click and holding on and dragging), copying (by holding down ctrl and dragging) and editing lengths (by click and holding on the bottom right corner and dragging). Click and holding and dragging anywhere in the background opens a rubber band (see page 108). Pencil: The pencil is used to add new objects. You can also select, drag, and alter the length of objects. Eraser: The Eraser deletes clicked objects. When you click on a selected object all of the currently selected objects are deleted (as if you had used delete). Text Tool: The text tool is used to name arrange objects or add text to a musical score. Scissors: The scissors are used to split arrange objects, e.g. before copying or moving individual sections (see page 145). Glue Tool: The glue tool is the opposite of the scissors: all selected objects are merged into a single object, which is given the name and track position of the first of the objects on the time axis (more on this on page 146). Solo Tool (Event List window ONLY): Click and holding on an event in the Event List with the solo tool allows you to isolate and listen to selected objects during playback. Mute Tool: Clicking on an object with the mute tool stops it from playing and places a dot in front of its name, to indicate that it is muted. You can unmute it by clicking it again with the tool. If multiple objects are selected, the setting of the object youve clicked on applies to all selected objects (also see section Muting sequences from page 146 onwards). Magnifying Glass: The magnifying glass allows you to zoom in on a rubber-banded section, right up to full window size. You can revert to normal size by clicking on the background with the tool (for more on this, see the section Zooming Selectively from page 101 onwards). You can also access this function via other tools by holding down alt. Finger: The finger is used in the Matrix Editor to alter note lengths. Crosshair: The Crosshair is used in the Drum Editor to input a linear series of parameter values. Layout tool: The layout tool is used for graphically moving objects in the Score Editor to optimize the display (e.g. bars to lines: Local Formatting) without altering the timing of actual MIDI events. 99
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Size Tool: The size tool is used to adjust the size of graphic elements in the score. Velocity Tool: In the note (i.e. Matrix and Score) editors), you can use the V tool to change the velocity of notes.
Window Functions
The basic functions of the midi studio windows are the same as those in other Windows application programs. However, the display options in midi studios windows are far more extensive. In midi studio, you can open different combinations of windows (even several of the same type) and adjust each one individually. All open windows in a song are constantly updated. This means that the windows update to follow the song position, and any alterations that you make in one window immediately update the display of all of the other windows you are working with. It is also easy to save different window arrangements (called screen sets), and recall them at the push of a button.
Working with windows

Opening windows: All midi studio windows can be opened via the Window menu. You can open as many of the same type of window as you like. Closing windows: You close windows (alt f4) by clicking on the close symbol in the top right of the windows. Setting window size: As is usual for Windows, you can change window size by positioning the mouse over a Window edge, or corner and pulling. Maximizing window size: The windows maximize button, in the upper right corner of the window, toggles the window between its maximum size, and the size it was before you clicked on the button. Minimizing window size: Clicking on the minimize button reduces the window to its minimum size. Double-clicking on a minimized window restores it to its original size. Selecting the Working Area: Scroll Bars: The scroll bars are situated at the right and bottom edges of a window, if you can only see one section of the working area in either the vertical or horizontal dimension. You can move the visible section by clicking the arrows or click and holding on and dragging the scroll slider. There are two points of note: The size of the scroll slider in relation to the size of the entire scroll bar corresponds to the size of the visible section in relation to the overall size of the window,
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the visible section changes as you move the scroll slider. X/Y Element: The X/Y element is situated in the bottom left corner of the window. By click and holding on and dragging it you can move the horizontal and vertical window section, as if you were dragging both scroll bars simultaneously. Page Scrolling: Press and hold ctrl shift, and while held, use the arrow Key Commands up, down, left and right to scroll one page up, down, left or right, as if you had clicked in the grey region above / below the vertical scroll bar, or to the left / right of the horizontal scroll bar. Zooming: Below the vertical scrollbar and right beside the horizontal scrollbar you find two hatched fields. These fields are used for vertical respectively horizontal zooming and are referred to as zoom bars. Clicking the left (closer spaced lines) side of the zoom bar reduces the size of the objects in the display, allowing you to see more objects in the same space (zoom out) and clicking the right, larger side enlarges the objects in the display (zoom in). The vertical zoom bar is for vertical zooming (Zoom Vertical In/Out, default assignment: ctrl arrow up/ctrl arrow down), while the one with the horizontal arrow handles horizontal enlargement (Zoom Horizontal In/Out, default assignment ctrl arrow left/ctrl arrow right). While zooming, the top left selected object is kept in the visible region, whenever possible. Zooming Selectively: Zooming In On One Section of the Screen: To enlarge a section of the screen to the size of the whole window use the magnifying glass tool to drag a rubber band over the section you want. You can do this more than once. Reverting to the Previous Zoom Setting: Click on the background with the magnifying glass. This will return the zoom to the original setting, by backtracking through the previous steps. You can select the magnifying glass functions with any other tool (apart from the pencil) by holding down alt. The pointer will still look like the previous tool, but if you rubber band with it, it will behave like the magnifying glass. Window Elements: Adjusting the Size of the Window Elements: If you move the mouse over the top left corner of the arrange area, the mouse pointer will be displayed as a cross hair. By click and dragging it, you can now adjust the size of the bar ruler, arrange area, track list, and transport
X X
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buttons simultaneously. You can also adjust the window elements in the Score, Drum and Matrix Editors using the same method. Concealing/Revealing the Transport Functions: Use View > Transport to display or remove the Transport panel buttons from the top left corner of the Drum, Matrix or Arrange windows. The number of buttons and indicators depends on the amount of space available (see the section Adjusting the Size of the Window Elements from page 101 onwards). Concealing/Revealing the Parameters: The function View > Parameters (Hide/Show Parameters) allows you to display or remove the entire area to the left of the Arrange and Editor windows, which contains the sequence parameters, track parameters, and the toolbox. Hiding these parameters gives you more space for the editor window itself. In many windows, you can hide and/or reveal further screen elements, such as the toolbox. These display options are always available from the View menu.
Menus
Due to midi studios wide range of functions, the menu at the top of the screen will update to reflect the choices available for each editing window. The functions shown in each editor are relevant only to that editor, which reduces clutter in the menus and makes the functions you need much easier to find. Hierarchical Menus: Use of the menus is the same as in other application programs: click and hold on the menu title, move the mouse over the desired item, and release the mouse button. In hierarchical menus, there is a rightpointing arrow following the item name. If you highlight this item, a submenu drops down to the right. To select an item from this submenu, move the mouse to the right, into the submenu, and then vertically over the desired item. Releasing the mouse button will activate the selected function. Note that midi studio has sticky menus, which can be opened with a single click and the mouse button can be released. The menu will remain open, allowing you to scroll through the various options and sub-menus until you find the desired function or option. At this point, click on the function as per usual. This will activate the function and close the menu. Using a keyboard: You can also select the active windows menu using alt, and step through the menus in the usual way using cursor left and cursor right (or by hitting the 102
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typewriter keys for the underlined letters) to select the one you want. You then use cursor down and cursor up to select the menu entry you want (or carry out the menu function immediately by hitting the key for the letter underlined in the menu functions name). If you encounter a hierarchical entry (which has a triangle at the end of the entry line), you can use cursor right to access the subentries (cursor left closes the submenu again) and, again, use cursor down/up to make your selection. When you have chosen your function, hit return to activate it. Fixed Key Commands: Some menu functions can be accessed via fixed keystrokes or combinations of keystrokes. The keys (or combinations thereof) are shown onscreen next to the menu entries and operate globally. For example, you can open a song with ctrl o, or copy data to the Clipboard (= Copy) via ctrl c. Please note that you may assign many other functions to almost any key using the Key Commands window. Menu options with in their title: Three periods, like this: , next to the menu function title indicate that the entry does not activate a function immediately, but rather opens a dialog box.
Dialog Boxes
In Dialog boxes, you can hit the thick-bordered button by pressing return, or by clicking with the mouse. As per usual for Windows, you can toggle from button to button with cursor left/right or the tab key.
Window Types
There are two different types of window in midi studio: normal windows and float windows. The contents of all of the windows belonging to the current song are always updated, no matter what the type of window. Normal Windows: You can open as many normal windows as you want, including several of the same type. Even though the contents of all windows is constantly updated, only one of the windows ever has the status of being the top, or active window. This is the window which is in the foreground when several normal windows are overlapping. Top or Active Window: This window can be recognized by its fully-shaded menu bar. The main distinguishing characteristic of this window is that Key Commands only affect this window, and not any of the others. Windows > Next 103
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Window (ctrl+tab) brings the next window forward if it is fully covered by others. Background Windows: Background windows are identified by the color of their title bar. This color is determined by your Appearance settings in Windows. You can bring the window to the foreground by clicking on it, clicking on the title bar, or by selecting one of the menu functions. Float Windows: midi studio features a number of float windows, including: the Transport window, the Score palettes, the effects and soft synths and the Event Float window. Float windows always float in the foreground, even above the active window (if there are numerous open float windows, they will inevitably cover each other up just click on them to bring them to the front). Mouse operations can be carried out in float windows in exactly the same fashion as in normal windows. Menu Bar: midi studio menu bar is the main window of the program. You will find all menu items here. There are: Global Menus, which are always visible (e.g. File); Window related (localized) menus: they belong to a certain window type (e.g. Score Window) and are only visible (in the menu bar) when this window type is the active window. It only contains functions relevant for the corresponding window type. As is common on Windows computers, you can address a menu using the alt key. MAGIX midi studio 2005 uses the multiple document interface (MDI) of Windows, which basically has a large window which contains several other windows. If you look at Microsoft Word and other Windows applications, youll note that these programs also use the MDI. Keep MAGIX midi studios main window at its maximum size, as there isnt much point in making it smaller (except when drag n dropping audio files into the Arrange). The Minimize Window button can be used to switch between midi studio and other applications. You can return to midi studio at any time by clicking the midi studio symbol in the Task Bar. Press alt tab to toggle directly between midi studio and any other application.
Relationships between Windows

The two buttons found at the top left of various windows (shown here), determine the windows relationship to the song position (Catch), or to other windows (Link, Show Contents, or Contents Catch). 104
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Catch: The Catch function means that the visible section of a window follows the song position line as the song plays. In other words, the screen will update to display the current song position when the right hand edge of the screen is reached. If the button with the walking man on it is lit (i.e. if it is green), the windows display follows the song position as the song plays. If the button is not lit, the display does not update, even when the song position line moves past the right edge of the visible portion of the window (Catch Clock Position). Automatic Catch Disabling: If you move the visible section manually, Catch is automatically switched off. This avoids the problem of having the newly selected song section disappear, which would happen if the display was updated to correspond to the song position line. Autocatch: The function Enable Catch when Sequencer starts (Options > Settings > Global Preferences ) enables Catch mode whenever you press play or pause. Link, Show Contents, and Contents Catch: You can define these display options to control how information is displayed when working with related editor windows. Link: When the button with the chain link icon is activated (pink), this window displays the same contents as the top window. The display is adjusted whenever the selection in the top window is altered. Heres an example: imagine the top window is an editor. In Link mode, the other editor windows will display the same data in another form (an exception: you cannot have any event display as the background window of an Arrange window while in Link mode). Contents Link: Double-clicking on the link button (green) activates Contents Catch mode. This means that the window always shows the contents of the object selected in the top window. The display is therefore always one level below that of the top window. Heres an example: if the top window is an Arrange window, in Contents Link mode the editor windows will show the events of a selected sequence. Selecting a different sequence in the Arrange window will cause the display of the linked editor to switch to that sequence. Contents Catch: By simultaneously switching on Catch and Contents Link, you activate Contents Catch mode. Initially, this is equivalent to Contents Link mode, but when the song position reaches the next object on the same track, the contents of this object are then displayed.
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You could use this mode in the Arrange window, much as you would in Contents Link mode. The editor windows would then show the events of the sequence which is currently being played on a track.
Screensets
In normal use of midi studio, you will set up and lay out your windows onscreen in a way that suits your way of working. This layout of various windows, with all of their different parameters (display, zoom, position of each window) is called a screenset, and can be stored. You can then swap between different screensets, much as you might swap between different computer monitors. Every song you create in MAGIX midi studio can have up to 90 Screensets. Screensets are combinations of edit windows which can be customized by you and then stored to a specific numeric key/combination of keys on your computer keyboard. Each Screenset remembers the type of edit window(s) opened plus size, position and zoom settings. This facility accelerates your workflow massively and allows you to tailor MAGIX midi studio to fit your needs and tastes. To set up a Screenset: Press any of the numeric keys above your QWERTY keyboard (you can also use the numeric keypad) Open the required edit windows by selecting them from the Windows menu. Resize, zoom and reposition your selected windows to meet your needs Press the numeric key again. N.B.This will only work for keys/Screensets 1-9. Should you wish to set up more than nine Screensets: Press the alt + numeric keys e.g. to set up Screenset 75, you would press and hold alt and type in 75. To recall your Screenset simply press the appropriate key/ s 1 thru 9 or alt + the two digits. N.B.You can not use the number 0 for any of your Screenset combinations. The reason is that number 0 is assigned for the STOP function, using the computers keyboard.
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Protecting Screensets: Use the Windows > Screensets > Lock (unlock) current screenset menu option to protect/ unprotect the current screenset. When a screenset is locked, a # will appear in front of the screenset number on the menu bar. The New Song command deactivates all Screenset locks.
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Copying Screensets: To copy the current screenset to a destination screenset, hold down shift when you switch screensets or Use the Window > Screen Sets > Copy Screenset menu command on the screenset you wish to copy, and switch to a new window by typing in the appropriate screenset number. Once this window is open, use Window > Screen Sets > Paste Screenset, and youre done. Dont forget to lock it, after making any changes. Copying Screensets between Songs: Close all of the windows you want to copy in the screenset, switch to the other song, and reopen the editors. They will have retained their sizes and shapes in the new song. The reason for this is that the preset values for window position, size, and all other pertinent parameters are stored in memory when you manually close a window, so that the settings remain the same the next time windows of the same type are opened again. Sequencer-controlled Switching: You can automatically switch screensets using meta event # 49just add it to a sequence in the Event List editor. Set the song position to the point where youd like the screenset to change. Right mouse click in the Event List editor on the button shown. The inserted meta event has the default value 50 (Song Select). Alter the number in the NUM column from 50 to 49. This changes the name to Screenset. Input the desired screenset number in the data by the column (VAL). You can stop the switching by muting the sequence that contains the Meta 49 event.
Selection Techniques
Whenever you want to carry out a function on one or more objects, you need to select the object(s) first. This applies to arrange objects and individual events alike. Selected objects are either displayed in inverse color, or will flash (the latter in the Score editor). The selection status of an object applies to all windows. An object selected in one window will also be selected in all other windows that display that object. Changing the top window doesnt affect the selection (as long as you dont click on the background, which deselects everything. Be sure to click on the windows title bar). 107
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Selecting Individual Objects: Individual objects may be selected by clicking on them, and deselected by clicking in the background, or by selecting another object. You can also use the Key Commands Select next/previous Object. Selecting Alphabetically: In the Arrange window pressing any letter key selects the first object whose name begins with this letter providing there is no Key Command assigned to this key. Note that this only works with upper case letters (i.e. capitals) Selecting Several Objects: To select several non-contiguous objects, hold down shift as you click them. As subsequent objects are selected this way, the previous selections are retained. This also works with horizontal or rubber band selection. Horizontal Selection: To select all objects on a track, click on the track name in the track list. In the same way, you can select all events with a certain event definition in the Drum Editor, by clicking on the event definition name, or all notes of a certain pitch in the Matrix Editor by clicking the relevant key on the screen keyboard. In Cycle mode, the above selects only the events within the Cycle zone. Rubber-Banding: To select objects which are close together, click on the background and drag a rubber band over them. All objects touched, or enclosed by the rubber band will be selected. Toggling the Selection Status: When you make any selection (including by rubber band or horizontal selection), holding down shift at the same time will reverse the selection status of the objects. You can reverse the selection status of all objects using Edit > Select > Toggle Selection. For example: if you want to select all objects except for a few, first select these few and then choose Toggle Selection. Selecting Following Objects: To select all objects after the current one (or, if no object is currently selected, to select all objects after the song position), choose Edit > Select > Select All Following. Selecting Objects within the Locators (Vertical selection): Edit > Select > Select inside Locators selects all objects lying wholly or partly within the locators. Selecting all Objects: To select all objects, select Edit > Select All or press ctrl a.
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Deselecting All Objects: You can deselect all objects by clicking on the background or using the Key Command Deselect Allalt ctrl a.
Edit Operations
The local edit menus in midi studios various windows all take the same form. The first item is Undo. Below Undo are the typical clipboard functions and at the bottom of each are the main selection commands. Undo: Undo allows you to reverse the previous edit. Under Options > Settings > Global Preferences , you can disable the warning message that normally appears when you activate Undo, by checking the Disable safety alert for Undo box. The Key Command for Undo is always ctrl z. Undo/Redo: MAGIX midi studio 2005 deLuxe continuously remembers the last five program actions performed. This means almost all actions executed in MAGIX midi studio 2005 deLuxe can be undone and redone up to five times. There is only one exception: destructive audio edits can only be undone once, immediately after their execution. To undo an action, select the Edit > Undo menu item. Once an action has been undone, it can be redone using Edit > Redo
The Clipboard
The clipboard is an invisible area of memory into which you cut or copy selected objects so that you can paste them into a different position. The clipboard spans all songs, which means you can use it to exchange objects between songs. Cut: All selected objects are removed from their current position and placed on the clipboard. The previous contents of the clipboard are overwritten in the process (Key Command ctrl x). Copy: A copy of all selected objects is placed on the clipboard. The selected objects are also left in place. Here too, the previous contents of the clipboard are overwritten (Key Command ctrl c). Paste: All objects from the clipboard are copied into the top window. The clipboard is not erased in the process (Key Command ctrl v). The contents of the clipboard are added at the current song position (if they are events or arrange objects). The song position is incremented by the length of the pasted objects.
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In the Arrange window, the contents of the clipboard are pasted to the selected track. If events are pasted in the Arrange window, either a new sequence is created for them, or the events are added to a selected sequence. Any objects that existed previously are unchanged.
Clear (Delete): Any selected objects are erased. Clear has no effect on the clipboard and is the same as pressing backspace or delete.
General Functions of the Editors

Control output via MIDI: Switching on the MIDI Out button causes MIDI events to be output when they are added, selected, or edited. This allows you to audibly monitor every editing stage, whether you are scrolling through the Event List (automatic selection) or transposing a note. Automatic Scroll Functions: scrolling to the Song position: The button with the walking man on it activates the Catch function, which means that the window view will always show the current song position. Contents Link: Clicking on the button with the chain symbol on it activates the link function, and double-clicking it activates the show contents function. In show contents mode, the window always displays the contents of an object selected in the top window; in link mode the window shows the same objects as the window where you are making the selections. For a full description of the catch and link functions see page 105. In Editor windows, contents link is usually active. You can then, for example, select some sequences in an arrange window, and when you switch to a screenset with an open editor window, you will see the contents of the selected sequence(s).
Selection Commands and Editing Functions
Setting Locators by Objects: The Functions > Objects > Set Locators by Objects command allows you to set the locators in all of the Editors (just as in the Arrange window) so that they just encompass the currently-selected events. The Key Command can be found in the Key Commands window under Global Commands. Edit Functions: For a description of the undo and clipboard functions (particularly adding events at the Arrange level), refer to page 109.
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Transform Functions: The process of selecting preset (or your own) parameter sets in the Transform window is described in the section Transform Parameter Sets from page 326 onwards. You can get to these directly from within the Editors via the menu command Functions > Transform. Altering Note Lengths: While changing the lengths of multiple objects you can make all lengths equal by holding shift ctrl. Repeating or Copying Events: To repeat selected events once or several times (with adjustable rounding of the position of the first repeated event), you can use the function Functions > Object > Repeat Objects. Deleting (Clearing) Events: The basic techniques are the same as for deleting sequences: Clear deletes all selected events, the Eraser also deletes all selected events, and any events that you click with it (whether previously selected or not).
Step-time Recording
Step-time recording allows you to enter notes via the keyboard, but not at any defined tempo as in real-time recording. After each note is inserted, the sequencer steps ahead by an increment which is determined by the division setting in the Transport window. Every note or chord you enter automatically receives the note value of the display format, or a multiple of it. MIDI Step-time input is activated in the Score, Event List and Matrix Editors by pressing the MIDI In button. Heres how to do it. Select an existing sequence, or create one in the Arrange with the Pencil tool. Open one of the note editors (Score, Event List or Matrix). Switch on MIDI In. Play and hold a note or chord. You may even hit the notes for the chord one after another, if you like. The important thing is that at least one note remain pressed from the beginning. Release the last note. This moves the song position by one step (the format value on the transport), and you may enter a new note. Rests are entered with the sustain pedal. Each time you press this, you step through the song by the format value, without entering a new note. You may enter longer notes or chords by pressing the sustain pedal while holding down the note(s).
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You may change the format value on the Transport at any time, even while you are holding down notes. Step-time input is also possible from the score display. However, the quantize value Default should be avoided, as the note display will then change every time the step size is altered. If you are step-time recording in the Score Editor you can also define the note value by clicking notes in the part box (but only if step-time recording is switched on.) Editing via MIDI input: By double-clicking on the MIDI In button, you switch on Edit by MIDI In Mode. The values of the MIDI data being input are then used to edit the Pitch and Velocity of the currently-selected note. The note length remains unchanged. In contrast to MIDI step-time input, no new data is created; what exists already is merely changed. The Key Commands Next / Previous Event allow you to move one note further forward or back.
Enhanced on-screen virtual keyboard

The virtual keyboard can be used to play a software instrument on-screen, by using the mouse. Alternately, you can enter MIDI notes step by step. Select the Windows > Open Keyboard Window menu item to launch the on-screen keyboard. Playing a software instrument: Open the on-screen keyboard. In the Arrange Window, select the Audio Instrument track that contains the software instrument plug-in that youd like to play. Clicking on the virtual keys with the mouse will trigger the corresponding notes on the software instrument. You can record your on-screen keyboard performance by activating the record function, as usual. Note: The buttons featuring the note and dynamic symbols are used exclusively for step recording (see below) they do not function when using the on-screen keyboard for real-time playing in the Arrange Window. Step Recording using the on-screen virtual keyboard: Open the on-screen keyboard. Select an Audio Instrument or MIDI track, and open one of the following windows: the Matrix Edit, the Score or the Event List. Before you start, set the Song Position Line to the spot where you would like to insert the first note (by adjusting the song position in the Transport Window, or dragging the SPL directly). Clicking on the virtual keys of the onscreen keyboard will enter the corresponding MIDI notes 112
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at the Song Position Line, which will then advance to the next positiondetermined by the Length parameter (see below). The Channel parameter field determines the MIDI channel of the entered notes. Length and Velocity are set via the buttons in the keyboard window: the note symbol buttons determine note lengththe dynamic symbols (pp, mf, etc.) determine note velocity. Pressing the Chord button will prevent the Song Position Line from advancing after inserting a note. This allows you to stack notes, one-by-one, to create a chord. Once your chord has been created, press the chord button again to continue advancing/complete your note entry.
Event Quantization
The Event List editor has a separate quantization function which can be applied to all selected events. Unlike quantization for arrange objects the event quantization applies to all events, not just notes. It irreversibly alters their positions (only notes can be returned to their original recorded positions). Quantizing Events: Select the events that you want to quantize. You open the Quantization flip menu by click and holding on the Q button found below the toolbox. This is identical to the matching pull-down menu for the playback parameters, and contains its own quantization grid (for details see the section Quantization from page 151 onwards). As soon as you select an item from the menu, all of the selected events are quantized. Please remember that you can only reverse note quantization. All other events are permanently shifted. To apply the same quantization grid to another series of selected events (even in other Editor windows), select Functions > Quantize again, or click quickly on the Q button again.
Note Quantization
Normally, all notes in a sequence are quantized according to the Quantization parameter in the sequence parameter box (explained in greater detail in the section Quantization from page 151 onwards). To quantize single notes in either of the Note Editors (the Matrix or Score Editors) you can click on a single note (or lasso a selected group) with the mouse. Once selected, open the quantize menu via the Q button in the editor and select the desired quantize value. Note that if the sequence which contains these MIDI note events is selected in the Arrange window and a new quan-
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tize value is chosen for the sequence, all individual note quantizing will be overridden. Unquantizing Notes: Note events can be moved by hand or returned to their original record positions by selecting the setting Qua off (3840), via the Q button (while holding down ctrl.) You can also achieve the same result by selecting Functions > De-Quantize.
Display Functions
The section Window Functions from page 100 onwards describes the basic window functions, including how to lay out the window elements to make more space for the event display in the graphic editors, and how to operate the zoom functions. Many of the display options in the editor windows correspond to those in the Arrange window: By choosing View > Parameters you can hide or show the parameter fields to enlarge the windows working area. The Key Command is Hide/Show Parameters. In the Matrix and Drum Editors you can conceal or reveal the Transport panel in the top left corner by choosing View > Transport.
Key Commands
You can activate many of midi studios functions via Key Commands. The Key Commands window is where you assign Key Commands to the keys. Whenever this manual mentions a Key Command, this refers to a command which can be activated by a keystroke. This allows you to customize midi studio to suit your own working style. If any function described in this manual is also available via a Key Command of the same name you will see this symbol. Your personal key assignments are stored (together with the settings of the Preferences pages) in a file called MAGIX midi studio 2004.PRF in your PCs Windows folder. You should: make a backup of this file at another location on your hard disk; make a floppy disk backup of it in case you need to use a midi studio system on another computer. When you install updates to your version of midi studio, your personal Key Commands will remain unaltered. Special Keys: Some keys have special functions: 114
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The modifier keys shift, ctrl, and alt can only be used in conjunction with other keys. The backspace key has the fixed function delete selected objects. It can only be assigned a function in conjunction with the modifier keys shift, ctrl, and alt. The ctrl f4 key (close window) and ctrl alt f4 key combination (close application) cannot be reassigned. The key combinations assigned to many of the options in the menu and submenus can be reassigned. The relevant keyboard shortcuts (Key Commands) will then be displayed after the menu item names. The + and keys increase or decrease any selected parameter value in single units. However, they can be assigned different functions which overwrite this function. The keys tab, n, m, b, a, s, d, q, w, e, r have invisible predefined functions for step recording, which can also be overwritten if you choose to redefine them.
Key Commands Window

The Key Commands window can be opened by selecting Options > Settings > Key Commands
All of the available Key Commands are listed on the right side. They are grouped according to the following categories: Global commands Functions affecting all windows (various windows) Functions affecting all Editor windows (various sequence Editors) 115
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Functions for the Arrange window Functions for the Score Editor (Score window) Functions for the Event List Editor (Event window) Functions of the Audio window Functions of the Waveform editor A * in front of the description of the function indicates that the function is only available as a Key Command. To the left you can see the currently-assigned key. Assigning a Function to a Key: Click the Learn Key button. Select the desired function with the mouse. Press the desired key, if necessary together with the desired modifier key(s) (shift, ctrl, and alt). If you want to make another assignment, repeat steps 2 and 3. Deactivate Learn Key! You can also set the key (Key) and the modifier via flip menus in the parameter box (top left). Deleting Assignments: Click on Learn Key, to erase the key assignment. Use the mouse to select the function whose key you want to delete. Press backspace. To erase more assignments, repeat the second and third steps. Deactivate the Learn Key button. Checking the Function of a Key: Deactivate Learn Key, and press the key whose function you want to check. The function will be automatically selected, and displayed in the middle of the window. Making the Display Clearer: You can use the Hide Used and Hide Unused buttons to remove all of the used, or unused Key Commands. All of the other Key Commands window functions remain available for you to use. Finding Key Commands: Due to the large number of possible Key Commands, it can sometimes be difficult to find one in particular. For this reason, midi studio offers a Find function, which lets you search for a Key Command by typing in its name (or a part thereof). Simply click in the white space to the right of the Find: button and enter the string of characters youre searching for. The window will then display only those Key Commands containing that character string (plus the selected command, even if it doesnt contain that string).
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The Key Commands window remains active, even in Find mode; you dont need to leave this mode to continue making assignments. The Find function is not case-sensitive, it makes no distinction between upper, and lower case characters. The Hide Unused and Hide Used buttons work in combination with Find, but obviously, this means you must switch off both in order to see all of the commands that fit the search criteria, regardless of the commands current assignment. The Find: button switches Find mode off and on. The button is automatically activated if a string of characters is entered. By choosing Options > Scroll To Selection the Key Commands window will scroll to the currently selected Key Command. The same function will automatically be performed when the FIND button will be disabled. You will find other helpful functions under the Options menu. Options > Import Key Commands allows you to import the Key Commands from another .PRF file. This imports only the Key Commands, not the rest of the settings stored in a .PRF file. Just in case: Please make a backup copy of your existing .PRF before importing other Key Commands. If you want to printout your Key Commands, use Options > Copy Key Commands to Clipboard, paste the Key Commands into a text editorand print them.
Global Functions Object Colors

In the Arrange window you can define a color for selected objects. View > Object Colors (Open Object Colors) opens a color palette. Selecting the Key Command a second time closes the palette. Click on the color you want to use for all of the selected objects. Newly-recorded sequences automatically inherit their tracks colors.
On-line Help
MAGIX midi studio 2005 has an on-line help facility: the .HLP file is automatically installed, and needs to be in the midi studio folder. You can open the on-line help via the Help menu.
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Song Administration
All events, other objects and settings (apart from the Preferences and Key Commands) are components of a song. Songs are handled in the main File menu.
New Song
When you first launch midi studio, it opens a preset standard song. After just a short time, you will have learned how to make your own adjustments to screensets and to song settings, and will no doubt want to keep these settings for use in future songs, as they are suited to the way you personally work with midi studio. The best way to do this is to set up your own default song, and save it in the same folder as the midi studio program, calling it Autoload. Autoload Song: If you want midi studio to automatically load a specific song when you boot up the program, just name this song Autoload and save it in the same folder as the midi studio program. Now, every time you boot up midi studio, the Autoload.MSP song will be opened automatically (provided you dont start midi studio by double-clicking on a different song altogether).
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Creating a new Song: If you select File > New (ctrl n), a new default song is created.
Loading a Song
You use File > Open (ctrl o) to bring up a typical file selection box.
Special Functions
Checking/repairing Songs: If you double-click on the display on the Transport which shows the remaining number of free events (see page 122), the memory will be reconfigured. At the same time, the current song will be checked for any signs of damage, structural problems and unused blocks. If any unused blocks are foundwhich normally shouldnt happenyou will be able to remove these, and repair the song.
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Saving Songs
When you select File > Save (or ctrl s) the current song will be saved with its current name intact. If you dont wish to overwrite the last version of this song saved under this name (which is what will happen if you just use File > Save or ctrl s), try using File > Save As Here, you can enter a new name for the song (and select a
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new directory or even create a new folder). The next time you save using straight Save (ctrl s), the new name and file path will be used.
Reverting to the Saved Version

Anytime you make a mistake, you can undo it by selecting Edit > Undo (ctrl z). If you have made some really serious blunders (unlikely as that may be), or you decide that since the time you last saved, your creative outpourings have gone in the totally wrong direction, you may find the File > Revert to Saved function very helpful. This replaces the current song with the most recently saved version.
Closing a Song
File > Close (ctrl w) closes the currently active song. If you have made any changes since the last time you saved, midi studio will ask you if the song should be re-saved before closing, to preserve the changes you have made.
Quick Start of the last nine Songs

The last items in the File menu, just above the Quit command, are the last nine songs you usedallowing you quick restarts of your recent works.
Quitting the Program

Choose File > Quit (ctrl q) to leave the program. If you have not yet saved your last changes, you will be asked if you want to do so before quitting (press return to save).
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Transport Functions Transport Functions

This section of the reference manual covers; the use of the Transport window, the Bar/Beat Ruler (and all of the neat things you can do with it), general song navigation and getting set up for basic recording.
The Transport Window

The Transport window (also known as the Transport Bar) is used to control and display recording and playback functions. Being a float window, it is always in the foreground, and can never be covered by other windows.
Opening the Transport Window

To open the Transport window, select Open Transport from the Window menu. Closing the Transport Window: Click on the close symbol on the top right of the window.
The Transport Bar in Other Windows

You can also configure a fixed Transport window in the Arrange, Score, Drum and Matrix windows. When you select View > Transport, the transport bar functions appear in the top left corner. The number of visible buttons and displays depends on the size of this area. Move the mouse cursor to the lower right corner of this area to change the cursor into a cross hair. With this you can click and hold on the lower right corner and thus change the size of the area.
Altering the Display

To move the Transport window around the screen click and hold on it by its title bar. The Transport window flip menu opens when you click on the triangle symbol in the lower right corner. This is where you change the way the Transport window looks. Smaller/Larger: You can adjust the size of the Transport bar to several different size settings. Legend: This display option conceals/reveals a description of all of the window elements, and is very helpful if you are still getting to know the program. 120
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Position Slider: This hides/shows a stripe at the bottom edge of the window whose size represents the current amount of the song shown on screen relative to the entire song length (read the section Song End from page 123 onwards). You can also click and hold on the stripe and move it quickly, to take you to a different song position.
Parameter Fields and Displays

All of the displays in the Transport Bar (apart from the song name), can be used for inputting data. You can either input the numbers via the keyboard, after double-clicking on the display field, or adjust the individual numbers using the mouse as a slider. Position Display: The current song position is shown in two formats: Above: SMPTE time. Hours: Minutes: Seconds: Frames / Subframes. For more on setting the song Start time when using external SMPTE sync, please read the section SMPTE Offset from page 332 onwards. Below: bar position BarBeatDivisionTicks. A beat corresponds to the denominator in the time signature, a division is a freely-definable part of a beat (see section Time Signature and Divisions from page 122 onwards). A tick is the smallest possible bar subdivision or system quantizationjust 1/3840 note. Buttons: There is a column of four small gray buttons, between the locator display area, and the tempo display area. The bottom two of these are aligned just to the right of the two locator points. The upper of these will take the SPL to the left locator, when pressed. The lower button will take the SPL to the right locator. Locators: You define two sets of locator points, one for the Cycle zone, and the other for the Autodrop zone. 121
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The locators on the left define the cycle region, which is a passage that can be constantly repeated (take a look at the section Cycle Mode from page 126 onwards). The locators on the right define the autodrop range (take a look at the section Autodrop from page 124 onwards). They are only displayed when the cycle and autodrop functions are both switched on. Any mention of the left or right locators is a reference to the left-hand cycle locators. The top one is the left locator and the bottom one is the right locator. Switches: On the right of the cycle locators are two placement buttons. When you click on either of the buttons, the song position jumps to the relevant locator (Key Command: Goto Left/Right Locator). Tempo: The tempo is given in quarter notes per minute or beats per minute (bpm). In midi studio it ranges from 0.5 to 9999 bpm and is given to a precision of 4 decimal places. Programming Tempo Changes: Please refer to the section Tempo from page 327 onwards. Time Signature and Divisions: Bar numerator/ Bar denominator/ Division: The division defines the third format value in all position displays (i.e. in the Event Window), and forms the grid for various length and placement operations. The division is normally set to 1/16 notes, but has a value range of 1/4 to 1/96 note. If the note value of the division is equal to or greater than the bar denominator, the third value of the position display is automatically removed. Programming Time Signature Changes: If you alter the bar numerator or denominator in the Transport window, a time-signature change is created at the start of the bar where the current song position is. This is shown in the bar ruler, to the left of the bar number. Of course, a time change does not affect the absolute positions of the events that are already there. You can also add time signature changes directly in the Score Editor. For more about this, see the section Time signatures from page 313 onwards. Editing Time Signature Changes: Move the Song Position Line to the first bar with the particular time signature you want to change. Set the new time signature from the transport bar. You can also edit the time signature in the Score Editor, by double-clicking on it. 122
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Erasing Time Signatures: Simply change the time signature back to the value of the previous time signature. You can also erase time signatures in the Score Editor by selecting them. and hitting delete. To erase all time signatures, select Edit > Select > Select Similar Objects before doing this. MIDI Monitor and Panic Function: The top line at the far right shows the last MIDI message received, and the bottom line the last MIDI message transmitted. The monitor is mainly used to check the MIDI connections. Click on the MIDI monitor to silence any hanging notes. If this doesnt work, double-clicking on it should do the trick (Full Panic; take a look at the section For hanging notesPanic Function from page 158 onwards). Song Title: The title of the active song is shown below the MIDI monitor. Song End: Below the song title, on the right, you are given the position of the song end. As soon as the sequencer reaches this position, it stops automatically, except when recording. In this case the song end is automatically moved to the end of the recording. For internal system reasons, the maximum length of a midi studio song is 8550 quarter notes, or about 2138 bars in 4/4 time. A song can therefore last a maximum of around 70 minutes at a tempo of 120bpm. At 95bpm, the maximum length is over an hour and a half. If you need to increase this length, e.g. for video synchronization, just halve the tempo. You can achieve the same result by using 4/8 time instead of 4/4 time, and treating quarter notes as eighth notes. A 4/8 song at a tempo of 60bpm (equivalent to 4/4 at a tempo of 120) has a maximum length of more than 4273 bars, or over 2 hours and 22 minutes.
Keys and Buttons

All of the functions of the Transport panel are also available as keyboard commands, even if the Transport Bar is not open. Transport: The basic functions of these keys are the same as on tape machines, or cassette recorders, and should be familiar to everyone. Here are a few special features. Record: Recording normally starts after the count-in, at the start of the current bar. In cycle mode, it starts at the left locator. You can also choose to have one beat constantly re-
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peated, until a MIDI message is received, at which point recording begins (more on this on page 129). Pause: Pauses recording or playback until you press pause or play again. During paused recording, you can add individual events which will still be recorded. Play: Starts playback at the current position, or in cycle mode from the left locator. Stop: Ends recording or playbackthe sequencer stops. If the sequencer is already stopped, pressing stop moves the song position to the song start, or in cycle mode to the left locator. Rewind/Forward: If the sequencer is stopped, these work as normal. Both normal (Rewind/Forward) and fast (Fast Rewind/ Fast Forward) winding are available via the keyboard. Mode: The mode buttons do not immediately trigger an action, but switch operating states. The activated mode is signalled by the relevant button being illuminated. Cycle: Switches to cycle mode (more on this on page 126). Autodrop: Switches to autodrop mode (more on this on page 130). Replace: Switches to replace mode (more on this on page 130). Solo and Solo Lock: In solo mode, only the selected objects are played. The data output from all other objects is muted. This is known as: soloing the objects. You can of course, change the solo mode of objects by changing what you have selected (if necessary, refer to the section Selection Techniques from page 107 onwards). If you want to carry out specific functions on individual objects, regardless of the soloed sequences, you need to be able to select these objects without affecting the solo status. This is what the solo lock function is for. After soloing the desired objects, double-click on the solo button, whose colors will then be inverted (as shown). You can now alter the selection without affecting the solo status of the objects. Sync: This button allows you to synchronize midi studio from an external source. If midi studio is running by itself, or acting as a synchronization source (i.e. master), this button should not be activated. When you first boot midi studio, Manual Sync mode is automatically switched off. Click and holding the sync button opens a flip menu, where you can define the following: the type of external synchronization (more on this on page 331),
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whether MMC commands should be transmitted by MAGIX midi studio 2005 deLuxe via the Transport buttons, so that remote control of MIDI capable tape machines is possible (more on this on page 331), direct access to the tempo editors (more on this on page 327). Metronome: This button is used to turn the metronome on and off. midi studio keeps a separate record of its setting for recording and playback. Click and holding the button opens a pull-down menu where you have direct access to the Recording Options (described on page 346), you have direct access to the MIDI Metronome Click settings.
Bar Ruler
There is a bar ruler at the top of all of the horizontal timebased windows (i.e. the Arrange, Matrix, Drum and Score).
This ruler is used to display and set the; song position, start/end of the song cycle, skip-cycle and autodrop locators solo, sync and record status (with different colors) time signature
Display
Dependent on the zoom settings, (page 101) the bars are shown at the top edge in units of 1, 4, 8 or 16. Changes in time signature are also shown here. In the bottom third, there is a vertical line for each bar. The shorter lines represent one beat, but are not always visible (dependent on the current zoom setting). Start and End Markers:
The song start is normally at position 1 1 1 1. You can move the song start to an earlier position for playing upbeats or
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program change commands, by click and holding on and dragging it with the mouse. The position display in the top left of the window will tell you where it is. The song end (default: bar 201) can be set using the same method, or via the numerical display (see page 123).
Song Position Line

The song position line (SPL) is a vertical line which indicates the current song position in all horizontal, timebased windows. You can click and hold on the line with the mouse, and drag it to the desired position (but only if there is no object at the mouse position when you drag it). Choosing Wide Song Position Line under Options > Settings > Display Preferences switches to a thicker SPL. Direct Placement Since it is fairly difficult to click and hold on the SPL in the window itself, you can also directly position it using the bottom third of the bar ruler. Just click here to make the SPL jump to the selected point. while starting or stopping: Double-clicking on the bottom third of the bar ruler repositions the SPL, and also toggles between playback (or record) and stop. numerically: Choosing Goto Position (default key: g), calls up the dialog box shown above, to allow you to input the song position numerically. The last division used (bar position or SMPTE time) is automatically selected, with the last input value as a default. Since the numbers are registered from the left, it is enough just to enter the bar number.
in the score: In the Score Window you can set the SPL directly by clicking into a staff at the desired position while pressing ctrl. This function is only available when the sequencer is stopped. The chosen position is displayed in the infoline while the mouse key is pressed. A hint: This method is especially handy when working in page view mode, as there is no bar ruler displayed in this scenario.
Cycle Mode
In cycle mode, a chosen passage of your current song is constantly repeated. This is useful for; composing part of a song, 126
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practicing a recording, recording individual tracks consecutively editing events. The cycle region is shown in yellow in the top part of the bar ruler.
Switching On Cycle Mode

There are four ways of switching cycle mode on and off; clicking on the cycle button, using the Cycle Key Command, clicking on the top part of the bar ruler, and inputting graphically via the bar ruler.
How midi studio behaves in Cycle mode

The Song Position Line jumps from the end of the cycle region to the beginning of the cycle region in play mode; The Play command starts playback from the beginning of the cycle region; To start playback from another position, hit Pause twice, or Pause and then Play; At the cycle jump point, you can use the Chase Events function (more on this later)Options > Settings > Chase Events > Chase on Cycle Jump) You can determine the way recording works in cycle mode, by using the various choices found on the Options > Settings > Recording Options page (for more on this, take a look at the section Recording in Cycle Mode from page 130 onwards).
Defining the Cycle Region

Graphically using the Bar Ruler: Click-hold in the top third of the bar ruler, and define the desired cycle region, by dragging the mouse left to right (dragging from right to left generates a Skip Cycle; see above). Click-hold the cycle region in the middle and drag it left or right to reposition it. Grab the bottom left or right corners to move the start or end points of the cycle (you can even do this while the sequencer is running.). If you set the start and end points to the same position, cycle mode will automatically be switched off. You can move the start or end point of the cycle region to any bar by clicking either before or after the cycle
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region while holding down shift. This will work even if cycle mode is switched off or if the cycle region is not visible in the bar/beat ruler. When you set a cycle region graphically in the bar ruler, its left and right boundaries (locators) are quantized to the nearest bar. The locator positions can only be changed division by division at high zoom resolutions, or if you hold down alt as you drag. If you hold down shift and alt, at a really high zoom resolution, you can drag and change the size of the region in ticks. To set locator positions that do not lie on whole bar lines regardless of the zoom resolution, enter your locator positions numerically in the Transport window. Numerical Entry: The positions of the left and right locators (start and end points of the cycle) are shown in the Transport window, where they can also be altered. There are also two keyboard shortcuts available (Set Left / Right Locator) to allow you to directly enter either of the points in the dialog box, shown above (default = last input). By Objects: You can use the Key Commands Set Locators by Object(s) and Set Locators & Play to set the locators at the start and end of selected objects; the latter command also starts playback. Set rounded Locators by Object(s) rounds the position of the locators to the nearest bar. The command achieves the same, while simultaneously starting playback.
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Skip Cycle
When you are playing the song you can skip a passage, which is useful for trying out the musical effect of various transitions. Setting up Skip Cycle: Drag out the skip cycle region from right to left in the bar ruler. If there is already a (normal) cycle region just move the left locator after the right locator. The skip region is shown as a very thin strip at the top edge of the bar ruler.
Features of Skip Cycle Mode: When the SPL reaches the right locator it skips to the left locator (i.e. the right and left locators swap positions). 128
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Skip cycle is a quick way of leaving out a passage in an Arrangement, without having to physically delete it from all of the tracks, make a backup, etc. You can also use it when editing, to leave out those parts of the song which you dont want to be affected by the edit.
MIDI Recording
Choosing a Track: First you need to select the track you want to record on, for example by clicking on it (more on this on page 135). Remember, just one track can be selected. During the recording, the incoming events are stored in a sequence, on the selected track. If you want to record fader movements of the effect returns or the master fader, please select the correspondingly named track in the arrange window for recording. Changing Tracks: You can change the record track, without having to stop recordingjust select a new track, for example via the Select previous/next track command (default keys: arrow up or down).
Count-in
After you press the record button, the recording begins with a count-in. This is defined under Options > Settings > Recording Options The choices are: No count-in The recording begins without a count-in. Wait for note midi studio repeats the first 1/4 note (or note value of the bar denominator) until a MIDI note is received. The recording then begins. 1-6 Bar count-inThere is a 16 bar count-in (default: 1 bar). 2/49/4 count-in29 quarter notes count-in. Click only during count-in: If the Options > Settings > Recording Options > Click only during Count In option is active, the click will be switched off after the count-ini.e. Drummer mode. This is often useful if the section of the song just before the part youre recording lacks the sort of rhythmic information necessary to play new parts in time, but when theres plenty of rhythmic reference, once the section youre recording to gets going.
Record Options
Record Toggle (default: shift + *) switches between playback and record mode. Record Repeat repeats the recording from the previous drop-in point.
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Record into selected sequences: Normally a new sequence is created during every recording. Under Options > Settings > Recording Options you can activate Merge New Recording With Selected Sequences, so that any new data is incorporated into an existing sequence, when this sequence is selected.
Replace Mode: To activate replace mode, press the replace button. In replace mode, any newly recorded data is always stored in a new sequence. In addition, any existing sequences on the destination track are cut at the punch in/ out points of the recording, and any data between these points is deleted. Destructive MIDI Recording: If you select Merge New Recording With Selected Sequences (r) and switch on replace mode (the recording head symbol in the Transport window), the new events you record will replace the ones in existing sequences. The Merge/Replace combination can itself be coupled with the Autodrop and/or Cycle functions.
Recording in Cycle Mode

All settings for recording in cycle mode can be made in the Recording Options of the Song Settings (see page 346). You can either use several cycles to record a single sequence (Merge only New Sequences in Cycle Record checked), or you can create a new sequence for every cycle ( unchecked). A new track can be automatically created for each of these sequences (Auto Create Tracks in Cycle Record). The sequences you create can also be automatically muted (Auto Mute in Cycle Record). This mode is very well suited to recording several consecutive versions of a solo, and then picking the best one. Cycle and Replace: During a cycle recording in replace mode, existing sequences are deleted during the first cycle, from the punch-in point to either a punch-out point or up to the end of the cycle. When the second cycle begins, recording continues, but no more sequences are deleted. If you want to replace the end of an existing sequence, you dont need to stop recording before the second cycle begins: the start of the existing sequence remains intact.
Autodrop
Autodrop means automatically going into and out of record at pre-defined positions. Autodrop mode is most commonly used to re-record a badly played section of an otherwise well played recording. The advantage is; you can 130
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concentrate on the playing, not control of the sequencer while laying down your new parts. If cycle is not active, the left and right locators (on the bar ruler and in the Transport bar) serve as autodrop-in, and drop-out points. Autodrop is activated by clicking the autodrop button. Defining the Autodrop Region:
If both cycle and autodrop are active, there is an independent pair of locators (on the bar ruler and in the Transport bar) available for the autodrop. In this case, there will be two stripes in the bar ruler, the top one representing the cycle region, and the bottom one the autodrop range. The autodrop stripe can be graphically altered in exactly the same way as the cycle region stripe. If the bar ruler display is very narrow, holding down ctrl as you alter the corners of the region will ensure that all of your actions apply to the autodrop stripe. To activate autodrop graphically in the bar ruler, drag in the stripe while holding down ctrl. For graphic operations, the grid scale can be reduced to division resolution by holding down alt, and to tick resolution by holding down shift alt. Setting Autodrop Numerically: If cycle mode is active (i.e. if a cycle region exists) the positions of the autodrop locators are displayed numerically, to the right of the cycle locators on the Transport window. Their position can be altered by changing the numbers here. Recording in Autodrop Mode: To carry out an autodrop recording, put the sequencer into record anywhere before the drop-in point. Any events which you play before the drop-in or after the drop-out are channelled through the sequencer as usual, but are not recorded. If the song position line is behind the right locator when you start recording, recording automatically begins at the drop-in point, after the count-in.
Combining Cycle and Autodrop
If you want to improve a difficult part of a certain passage, you can use a combination of cycle and autodrop. Cycle mode lets you practice as many times as you like before
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the final take. Each time, only the autodrop range is recorded. You can use the previous section to get into the groove. Recording with Skip Cycle: If skip cycle is switched on the cycle region is left out during the recording.
Chase Events
Chase Events is a function which searches all of the sequences playing at a jump-in point. The function examines what all of these sequences are doing before the jumpin point, to find out which events would be affecting playback at the jump-in point, if it had been reached by playing through the song, rather than by just jumping there. This is a complex point to grasp, so heres another explanation: If you start playback of a song in the middle, by jumping straight to that point (via Cycle mode looping or by direct placement), you might expect there to be problems with note playback. If an important note started playing just before the playback startpoint, you would expect midi studio to miss it, and the note would not sound. Notes, however, are not the only potential problem. If there were a maximum pitch-bend message just before the playback startpoint, playback would leave this out too. If this happened, the note/s following would be out of tune as there would be no pitch bend. Fortunately, midi studio is smarter than your average MIDI sequencer Open Options > Settings > Chase Events to set up the chase events function. The function searches all sequences playing at the playback startpoint, looking for any of the following: notes due to be playing at the play-start point; notes due to be playing at play-start, as a result of a sustain pedal message (Chase sustained Notes); program changes; pitch-bend information; continuous controllers 015; continuous switch controllers 6471; all other controllers (all other Controls); monophonic (channel) aftertouch; polyphonic aftertouch; SysEx data (the last SysEx message before the play-start point is transmitted) Special Note: There is a potential problem with chasing notes that are being used to trigger a drum loop in the WavePlayer of midi studio. Unless you are lucky enough to start the se-
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quence precisely at the beginning of the sample loop, the sample will be triggered at the wrong time and therefore, will be played out of sync with the rest of the sequence, (at least until the next trigger note). The problem is that the WavePlayer, as with almost every other sampler, can only play its samples from the beginning, and cannot synchronize them to the beat by starting sample playback midway through the sample. Well, heres how you solve that one: Activate the No Seq Trp parameter in the Track parameter box of the WavePlayer, and switch off Chase Notes in No Seq Trp Instruments under Options > Settings > Chase Events The result is that whenever the song jumps to a new position, your drum loops will not play until they reach the next trigger note. Note: The No Seq Trp parameter actually prevents transposition by the sequence playback parameters, which is also not desirable for drum sounds. As an example: Imagine a MIDI drum kit that uses note C2 for a kick drum, E2 for a snare drum, F and F# for open and closed hi-hats etc.and the drum sequence was transposed UP by a few semitones, the kick part would be played with a snare sound and the snare part would be played back by a hi-hat sound. Needless to say, this wouldnt sound that great, so if you find that your drums sound weird after transposing a song or a few sequences youll know where to look.
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Arrange Window Arrange Window

This part of the reference manual is dedicated to the functions found in the Arrange window. This is the main working window in midi studio. Many of the things we looked at in the Tutorial are covered here plus a number of other extras, including the patch name editor, even more sequence handling functions, merging and demixing. Please spend your time with this section. We promise youll learn a lot of new things and pick up a few tips and tricks which will help you create music faster.
Overview
The Arrange window is the heart of midi studio. Study it closely because it is the view of the program that you will see most often when youre working.
It appears in the first screenset whenever you start midi studio. The arrange area 1 is where all MIDI information is recorded on horizontal tracks. Individual MIDI or audio recordings are called sequences, and are displayed as beams. Above the arrange area is the bar ruler which displays position information 2. To the left of the arrange area is the track list 3. This is where you name each track and determine which sound program should play the MIDI information or which audio object plays back the audio data of each track. You can make various settings for the track parameters in the Track parameter box 4 in the lower left corner. As the sequences are arranged graphically, you can also use specialized mouse tools from the tool box 5 to help you perform different operations. 134
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The sequence parameter box 6 is where you set the playback parameters for the individual sequences such as transposition and quantization. In the upper left corner is the optional Transport panel 7 which is functionally almost identical to the Transport Bar. This can be opened via the View > Hide/Show Transport menu option. It is not activated by default in the Autoload.msp song file which was created in the midi studio folder when the program was first installed. Opening the Arrange window: The Arrange Window can be opened by selecting the Windows > Open Arrange menu option.
Tracks
Each individual track is stretched horizontally across the arrange area and the tracks are stacked vertically. A track is where the notes and other MIDI events are recorded. In the track list each track is numbered from top to bottom. During playback a small level indicator appears over the track number. This indicates the velocity of the recorded notes and shines red for a maximum velocity value. Dependent on the contents of the sequences playing on a given track, the level meter may periodically change to a small fader icon. This indicates a controller event. Adjust the MIDI channel, MIDI port and the icon of each track in the Track parameter box. MIDI, Audio and Audio Instrument tracks are easily identified by their default icons, which can be changed in the Track Parameters box. The default for newly created MIDI tracks features a General MIDI icon, Audio tracks feature a rectangular Waveform icon, and Audio Instruments are identified by a Keyboard icon. Generally, only one track can be selected at any one time. The exception is when combining MIDI and audio recording, where it is possible to select one audio and one MIDI track simultaneously.) This is done by holding the shift key and selecting the desired tracks with the mouse. Ensure that you remember to ARM the audio track (see the section Arming Tracks from page 168 onwards), otherwise it will record no audio. During recording, a sequence is created on tracks containing the recorded MIDI events, audio or mixing data.
Selecting a Track
You select a track by clicking its name or icon in the track list. This also selects all objects on the track (if the Cycle 135
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function is switched on, it only selects the objects within the defined cycle region). Use the Select Next/Previous Track function to select the track above/below it in the track list (Key Command: cursor up/down). Changing tracks while keeping selection: If you click on a new track while holding down ctrl, the track will be selected without changing the existing selection of sequences. Sorting Tracks: To change the position of a track in the track list, click and hold on the track near the track number and drag it up or down. Copying a Track: Drag a track, as described above, while holding down ctrl and you will get a copy of this track at the desired target location. The settings of the new track are the same as the ones of the old track.
Creating tracks
To create a track, use the Functions > Track > Create MIDI Track command to create a new track for MIDI data, use the Functions > Track > Create Audio Track command to create a new track for audio data, or use the Functions > Track > Create Audio Instrument Track command to create a track for the new MAGIX software instruments or VST2.0-Instruments. The new track is created at the same position as the track currently selected, and all of the tracks below it are moved down accordingly. To create a track at the bottom of the track list, double-click in the track list below the lowest track. The new track always has the same settings as the selected track. MIDI, Audio and Audio Instrument tracks are easily identified by their default icons, which can be changed in the Track Parameters box. The default for newly created MIDI tracks features a midi icon, Audio tracks feature a rectangular Waveform icon, and Audio Instruments are identified by a Keyboard icon. Inserting Mixdown-related Tracks: Using Functions > Tracks > Create Effects Track and Create Main Out Track, you can insert special tracks that record the movements of the corresponding faders (effect returns and master fader) in the mixer. This functionality is available only in MAGIX midi studio 2005 deLuxe.
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Moving Objects onto a Track: The function Functions > Object > Move Selected Objects to current track moves
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all selected sequences from different tracks onto the selected track. The time position of all of the sequences is retained. This is useful for displaying sequences in a stave or gathering together regions of different vocal takes.
Deleting Tracks
To delete the selected track, use the Functions > Track > Delete Track function. If there are any objects on the track a warning message appears first. If there is no object selected in the arrange area you can perform the same function by pressing delete. A third method is to click and hold on the track as if to reposition it (see above) and remove it from the track list by dragging it to the left.
Naming tracks
To name a track, double-click on the track name in the list. Now you can edit the name of the currently selected track. The edited track name will be shown in the Arrange window. If you use a symbol in front of a track name, the corresponding and selected Patch Name will be shown instead. This is also true when you leave the track name blank. Please note: In case you havent enabled Program Change for the selected track in the Track Parameter Box (see below), the track name will always be shown.
Muting Tracks
Both MIDI and audio tracks have mute buttons on the left of the track list between the track number and the icon. Muting a track stops it from playing.
Selecting a Program
By clicking on a tracks name (or icon) in the track list and holding down the mouse button, you open a flip menu. This is where you select another program.
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The Patch Name Editor
As discussed earlier, it is possible to change the patch numbers (sounds) of your MIDI keyboard via MIDI Program Change Commands. Many keyboards are able to store more than 128 programs and require another memory category which are called banks. Each bank contains up to 128 programs and according to the MIDI specifications it is possible to address up to 16,384 banks via MIDI Bank Change Commands. This is handy, yet there is one big disadvantage: Instead of real patch names you would select only cryptic numbers. The Patch Name Editor changes this forever. With its help you will be able to select programs (patches) and banks by name instead of numbers because the Patch Name Editor allows you to give a name to each patch of each bank of each MIDI port. It is even possible to program a Bank Change Command for each MIDI Port. For convenience these settings will be used for all of your songs. N.B.By default, the list displayed in the Patch Name editor are the standard General MIDI (GM) patch names. If you own a GM synth, theres no work for you to do but if you own another synthesizer keep reading, and all will be revealed.
How do you work with the Patch Name Editor?

Simply select a MIDI Track. Clicking and holding the mouse pointer on the track name will open a menu from which you can select a patch by name. As an alternative, you can select a MIDI Track, and go to the Track Parameter Box on the left side of your computer 138
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screen. Click and hold on the program number (Beside the Prg text) until a menu opens. You can choose a patch for this track by selecting a name from the menu. In the track parameters box, clicking and holding on the bank number field (the minus symbol) allows you to select a bank by name. For this to function, the banks need to be created and named first.
Where do the names come from?

Program and Bank Names are entered with the Patch Name Editor. You will get to the Patch Name Editor by either double clicking on the track name or with the menu Function > Track > Edit Patch Names. The Patch Name Editor is divided in several areas: the bank name, a bank select pop-up menu, a Bank Change Command pop-up including several Bank Change Command formats, a little triangular symbol and finally the patch names. Please note: all edits you perform in this window will be used for the port of your currently selected track. To edit the Patch Names of a different MIDI port select another track and then double click its track name. This will open the Patch Names of the corresponding MIDI port assigned to this track.
Patch names
A simple click will select a patch within the current bank. To edit the patch name just double click the name you like to change. By default the General MIDI Patch Names are used in this window.
The triangle
Here you will reset the Patch Names of the current bank as either patch numbers or as standard General MIDI Patch Names. Furthermore the names can be edited via the clipboard using Cut, Copy and Paste commands. To edit the names of whole banks comfortably copy and past the names of the bank to an empty word processing document. Edit the names in the word processing document and copy all of them back into the bank. Make sure you dont alter the tabs and returns in the word processing document.
Bank Select Pop-Up

Here you select the bank of your choice. You can choose from among 128 banks of the 16,384 possible discussed earlier. If none is selected the patch names of bank 0 are used.
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Bank names
Here you name the currently selected bank. If you havent previously selected a bank but enter a name, this name will be used for bank number 0.
Bank Change Command Format pop-up

Unfortunately some manufacturers interpret the bank change commando not as specified in the MIDI standard, but use their own formats. Thus you can select in this popup menu which bank change format will be active for the currently selected MIDI port. The formats also take into account gaps in the bank numbering system of some devices. This allows you to comfortably select any bank offered by your device. Please note: If you dont change the bank change format in this pop-up the program will use the bank change format which has been set in Option > Settings > Recording Options.
The Track Parameters

In the track parameter box you can determine the MIDI port and channel to which the sequences on the selected track are to be sent and which icon this track should use. You can also select the sound program used, how loud and where in the stereo field the track data should be placed. Selecting an Icon: Click and holding on the icon opens a flip menu where you can choose an icon to represent the instrument. MIDI, Audio and Audio Instrument tracks are easily identified by their default icons, which can be changed in the Track Parameters box. The default for newly created MIDI tracks features a General MIDI icon, Audio tracks feature a rectangular Waveform icon, and Audio Instruments are identified by a Keyboard icon. Color of the Instrument Icon: The color of the instrument icon of the selected track can be changed via View > Object colors , as long as no Arrange object (a sequence) is selected. Setting a MIDI Port and Channel: The MIDI channel and the MIDI port are set via the Cha parameter. This defines the channel on which the track outputs data, so that your MIDI instrument can receive the data. If All is selected for the MIDI channel, the events of the sequence will be sent to your instrument carrying their individual channel. For all other Cha settings the individual events channels will be ignored and replaced by the Cha channel.
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The MIDI port is set in the flip menu directly below the channel setting. This menu lists the available MIDI drivers. Adjusting the sound of a Track: The Prg, Vol and Pan parameters transmit program changes, volume controllers (#7) and pan controllers (#10) respectively. If there is no check in the respective box the default value is used. The corresponding value is only transmitted if you place a check in the box (by clicking it). If there is already a check in the box, any value alterations you make are transmitted immediately. A program change may be selected on the right via a flip menu; volume and panning are set using the mouse as a slider. If you hold down alt, any value can be increased or decreased by clicking on it and tapping the left or right mouse button. To the left of the program number, there is an extra parameter which is used for Bank Select. If your sound source can receive Bank Select messages (check in your synth manual for format details), you can switch between different banks, each containing a maximum of 128 sounds. For this to work you must tell midi studio via the Patch Name Editor or via Options > Settings > Recording Options , which Bank Select message your instrument is expecting. As many devices cannot receive these messages, you can deactivate this parameter by making the adjustment shown to the right. Recording Program Changes, Volume or Pan controllers: Any of the types of events that can be transmitted by checking the right square in the track parameter box can also be stored when in record mode. For example, in record-pause mode, you can store program changes at specific positions in the following way: Remove the x in the box next to Prg (or Vol, or Pan); Click on Pause, then Record; Move the Song Position line to the place you want; Choose the sound (program) you want (or the volume/ pan setting you want); Click on the box next to Prg (or Vol, or Pan). Each selected event will be sent and recorded. Click on Stop to exit Record mode. In this context, please remember midi studios sophisticated Mixer Automation features as described in the mixer chapter. 141
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The values of the Parameters Prg, Vol and Pan in the track parameter box will not be updated every time such control change events will be played back.
Sequences
Sequences are containers for the MIDI events within them. Their purpose is to make things clearer and easier to deal with. They also correspond to the musical convention of treating a phrase or a riff as a single unit. It is often better to apply many operations (e.g. quantization) to these units rather than to individual notes. Sequences within a track can be partly or wholly overlapped, but for claritys sake this should generally be avoided. Remember that all of the following operations with a plural in the heading (sequences) apply just to selected sequences.
Creating a Sequence
Normally a sequence is created automatically when you record on the selected track. It begins at the start of the bar in which the first events were recorded and stops at the end of the bar in which the last event was recorded. Sequences can also be created by directly inserting events from the clipboard into the Arrange window (see the section Inserting events from page 147 onwards). Creating an Empty Sequence: Click with the pencil at the position in the Arrange area where you want the empty sequence to begin. You can now enter the events manually in one of the Editors.
Deleting Sequences
You can delete all of the selected sequences by clicking them with the eraser or by pressing delete. You can also delete any non-selected sequence by clicking it with the eraser. Of course if you accidentally delete a sequence you can restore it by choosing Edit > Undo (ctrl z) immediately afterwards.
Moving Sequences
Sequences may be moved by click and holding on them and dragging them with the mouse pointer. You can move sequences both along the Bar/Beat ruler and from one track to another.
Copying Sequences
142 To copy sequences to another point in the song or to other tracks, hold down ctrl while moving the sequence.
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Making multiple copies of sequences: The function Functions > Object > Repeat Objects menu allows you to repeat one or more selected sequences. The repetition always starts at the end of the sequence itself or at the end of the latest (timewise) sequence. Number of Copies: This is where you enter the number of copies (excluding the original). Adjustment: This is where you determine whether you want a copy to begin exactly at the end of the original (or the previous copy) (setting: None) or whether you want the start-point to be quantized. In most cases the Auto setting will do what you want. Please also note that there is a sequence parameter called Loop, which repeats a sequence over and over up to the next object on the same track (see the section Loop from page 148 onwards). This may be preferable to copying sequences in many cases. N.B.The loop parameter only works on MIDI sequences and audio regions. It does not work with Audio Instruments. This behavior may be changed in a future update.
Altering the Length of Sequences

Grab the sequence at the bottom right corner with the pointer or pencil. You can now move the end of the sequence wherever you want. Even when you shorten sequences the data in them is never deleted; playback just stops at the end of the sequence. of multiple selection You can change the length of multiple objects in the same way. The length will be changed by the same absolute value. to the same absolute length: If you want to make all selected sequences the same absolute lengtheven if they had different original lengthssimply hold ctrl shift while changing the length (just as in the Matrix Editor or the Event List). to the same end position: If you want to end all selected sequences to the same time hold shift while changing the length. Adjusting the start: You can also adjust the length of the sequence by click and holding on it at the bottom left corner. However, you can never move the left corner beyond the first event in the sequence, i.e. you can never hide events from the front. If you want to remove the start of a sequence you first need to cut it and mute or delete the start. 143
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N.B.Adjusting the start point of an audio region is not possible beyond the actual start of the underlying audio file. You can adjust the audio region startpoint to the right, and the end point can be freely adjusted as per MIDI sequences. See the section Using Audio in the Arrange Window from page 160 onwards. rounded to whole bars: The function Functions > Object > Snap Objects rounds the start to the nearest whole bar. When you lengthen or shorten sequences this never alters the position of the events contained within it. If you wish to do so, please do the following: by time-compressing or -expanding: Hold down ctrl while you are altering the length. The timing of the events in the sequence will be stretched or compressed in proportion to the amount by which youve altered the length. Using this method you can make a rhythm sequence play half-time by stretching it to twice the original length, or double-time by shortening the length to half the original. N.B.This technique can not be used on audio regions in the Arrange window. You can, however, time stretch or compress your audio files by using the time-stretch function discussed in the section The Sample Edit Window from page 247 onwards. to adjust it to fit its contents: The function Functions > Object > Set Optimal Object Sizes reduces or increases the length of an object so that it is just large enough to contain the events (or other objects) within it. The object borders are rounded to the nearest bar. If you hold down alt when you select this function the borders are rounded to the nearest beat instead. to adjust it to fit other sequences: When you choose Functions > Object > Remove Overlaps all selected sequences in a track are searched for overlaps. If an overlap is found the sequence that begins first is shortened by enough to remove the overlap. Choosing Functions > Objects > Tie Objects by Length Change all selected sequences will be lengthened until the beginning of the next sequence on the same track.
using a Finer Grid

All of these operations (moving/copying, lengthening/ shortening) snap to the bar or beat grid (dependent on the current resolution of the bar ruler and the setting of the 144
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zoom function). However, there are two ways of reducing the grid: Display Format values as grid scale: alt + operation. No grid (ticks as grid scale): alt shift + operation. All you need to do is hold these keys during the particular operation. Lets say you want to shorten a sequence in a 4/4 bar so that the 4 is played but not the 4 and of the last bar. Enlarge the screen display until you can see quarter notes in the bar ruler. Now click and hold on the bottom right corner of the object and move the mouse to the left until the sequence is shortened by one quarter note. Then press (and hold) alt and move the mouse carefully to the right until the sequence has become one division longer. While you are doing this the right side of the Arrange windows title bar shows the track number followed by the current length of the object in bars, beats, divisions and ticks. The three right-hand numbers should be 3 1 0.
Dividing Sequences
Choose the scissors. Now click the desired sequence(s) and keep the mouse button held down. The left side of the title bar of the Arrange window shows the current position of the mouse. When you release the mouse button, all selected objects are cut at the relevant position. The grid is based on the Display Format value. This value is displayed and editable on the Transport window, just below the Time Signature indicator. If any notes overlap other notes by more than a 1/16 note, the following dialog will appear on-screen: Overlapping Notes found! Do you want to keep, to shorten or to split those? [KEEP|SHORTEN|SPLIT] KEEP (default) leaves all notes unaltered. The sequence is cut as usual, but when you do this, you can end up with notes in the left-hand half that are much longer than the sequence now is. Such notes are played normally, unless shorten is used. SHORTEN truncates all overlapping notes, so that they end at the point where the sequence was divided. SPLIT divides overlapping notes across the two sequences created when a cut is made; two subsequent notes are created, with the same pitch and velocity, and the same total length as the original note. multiple division with the scissors: If you hold down ctrl while cutting an object with the scissor tool, the selected sequence will be cut into several pieces, whose lengths are determined by the length of the first segment.
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For example: To divide a 16-bar sequence into 8 2-bar sequences, cut the sequence at the start of bar 3 while holding down ctrl.
Merging Sequences
You can merge two or more selected sequences in a track into a single sequence by clicking on one of them with the glue tool. This merges all selected sequences, even those on different tracks, into a single sequence in which all of the events from the individual objects retain their original time position. Be aware that the individual MIDI channels are replaced by the MIDI channel of the current track. The new object adopts the name and track of the first (timewise) of the merged objects. See the section Merge/Normalize and MIDI Channels from page 151 onwards for more on this.
Demixing Sequences
The Functions > Demix > Demix by Event Channel searches the selected sequence for events with different MIDI channels. A separate sequence containing all of the relevant events is created for every MIDI channel found. Each of these sequences is created on a track with the same MIDI channel. If no such tracks exist the tracks are created on a track with the original channel. Functions > Demix > Demix by Note Pitch searches the selected sequence for notes with different note numbers. A different sequence of the same length is created for every note number found. The tracks created for these sequences have the same channel as the original sequence. This feature is especially useful for separating drum parts that have been recorded into MAGIX midi studio 2005 deLuxe via a drum machine.
Muting sequences
Often when you are arranging, you will want to test musical ideas out by muting certain objects. This is what the mute tool is for. You can mute individual or selected objects by clicking on them with the tool. They are then displayed with a dot before the object name. Clicking a muted object reverses this state (unmuting). You can perform the same function using the Mute Sequences Key Command.
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Soloing sequences
You can solo any selected sequences using the Solo button in the Transport window or the Key Command of the
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same name. Double-clicking on the Solo button locks the soloed status, so that changing the selection doesnt affect what is being soloed. This is especially useful when you want to make changes to the Playback parameters of a sequence while listening to a specific solo group. A further click (or using the Key Command again) quits solo mode. For more on this, read the section Solo and Solo Lock from page 124 onwards. The solo tool (found in the Event List editor) enables you to solo individual or selected objects by clicking them and holding down the mouse button. Release the mouse button to end solo listening.
Naming a Sequence
One sequence: click the sequence with the text marker tool and a text input box appears. Enter the name and press return, or click another object, or the background. The same applies if you are entering the name in the sequence parameter box.
Special Functions
Inserting events: MIDI events can be added directly to the selected track on the Arrange window, at the current song position, from one of the edit windows (or even from another song) via the clipboard. This function allows you to insert MIDI eventse.g. from the Matrix Editordirectly into the Arrange window. midi studio checks as it does this that you have selected a sequence, and then adds the data to that sequence. If you have not selected any sequences, midi studio will create a new sequence on the selected track.
Sequence Playback Parameters

The sequence parameter box is located to the left of the track list above the tool box. Displaying Sequence Parameters: When you select a sequence object, its parameters are automatically displayed in the sequence parameter box. If the sequence parameter box isnt visible, select View > Parameters. None of these parameters alter the original data of the sequence, they only affect the playback. Default Sequence parameters: If no sequence is selected, the upper line of the sequence parameter box will read MIDI Thru. When you record a new sequence, the settings in the MIDI Thru parameter box are carried over into the new sequences parameter box. The MIDI 147
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Thru parameter box can therefore be viewed as an adjustable default parameter box. Real-time processing: By now you should understand that incoming MIDI data is always relayed through the track that is currently selected. What you may not know is that this data is processed through the previously described MIDI Thru parameter box. The MIDI Thru parameters are always displayed and editable when there are no sequences selected. (click on the window background to deselect all sequences). Editing Several Sequences Simultaneously: If several sequences are selected, the number of selected sequences is displayed, instead of the name. If you now alter any sequence parameter this alteration affects all of the selected sequences. If a parameter was set differently in the individual sequences, a * appears. You can still alter this parameter for all of the selected sequences and the value differential will be retained (relative alteration). If you want to set the same value for all of the selected sequences hold down ctrl while you input the value (absolute alteration). Opening and Closing: To the left of the name is a small triangle; clicking this toggles between showing or hiding the contents of the box, just like folders in the Windows Explorer. Closing the box leaves more room for the elements below. The Sequence Parameters: If a sequence parameter is set to its default value, the display of the parameter value is hidden to make the display clearer. Name: The top line in the sequence parameter box simply shows the name of the selected sequence. Qua: Covered in section Quantization from page 151 onwards. Loop: Value range: On or Off. Normal value: Off. When switched On, the object is repeated on its track until it comes up against another object. A loop also finishes at the song end marker. These repeats are displayed as grey beams (with no object name). The length of each loop is exactly the same as the length of the original object, so if you want to create polyrhythmic structures, try experimenting with the length of the original object.
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To end a loop early simply create an empty sequence with the pencil at the desired beat. The Toggle Loop Key Command may be used to switch the loop parameters of selected objects on and off. Functions > Sequence Parameter > Turn Loops to Real Copies transforms the loops into real copies of the original object and simultaneously switches the Loop parameter for the resulting objects to off. Transpose: Value range: 96 semitones. Normal value: 0. All note events contained in the sequence are transposed up or down by the selected amount during playback. If you want to transpose by octaves, click and hold on to the left of the parameter field between the word Transpose and the actual value. This opens a flip menu to allow direct input of octave transpositions. Velocity: Value range: 96. Normal value: 0. All notes in the relevant object are offset by the selected value. Positive values are added and negative ones subtracted, although naturally it is impossible to go outside the limits prescribed by the MIDI Standard (0127). If you select a velocity offset that exceeds the maximum or minimum possible value for a particular note, that note will play at the extreme possible range. For example, a setting of +20 will cause a note with a velocity of 120 to play at 127. Dynamics: Normal value: 100%. This parameter also affects the velocity values of the notes, but instead of adding or subtracting a fixed amount, the differences between soft and loud notes (the dynamics) are increased or decreased. This works in a similar way to a compressor or expander. Values above 100% expand the dynamics and so increase the difference between loud and soft, while values below 100% compress the dynamics, i.e., reduces the differences in velocity. The FIX setting means that all notes are transmitted with a velocity of 64. When used in conjunction with the velocity parameter (see above) it is therefore possible to set any fixed velocity value.
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Gate Time: Value range: see diagram. Normal value: 100%. The term gate time stems from the technology used in analog synthesizers and refers to the time between pressing and releasing a key. This parameter therefore affects the absolute note duration or length. This should not be confused with the musical note value, which normally refers to the amount of time until the next note. The technical term gate-on time or note length is described musically as extreme staccato and legato. The parameter range is referenced to this scale. Fix means extreme staccato; likewise the other values below 100% shorten the note lengths. Values above 100% lengthen the notes. The leg. setting produces a completely legato effect for all of the notes, no matter what their original lengths, eliminating all space between notes in the selected sequence. Gate time is a real-time process which only affects the playback of notes. It does not actually change the data, and this can be used to great effect on bass lines to make them more punchy. Delay: Normal value: 0. This parameter alters the time position of the selected objects. Positive values correspond to a delay (laid-back playing style or dragging), negative values cause a pre-delay (driving or rushing). The units are ticks. A tick is the smallest time resolution in a sequencer, which in the case of midi studio is 1/3840th note. On the right side of the delay value field you can use the mouse as slider to input the value. If you click to the left, between the word Delay and the delay value, the flip menu shown here appears for you to set the delay in terms of note value. The delay parameter is mainly used for musical purposes. It is also a way of fixing timing problems that may occur for a variety of reasons. Some examples of these are: The attack phase of the sound is too slow. A good musician will automatically compensate for this by playing the notes slightly early. With very slow sounds you may need a pre-delay of over 100 ms to even them out. The sound generator is reacting too slowly to the incoming note-on messages. Older multi-timbral sound generators often take tens of milliseconds before beginning to output a voice. This effect may be better compensated for by using the delay parameter in the track parameter box, since this will affect all sequences on all tracks sending to the slowly reacting device. 150
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The delay in outputting the voice is not constant because it depends where it comes in the order of notes arriving serially at the sound generator. You should therefore try pre-delaying rhythmically important tracks by as little as one tickit can work wonders! Fixing/Neutralizing Sequence Parameters: You can normalize the sequence parameter settings of all selected objects using the command Functions > Sequence Parameter > Normalize Sequence Parameters (Normalize). This means that all settings are actually written to the data and the playback parameters resume their normal values. The audible result remains the same. The loop is not affected. Merge/Normalize and MIDI Channels: Just like the Glue tool, the Normalize function is intelligent with respect to stored MIDI channel numbers. If all stored events have the same MIDI channel number, the channel will be changed into that of the current track. If the events are on different channels, midi studio will ask whether you would like to convert the channels or not.
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Quantization
Quantization is the rhythmic correction of notes to a specific time grid. Any inaccurately played notes are moved to the nearest position on this grid. For example, if the smallest notes in a passage are 1/16th notes, you should use 1/16th quantization to move all recorded notes to their ideal rhythmic value. This will only work if no note has been played more than 1/32nd from the ideal position, otherwise the note will be moved 1/16th later or earlier than the proper position.
How It Works
Quantization settings are made in the sequence parameter box. They are non-destructive playback parameters, so they can be replaced by another setting at any time. This also means that by setting the Qua parameter to off (3840) you can always revert to the unquantized original recording. Unlike other playback parameters, quantization affects the way notes are displayed in the editor windows, thus allowing you to see from the position of the notes what effect the quantization parameters are having. The quantization affects only notes, not other types of events (e.g. controllers). For every note event, two positions are stored internally: the original position that was played in, and the playback position (also shown in the Editor windows). For unquantized sequences, both positions are the same. Each time 151
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you quantize, a new playback position is calculated from the original position. The Fix Quantize command (see the section Fixing the Quantization from page 153 onwards) overwrites the original position with the playback position. The same thing happens if you change a note in one of the Editors manually although then you cant return to the original value. What events can be quantized: Quantization only works on notes, not on other types of events like controllers. Apart from notes, all events have just one position parameter, which you can leave or change permanently by using Event Quantize or dragging with the mouse. To quantize events other than notes, read the section Quantizing Events from page 113 onwards. Essentially, quantization works on the whole sequence. To quantize single notes only, use the note quantization in one of the Editor windows (see the section Note Quantization from page 113 onwards). Keep in mind that this overwrites the original record position of the quantized note. If you wanted to quantize various parts of a sequence differently, you could divide the sequence up, and use different quantization settings on each part of the sequence. You can then recombine the parts of the original sequences without this affecting the way the parts are played. The quantization grid always begins at the start of a sequence. If the sequence does not start at the beginning of the bar, neither does the quantization grid. Qua: The quantization grid is accessed from a flip menu under the Qua parameter in the sequence parameter box. Quantization off: The setting off(3840) plays the notes with the finest possible time resolution: 1/3840 note, which is practically unquantized playback. Normal quantization: The settings 1/1, 1/2, 1/4, 1/8, 1/16, 1/ 32 and 1/64 note quantize the sequence to the equivalent note value. Triplet quantization: The settings 1/3, 1/6, 1/12, 1/24, 1/48 and 1/96 note quantize the sequence to triplet note values. A 1/6 note is equivalent to a quarter triplet, 1/12 note to an eighth triplet, 1/24 note to a sixteenth triplet and 1/48 note to a thirty-second triplet, etc. Mixed quantization: The setting 8 & 12 corresponds to eighths and eighth triplets, 16 & 12 to sixteenths and eighth triplets and 16 & 24 to sixteenths and sixteenth triplets. Mixed quantization always applies both note values and thus naturally requires greater precision when playing. 152
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Odd quantization: The setting 9-Tuplet means novetuplets (1 bar = 9 beats), 7-Tuplet is septuplets (1 bar = 7 beats), 5Tuplet/4 is quarter quintuplets (1 bar = 5 beats), and 5-Tuplet/8 is eighth quintuplets (1 bar = 10 beats). Fixing the Quantization: In the same way that the other sequence parameters can be normalized, the quantization settings can also be adopted permanently by the stored data. To do this, use the menu command Functions > Sequence Parameter > Fix Quantize (Key Command Fix Quantize). Of course once this is done it is impossible to revert to the original recording. Pre-quantization: The Fix Quantize function is especially suited to pre-quantization. For example, if a recorded sequence cannot be immediately quantized to a 1/16 swing without producing a few incorrect notes, start by quantizing it to 1/16th notes and then select Fix Quantize. You can now apply any swing quantization to this cleaned-up version of the sequence. If you are recording a hi-hat pattern consisting of 1/16 notes and one single 1/32 note, first play the rhythm (quantized to 1/16 notes) without the 1/32 note and select Fix Quantize. You can now raise the quantization to 1/32 notes and add the extra note without quantizing any badlyplayed 1/16 notes.
Groove
In the early days of sequencers, many people thought that electronic music sounded mechanical or sterile. This impression (which, at the time, might have been a fair observation) was based on the fact that sequencers could only output notes that were quantized. This is no longer the case. midi studios resolution is so high that at a tempo of 120 it can differentiate between two notes that are just 520 microseconds apart. This is equivalent to a single oscillation cycle of the highest note that you can play on a soprano saxophone! So, if you think modern sequencers always sound mechanical, you probably havent yet had the pleasure of working with midi studio. Of course, using the abovementioned quantization functions, it is still possible to generate sterile timing if that is what you actually want.
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HyperDraw in the Arrange window
HyperDraw for all Mixer and Plug-in parameters: HyperDraw graphically displays any MIDI controller data recorded in the Arrange Window. HyperDraw also allows the editing and drawing of MIDI controller events, through use of the Pencil Tool. In addition to Volume and Pan, MAGIX midi studio 2005 permits editing of all recorded Mixer and plug-in parameter movements via the use of HyperDraw in the Arrange Window. This is done much the same way as with Volume and Pan. To record your parameter movements, select the track youd like to work with, activate record, and perform your parameter movementsevery parameter will be recorded as MIDI controller messages. To view the recorded controller data, select the respective track and select the View > HyperDraw menu item. In order to see the HyperDraw curves in the Arrange Window, you may need to zoom-in until the tracks are large enough to display the curves. Repeated use of the Autodefine menu option will step through all MIDI controller numbers recorded on the selected track. You can jump to a specific controller number by either selecting it from the list of most commonly used controllers (View > HyperDraw > ) or by using the Other HyperDraw menu option, and typing the desired controller number into the ensuing floating window. Volume, Pan example: HyperDraw is the easiest way to create and edit volume and pan changes in the Arrange window. The changes in MIDI data are made by graphically inserting points, which represent fixed controller values. The points are then interpolated automatically by midi studio, which creates a series of events to smoothly connect the MIDI data from one fixed point to another. These automatically generated events are recalculated every time you edit the curve points.)
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HyperDraw is activated on a per sequence basis. For example, you could open HyperDraw windows to control volume in one sequence, and pan in another.
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In sections where the MIDI data being edited does not change in value, the data curve appears as a thin, horizontal line. You must define a large enough vertical zoom resolution in order to see the HyperDraw curves. Activating HyperDraw: To activate HyperDraw for the currently-selected sequence(s), select View > HyperDraw > Volume (example). You can select different HyperDraw modes for different sequences Event type: You can choose from the following types of events directly from the HyperDraw menu Volume Panning MIDI Channel: By selecting View > HyperDraw > Channel you can choose the MIDI channel on which events will be displayed and edited. If you select any here, events will be shown regardless of their MIDI channel. When inserting events, the most recently selected MIDI channel will be used. Display: When sequences are displayed in HyperDraw mode, both the MIDI channel and the Controller being edited are displayed on the left, divided by a comma if a MIDI channel has been selected.
MIDI channel (1)
controller # (7; Volume)
If the channel is set to any (default) the first number (MIDI channel) will not be displayed. Then the controller events of all channels will be displayed. Inserted events get the channel of the track. Deactivating HyperDraw: To switch off HyperDraw for selected sequence(s) choose View > HyperDraw > off. HyperDrawFunctions: Making HyperDraw visible: If you cant see the blue HyperDraw window, increase the vertical resolution (zoom) of the Arrange window, either with a Key Command, the zoom bars, or by holding down alt and using the magnifying glass tool. Quick Delete: You can delete all events displayed in HyperDraw for a sequence by shift ctrl-double-clicking in the blue HyperDraw area. Adding new points: Just click on the blue background of the HyperDraw displayyou can use either the pointer or 155
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the pencil, and a point will appear. As long as you hold down the mouse, you can move any of these points. The position and value are displayed in the Info Line on the bottom of the screen. No events will be inserted into the sequence until you release the mouse button. Deleting points: Click briefly on any point to delete it. Moving an existing point: Just click and hold on a point with the mouse and move it. If you hold down the mouse button while you do this, you can restore erased curve points by dragging the mouse over where they used to be. Technically the points arent erased, but are simply updated and held in a RAM buffer while the mouse button is held down. When dragging your mouse back across a point which previously existed, the data held in the RAM buffer is reversed and your previous HyperDraw curve points reappear. Fine-tuning curve points: While you move a point, hold down alt. You will then be limited to moving the point vertically, but be able to select all 127 possible steps. Using Colors with HyperDraw: You can globally assign colors for different controller numbers and MIDI channels, which are then used as presets to display the HyperDraw lines. However the background color for HyperDraw (blue) is fixed. Select a HyperDraw sequence, open the color selection window by choosing View > Object Colors and choose a color. This will globally assign the color to this controller and channel. Now whenever you select this controller on this channel in any song, the color assignment will be used. If you want to change the color of a sequence, you must first deactivate the HyperDraw function. Making practical use of HyperDraw: HyperDraw is very simple to use. Select View > HyperDraw > Volume. A blue area appears beneath the sequence name and by clicking here with the mouse you can insert or delete the points. You can also move the points by holding down the mouse button. While you are editing an Info Line appears at the bottom of the screen indicating the bar position and controller value. If you want to edit pan values select View > HyperDraw > Pan. This means that only pan events will be generated and displayed. This rule applies to both types of events, i.e. only one typeVolume or Pancan be displayed at any one time. 156
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If youve selected Cha: All in the current track parameter box, so that all MIDI channels 116 will play back, you will need to choose the MIDI channel you want to edit via View > HyperDraw > Channel Editing Edges, Move and Copy with HyperDraw engaged: You can still move and copy sequences that have HyperDraw active, by click and holding on them by their top edges in the title list. When HyperDraw is active, you can still change the start and length of a sequence, but you need to click and hold on it in the top name zone instead of the blue HyperDraw area in order to move the left or right edge, or (for moving and copying), in the middle of the name area. Just delete the points by clicking on them and create them anew at the desired position. If possible, lengthen the sequence before and after the area in which you want to create controller changes. If HyperDraw starts behaving oddly Controller events will only be displayed if their MIDI channel matches the one set for HyperDraw (by selecting View > HyperDraw > Channel ). If you make alterations to a group of events (e.g. volumes) in another editor (e.g. the Event or Hyper Editor), the HyperDraw display will not update until you have selected or deselected the relevant sequence.
Altering the Display

For information on the basic window functions, please refer to the section Window Functions from page 100 onwards.
Display Menu
In order to maximize the usable space within the Arrange window, in the Display menu of the Arrange window you can switch off the display of both the Transport and the Parameters.
Object Display
Making Sequence Parameters Visible: Enlarge the display using the vertical bar. If the zoom setting is large enough, you will be able to see the sequence parameters displayed in the bottom half of all of the objects. Here you can directly edit the sequence parameters with the mouse (by means of sliders and/or flip menus).
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Contents Visible in the Object: If you vertically zoom the display further, you will be able to see the actual events contained within the objects.
Sequences show notes and controller events. Altering the Background of the Arrange: Use the function View > Grid to switch on/off a track/bar number grid in the arrange areas background. By default, the grid is active. View > White Background toggles the background between orange and white.
Reset Functions
To switch off stuck notes, click on the MIDI monitor in the Transport window, or hit STOP twice in rapid succession. In both cases, reset messages are sent, as defined in Options > Settings > Reset Preferences For hanging notesPanic Function: If the notes continue to sound, then your sound sources may not be able to respond to All Notes Off messages. If this happens, try the following: Double-click on the MIDI Monitor in the Transport window (or use the Key Command Send discrete Note Offs). Separate Note Off messages will now be sent for every note on all channels of every MIDI port. That should do the trick. Unwanted modulationController Reset: Options > Send to MIDI > Reset Controllers transmits a control change message #121 with the value 0 (reset all controllers) on all MIDI channels and outputs used by existing tracks. This neutralizes all sound alteration caused by MIDI controllers like modulation or pitch wheels. If some sounds are suddenly too quietVolume Reset: The function Options > Send to MIDI > Maximum Volume transmits a control change message #7 (main volume) with a value of 127 on all MIDI channels and outputs used by existing tracks. This sets all channels to their maximum volume, giving your sound sources the optimum signal/noise ratio.
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If volumes and other settings within the Mixer window are not correct : Use the Options > Send all Mixer Data function from within the Mixer. This will send all current mixer settings to your MIDI devices. As a couple of reasons why the Mixer settings wouldnt be correctjumping to a different song position or adjustments made directly on an external MIDI controllerlike a fader on your MIDI keyboard could change levels in your MIDI devices. The Send all Mixer Data function will send the current Mixer settings to your devices and set levels and pan positions etc. which match those set on the Mixers faders.
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Using Audio in the Arrange Window Using Audio in the Arrange Window
In this section, well take an in-depth look at audio region handling in the Arrange window. Once again, some of this has been covered in the Tutorial, but if you really want to become a midi studio expert, take a good look through the info here.
Regions in the Arrange Window Creating Regions

When you record audio, midi studio automatically creates regions which represent your recording both in the Arrange window and Audio window. To import an existing audio file recorded in another application or from another midi studio song, it is necessary to manually place the region into the Arrange window. Immediately after importing audio files from other songs, we recommend physically copying the files to the current song folder using the Audio window function Copy Files. Answer Change References? with Yes, otherwise destructive editing of these audio files will also affect the original song. To play back a region at a specified point in a song, you need to place the region in the Arrange window first (section Adding a Region to the Arrangement from page 237 onwards). A quick reminder: when you place regions onto tracks, dont forget to allocate each track its own audio object. For more information about this, take a look at the section Audio Tracks: Basics from page 167 onwards. Inserting Audio Files using the Pencil tool: Audio files can be inserted by shift-clicking on audio tracks with the Pencil tool at the desired position. A file selector appears that lets you choose the file you wish to insert. The length of new regions inserted in this way defaults to the complete file length, which can be freely edited later. Dividing Regions: When you divide a region using the scissors tool, you create two new regions. The newly created segments of the region take the same name and append it with a sequential number. Resolution: When you are selecting a cutting point with the scissor tool, you can move it backwards and forwards in steps of one division. If you need a finer resolution, press alt after you have selected the sequence with the scissor point. To obtain the maximum resolution (ticks) press shift, as well.
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Using Audio in the Arrange Window

On Zero Crossings: If Edit > Search Zero Crossings is switched on, when editing in the Audio or Sample Edit windows, the divide-point is moved to the nearest zero crossing. When enabled, this also applies to all other methods of altering the start or end-point of a region in the Arrange window. Remember that this can cause the precise start-point and length of an region to differ slightly from the chosen value. In most cases, this will be inaudible.
Erasing Regions
Regions can be erased either by selecting them and pressing backspace, or by clicking on them with the Eraser tool. Erasing recordings: When you erase a region that you have just recorded (since opening the song), midi studio will ask if you also want to erase the corresponding Audio File. This is a good way to avoid using up unnecessary space on the hard drive by storing bad takes and unwanted recordings. If the recording was made before the song was loaded for the current session, this question does not appear. This prevents you accidentally deleting valuable recordings. Pressing backspace will only remove the region from the Arrange area. If you want to delete the corresponding Audio Files from the hard disk, you can do so by choosing Audio File > Delete File(s) in the Audio window.
Copying Regions
Creating New Regions: Copies of regions are made exactly the same way as MIDI sequencesby dragging them while holding down ctrl. This automatically creates a new region in the Audio window. The new region will retain the same name as the old one, but will be numbered sequentially. This allows you to alter the start and end-points of the copied region independently of the original. It is comparable to a genuine copy of a MIDI sequence, which is created in the same way. Making Multiple Copies of Regions: By choosing Functions > Edit > Repeat Objects you can make multiple copies of both audio regions and MIDI sequences. Further details of this function are described in section Making Multiple copies of Sequences. Another way to make regions repeat is to use the Loop parameter in the Region parameter box (see section Loop from page 164 onwards). 161
Using Audio in the Arrange Window X

The command Functions > Sequence Parameter > Turn Loops to Real Copies changes the loops into audio regions. The arrange objects which are created, however, represent the same region. Thus any alterations in the length of the region or audio material affect all objects.
Moving Regions
You can click and hold on regions in the Arrange window with the mouse and move them around just like MIDI sequences. Movements are made in steps of one beat (e.g. quarter notessee below). If you hold down alt while moving sequences, you can move them in steps of one division (in sixteenths, for example). If you hold down alt and shift while moving sequences, you can move them by single ticks (maximum resolution). You can also use the Delay parameter in the Region parameter box to shift the placement of the regions (see section Delay from page 164 onwards). Fine-tuning: In practice, a resolution of 1 tick will usually be fine enough. To move a region by a finer resolution than ticks, i.e. by a resolution of 1 sample word, please use the Anchor in the Audio window or Sample Edit window. Dont forget that all cloned regions in the Arrange window will be affected as well. Moving sequences in the Event List: You can also move sequences by inputting data in the Event List. Select the region you wish to edit and select Windows > Open Event List. You can then move sequences by units of a single tick if you wish, by changing the value in the Position column.
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Audio files in the Arrange window 2 can also be displayed alphanumerically in the Event List 1. Highly accurate position or length changes can be carried out easily using the Event List. Inserting at the record position: You can copy (ctrl c) or cut (ctrl x) a region into the Clipboard, and then use Edit > Paste at Original Position to insert it into the selected track at the original record position.
Changing Start and End Points

You can shorten or lengthen any region by click and holding on it by its lower right hand corner with the mouse and dragging it. You cannot make a region longer than its original audio file. This means that all of the other regions derived from that region will be lengthened by the same amount. Of course, the same goes for any changes you make to the start point of a region. Such a change can be made by click and holding on the lower left edge of the region with the mouse and dragging. You can edit start and end points much more accurately with the Sample Editor, which can be opened by doubleclicking on the region. Simply slide the Sand E markers to change the Start and End points of the region. While moving the start point, use the ctrl-key to make sure that the Anchor, and therefore the timing relative to the rest of the arrangement, remains unchanged. Keep in mind that the Anchor must be inside the region. If you wish to move
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the start point to the right, first move it to the approximate desired position while in the Arrange window. Then open the sample editor and use the ctrl-key to move the start point to the exact position. Adjusting the Grid to Zero Crossings: If Edit > Search Zero Crossings is switched on, every time you alter the start or end point of a region in the Arrange window, the adjustment will snap to the nearest zero crossing of the waveform. The Anchor is not affected. The disadvantage of this option is that after you have altered the start or end points they will never be exactly on the chosen musical grid, but will always be a few ticks out. Normally this will not matter, because the Anchor reference point is not affected. However, if this causes problems in special situations, you can switch off the Search Zero Crossings option. The primary reason to have zero crossings enabled, is that it prevents clicks and pops at region start and end points.
Region Parameter Box

Name: Just as with MIDI sequences, the top line of the sequence parameter box is for giving a name to the region. You can name several selected regions at once; the regions are then given the same name and distinguished only by different numbers at the end of the name. MAGIX midi studio 2005 inserts these numbers automatically unless you deliberately leave a space at the end of the name. When you change the title of a region, the corresponding region is also renamed in the Audio window. Loop: As with MIDI sequences, you can use the loop parameter to set a region to loop automatically. The loop repeats until it reaches the next region on that track or the end of the song. Dont forget that these loops are based on the sample grid of the region. This means that even if the song tempo matches precisely, after a while the loop repeats may start to go out of sync. You can avoid this by setting the end point of the region to an exact measure boundary. In these cases, it may be better to use the Repeat Objects function (section Edit Functions from page 110 onwards). Delay: Just as with MIDI sequences, you can advance or delay the playback of regions, the smallest available units being ticks.
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The Region Anchor
The Anchor is a regions temporal (time) reference point. When you move a region, its not the start point that is displayed in the Info column, as with MIDI sequencesits the Anchor point. To guarantee perfect sync between (for example) a one-bar drum loop and your sequencer, the Anchor must be assigned to a well-defined musical point. If the loop begins with a significant level peak (say a kick drum beat), set the Anchor to the point where the volume of that beat is at its precise peak.
The following procedure can be useful in determining whether the Anchor is set to its optimum position or not: play a drum sequence in via MIDI that duplicates the main rhythmic stresses of the drum loop. You should then be able to correct the Anchor position by ear.
1 2
3 5 4
The changes made to the position of the Anchor in the Audio window (2 and 4) directly affect the region in the Ar-
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range window (1 and 3). The position of the audio shifts relative to the sequencers time axis, while the Anchor remains tied to the same bar value, and is marked by a dotted line 5.
MIDI Sequences and Regions compared

The following table sums up the main differences between audio regions and MIDI sequences. There are some notes at the bottom of the table to clarify the most important points.
Characteristic MIDI sequences Regions Composed of discrete data Can be given names Sequence parameter Loop available Sequence parameter Quantize available Yes Yes Yes Yes No, because regions are just references to parts of audio files Yes Yes No, but the position of regions themselves can be quantized, using the Event List display on the Arrange level No No No No Yes Yes Yes, and this affects the audio region, but not the position of the audio signals relative to the time axis of the sequencer Yes, creates new regions Yes Yes, a variable Anchor. This affects all of the regions derived from one region and can change the position of the audio signals relative to the time axis of the sequencer Yes Yes
Sequence parameter Transpose available Sequence parameter Velocity available Sequence parameter Dynamics available Sequence parameter Gate Time available Sequence parameter Delay available Freely positionable Left or Right Corner Edit
Yes Yes Yes Yes Yes Yes Yes
Can be cut with the scissor tool Concealable intro Have a variable musical reference point
Yes No No
Can be turned off with the Mute function Can be soloed
Yes Yes
Naturally, some of the parameters that can be applied to MIDI events have no effect on audio signals. Only regions have the flexible reference point provided by the Anchor. The fundamental functions (such as the freely determinable position and length, and the ability to name, mute, and solo) are generally available to both MIDI sequences and audio regions. 166

Audio Recording
This section deals with audio recording only. For details on general preparations before making an audio recording please refer to the relevant sections in the Audio Driver chapter.
Audio Tracks: Basics

In the preset Standard Song the audio tracks of all tracks of the hardware are pre-defined (Audio1 to AudioX). Adjustments to the audio objects can be made directly from the Arrange window. The Audio Track Parameter Box is located under the Toolbox. There you can set the icon of the audio track and the MIDI channel, on which the corresponding mixer channel receives its MIDI data. Val determines whether the fader of the corresponding mixer channel shows its value in dB ( dB to +6 dB) or as regular MIDI values (0 to 127). In general, the following will not be necessary as the default hardware settings will be taken care of when midi studio is first installed. By default hardware settings, we mean that the device and channel settings, plus a number of audio objects appropriate to your hardware and version of midi studio will automatically be created. Having said this, its important that you read the following information to understand how to set up Audio tracks and Audio Instruments as all audio objects are created and behave in a similar way. The fields Dev and Cha are essential. Under Dev you can set the driver of your audio card. Using Cha you can determine the channel your audio card will use to play back MIDI mix information. (The Audio faders use MIDI for the recording and playback of automation information) Normally you dont need to know this, because your standard Song is set automatically (as mentioned above). Generally, when you create a new track via Track > Create Audio Track, it will select the next free audio channel and the active audio device. If, on the other hand, this does not occur when you create a new audio track via Track > Create Audio Track, you will need to deal with these settings. If the newly created audio track is not equipped with the R switch to record-enable the track (see below). The reason is that for this new audio trackCha in the Audio Track parameter boxhas not been assigned a channel i.e: Cha is set to off or a different type of Audio object. Click-holding on the off text opens a hierarchical flip menu where you can assign an audio channel for your card. Having done this with an appropriate audio object,
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the R switch of this track will appear. We will describe the function of this switch in the section Arming Tracks from page 168 onwards.
Hierarchical Menus in the Audio Track Parameters

The Cha parameter in the track parameters box behaves differently for audio and MIDI tracks. On MIDI tracks, an appropriate MIDI channel can be selected from this menu. On audio tracks, an appropriate type of audio channel can be selected, dependent on what you would like to do with the audio track. Among the options, you will find the following types of audio objects when the Cha parameter in the track parameters box is click-held on. These will appear in a hierarchical flip menu, which looks similar to that shown. Audio TrackThis is an audio playback track Audio InstrumentThis is for use with the MAGIX software instruments or VST 2.0 compatible instruments BusThis is your effects channel OutputThis is the main output fader for MAGIX midi studio. You may have more than one fader available here, if you run MAGIX music studio 2005 deLuxe and appropriate audio hardware.
Arming Tracks
1. Method: Click the red R button on an audio track in the track list. If the switch is still not visible, you should switch on the driver for the relevant audio hardware in Audio > Audio Preferences Audio Driver and then restart midi studio. 2. Method: Open the Mixer by pressing ctrl + m or by selecting Windows > Open Mixer. Click on the REC button of the audio fader which corresponds to the track you wish to record to. It will flash to indicate that it is armed for recording. Click the audio faders REC button a second time to disarm the track. N.B.Audio tracks can record or play back either stereo or mono audio files. It is therefore important that you change the mono/stereo setting of the armed fader discussed in the section Stereo playback from page 231 onwards in the Mixer window. MAGIX midi studio 2005 can record either mono or stereo files and only one input (or one input pair, in the case 168

of stereo recording or two mono recordings) can be used at a time. You can only make audio recordings on a track that has been armed, regardless of the track currently selected in the Arrange window. Note: If a MIDI track is selected, you can ONLY record MIDI events. The selection of a MIDI track automatically arms it for recording, so there is no need for a R button on MIDI tracks. There is one exception to this rule if an audio track is armed, but a MIDI track is selected. In this scenario, audio data will be recorded to the armed audio track. If you select an audio track, youll record on the track/s that have been armed (record enabled). Space is reserved on the hard disk for armed tracks, and is no longer available for Undo files. For this reason midi studio will automatically disarm audio tracks if editing in the Sample Editor when the hard disk is nearly full. You can record simultaneously on one MIDI track and one (armed) audio track by clicking the MIDI track and the audio track, while holding down shift. If several Arrange window tracks are assigned to the same audio track (e.g. Audio 1), then the new audio file (or region) will be recorded to the selected (audio) track. Disarming all tracks: If several tracks are record-enabled, you can instantly disable them all at once by clicking one of the flashing REC buttons while holding down ctrl.
Recording Modes
midi studio gives you many options for starting audio recordings at various points in your song. Before we begin on this section, we would like to refresh your memory on this topic covered in the printed manual.

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As an example, this illustration shows the control panel for the Creative Labs SoundBlaster Live sound card. You will find similar utilities for hardware from other manufacturers. The playback level for audio recordings is controlled via the Wave/DirectSound slider. This control is placed after midi studios output. This means that midi studios master output fader (in the Mixer) can only control the full output dynamic range if this slider is set to its maximum. The dynamic range is the difference between the quietest and loudest signals in your audio recordings. You can also switch views to display a mixer control panel that allows you to set the input level for each input source via Options > Properties > Recording from within the control panel shown above. Disable each input source that you dont plan to record (usually everything except the line-in) by unchecking the checkbox found at the bottom of each fader. Tip: The line-in will usually provide the best results. Try to avoid the use of the sound cards microphone input, especially with cheaper audio cards. It is a better idea to use an external microphone preamplifier, such as that found on a mixing desk, and then record via the line input. If you dont have a mixer, you can use the microphone IN on your home hi-fi and run out of its LINE OUTS, if these connectors are available on your stereo systemnote that not all do. The Volume control can be accessed more easily if you check the option to Show Volume Control on Taskbar in Control Panel > MultiMedia > Audio This will place a loudspeaker icon on the taskbar, which will reveal a master volume control when clicked once with the mouse.

Standard Recording with Count-In: You can start recording at any point you like in a song by setting the Song Position Line to the desired place. If the audio tracks you want to record to are correctly set, and the necessary input signals are connected and properly adjusted (as we just discussed), simply hit the record switch on the Transport bar, or press *. A count-in will sound. Signals will be recorded during this time. Dependent on the number of tracks required, and the driver/soundcard used, midi studio MAY pause for a short time between the record button being pressed and the recording actually starting. This pause is due to a record buffer being calculated which will provide midi studio with enough breathing space to ensure that it records your audio take properly. After all, there would be nothing worse than playing your guitar or singing a perfect take, only to find that it wasnt recorded properly to your hard disk. The record buffer pause can be considered a safeguard against this. During recording, the Recording float window opens. This displays the remaining recording time. To change the record time, open the Audio > Set Audio Record path option and in the ensuing dialog box, change the Maximum Recording Time parameter value. Tip: As a tip, you should not set this to a really large value if you record short audio files. In general, if you work with loops or audio regions under 30 seconds in length, you should set the record time to 1 minute. midi studio will automatically create a region in the Arrange window after recording. You can listen back to the new recording in the Arrange window as the overview is created. Pre-programmed Drop-Record: midi studios autodrop function can be used on audio tracks just as it can with MIDI sequences. You enable autodrop by clicking on the autodrop switch on the Transport bar. Here is a step by step breakdown of the procedure:
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207 AudioDrop
3 4 1
1 2
The autodrop switch must be turned on. You can set the autodrop locators numerically in the Transport window. 3 The autodrop recording zone is indicated by a yellow bar in the middle third of the bar ruler. (When recording the bar ruler will turn red and the cycle zone will turn green as shown in the image) 4 Recording only takes place within the autodrop zone you have set up, with the exception of a short lead-in just before recording is due to start (see below). The autodrop zone start and end points can be set either from the bar ruler or by using the locators in the Transport bar. Please note that if the Cycle function is switched on, you can set the Autodrop Locators in the window to the right of the Cycle Locators (under tempo). Start the recording. midi studio will begin recording about one bar before the drop-in locator; afterwards a region will be created that exactly corresponds to the length of the autodrop zone. This method allows the start of the region to be lengthened later if desired, so that the lead-in becomes audible. However, doing this does not change the position of the recording relative to the time axis. A small tip: if you wish, you can even define a small autodrop zone within a larger Cycle Zone (see below). This can be handy if a player needs to re-record a difficult passage in the middle of a song, and requires many attempts to get it right. Record and Pause Mode: If midi studio is in pause mode you can start audio recording by clicking Record Toggle, Pause or Play. Recording then begins at the current song position. Audio Cycle Recording: You can make audio recordings even when Cycle is switched on. A new track is created for every cycle. all of the tracks created are still played 172

via the same audio object. This prevents the tracks from being played simultaneously. If you stop recording just after the end of a full cycle, no region is created for the cycle which has just begun. However, the audio material is not lost, but is recorded after the last region in the audio file. The whole recording (during all cycles) is stored in a single audio file. This audio file is split into regions which are as long as the length of the cycle. The region for the previous cycle is automatically muted at the beginning of the next cycle. Audio Cycle Recording also works when you are simultaneously recording two channels (e.g. stereo tracks). After recording, please take note After youve made your first audio recording in a song, you should not make any further adjustments to the tempo of that song. Decide on a tempo and all of the changes in tempo well before the first audio recording, and stick to it! Audio recordings have a fixed playback rate and can only be matched to new tempos if youre prepared to go through a great deal of hassle. The time compression/expansion algorithms currently available only permit you to match audio to new tempos when the tempo differences involved are relatively small; if you try and use them to significantly change the tempo of your audio recording, its quality may be significantly compromised. If youve made your audio recordings in real time, playing them in over the top of, say, an existing MIDI arrangement, we dont recommend that you move the Anchor of any of your regions. You can make slight adjustments to the timing of your regions using the Delay object parameter.
Functions Automatic Tempo Matching

Amongst all its other amazing features, midi studio even has an automatic function for matching the length of a passage of free-form music with the length of an audio region. The length of the region remains constant here, but the sequencer tempo is varied automatically so that the region and the musical passage end up exactly the same length. To show how to make use of this function, we can take a one-bar drum loop as an example: Imagine youve recorded a drum loop live or from a sampling CD. Using the Audio window and the sample editor, 173

youve adjusted the start and end points of the audio region so that the loop cycles perfectly without any glitches. Now you take the drum loop region into the Arrange window, where it appears as an region. Make sure that you place the beginning of the region at the start of a bar. Construct a cycle in the Arrange window bar ruler whose length matches the intended musical length of the region. The drum loop is one bar long, so you should pick a cycle length of one bar to match.
In the bar ruler, set the cycle 1 to the desired musical length. The current length of the region is shown 2 this will be different to the cycle until you use the Adjust Tempo function Select Options > Tempo > Adjust Tempo using Object Length & Locators. The tempo is reset so that the region is now exactly one bar long, and fits the length of the cycle. This does not change the tempo of the audio, but rather makes the song tempo conform to the audio.
Digital Mixdown
Using midi studio, you can mix down audio data in the digital domain from within the Arrange window. This is done with the glue tool. This function is non-destructive, as midi studio always creates a new file for the mixeddown material. This new audio file is stored on your hard drive, so you should keep an eye on available space. To carry out a mixdown, select the glue tool from the toolbox and use it to select the required regions for mixdown (using shift if necessary).
X
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No Mixdown Situation: If there are several regions (mono or stereo) in a row on the same track, which have been cut out of one region using the scissors tooli.e. which originate from the same audio file, no mixdown is carried out. Instead, a single region is simply created over the entire area. This gives the desired result, without using up any additional disk space. MAGIX midi studio 2005 can recognize associated regions (they are associated because they come from the same audio file) even if there are gaps between the regions. The determining factor is that the relative position(s) of the regions in the Arrangement correspond to the relative position of the regions within the audio file. If you want to mix two regions in the Arrange window with identical region start points (this is the relative position thing, again) on tracks panned to opposite sides, no mixdown is carried out. The resulting mixdown file would be identical to the original audio files in the used areas of the regions. If you dont need the unused areas of the audio files select Optimize Files. Mixdown of Regions in a Track: If several regions that run concurrently (i.e. not after one another) are selected from one file, the program does not mix them down. Instead, you are asked to create a new audio file, which is named after the first region. The selected regions are then mixed together without any changes to volume, and without clip scanning. If there are empty sections between two regions, these are added into the new audio file as silent passages. Genuine Mixdown with Clipscan: If you combine audio data from two or more tracks, the current values for pan and volume set in the Mixer for each individual track will define the pan and volume settings in the new audio files. If you combine both sides of a split stereo audio file, first set the pan controls of the component mono sides to hard left and hard right, respectively. You can carry out a mixdown while the sequencer is playing. After the digital clipping scan (Clipscan) is over and the mixdown is complete, midi studio replaces the previously selected regions with one region which contains the new, mixed-down audio file in its entirety. If you wish, you can use the undo function to restore the original audio regions. If you do this, you will be asked if you wish to keep the newly created mixed audio file, or delete it. If you de175

cide to keep it, it will remain in the audio window, and can be further processed there or in the Sample editor. During a mixdown the Clipscan function uses 32-Bit resolution to ensure that the highest possible level is maintained without clipping. Audio Crossfades: The Digital Mixdown function (glue tool, menu or Key Command) in the Arrange window supports audio crossfades of selected regions. The parameters are defined in the Audio Crossfades dialog window, which can be opened by choosing: Functions > Default Audio Crossfade Options. The Key Command for opening the dialog window can also be used to close it. The parameters apply globally and are stored in the Preferences file. There are two parameters: Time [ms]: This is the length of the entire crossfade. To switch off the crossfade, set this value to zero. Curve: To obtain a linear crossfade, set this value to zero. Other values (positive or negative), produce various exponential fades. The fade-outs and fade-ins are always symmetrical, to avoid deviations in level. The preset values are: Time = 20ms, Curve = 0 (linear). The graph shows the actual shape of the crossfade; the original algorithms are also used to calculate the curve display. Values over about 250 ms are scaled in the graph, to ensure that the entire crossfade is visible.
HyperDraw for Regions

HyperDraw can also be used directly on audio regions and can be used to draw changes in volume and panning.
Choose View > HyperDraw > If you are not yet familiar with HyperDraw please refer to the section HyperDraw in the Arrange window from page 154 onwards. When you use HyperDraw on audio regions, MIDI events are created, which are always organized together with the audio region. You can also edit these MIDI events in the Event List or Drum Editor.
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Mixers and Audio Objects Mixers and Audio Objects

This portion of the reference manual is a big one. First up, well look at gear outside of midi studio, like mixing desks, and how these compare to the internal software Mixer. Well give you a rundown on how the Mixer works including; the EQs and effectsone by one the Audio Instrumentswhere well cover each of the software instruments built-in to midi studio routing your audio signals and finally bouncing your audio to a final mix, ready for burning to your own CD! Make sure you read all of this info, and put in a little time experimenting. Before you know it, youll be mixing like a pro.
The Basics
Basic studio equipment usually consists of one or more multi timbral sound module(s) with stereo analog outputs, microphone(s) and guitar pre-amps or similar analog signal sources, as well as a solid (hardware) mixing desk (analog or digitalat any rate, a separate device). Dont despair if your studio isnt equipped with all of this gear. This section will explain how midi studio takes care of many of the jobs that were previously allocated to external hardware. In simpler setups consisting of your computer, a MIDI keyboard, a soundcard and a microphone, your audio card may already be equipped with all of the appropriate facilities. Normally, with the gear listed at the top, you would use things as follows: With your hardware mixing desk you would route the various signals that you wanted to record, using subgroups where possible, to midi studios recording inputs (i.e. the Sound Card). Hardware mixing desks usually contain integrated microphone pre-amplifiers. Some do not. In such mixers, these tasks could also be carried out by separate microphone pre-amps (voice processor, for instance) or by sound modules with integrated mixing functions. The hardware mixing desk, however, performs a further functionmixing the analog signals from your multi timbral MIDI sound module with the midi studio audio output signals from the soundcard. midi studio mixes the audio signals that are fed to the soundcard outputs. These audio signals can be
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Mixers and Audio Objects

processed by the Mixer and midi studios built-in effects processors. The instrumental part levels and the effect levels, that is, the entire mix of the signal output by your sound module, is remotely controlled by midi studio. The Mixer performs both of the following functions simultaneously: The control of the MIDI multi timbral sound machine (that is Level, Pan, Effects of the different Parts) as well as mixing the audio tracks within midi studio (Level controls, Panning and so on). The actual electrical mixing together, resulting in the stereo signal that you will hear from the speakers, is once again the job of the mixing desk. Any mixing action in midi studios Mixer, that is: every movement of a fader or knob, can be recorded by simply pressing the record button. Afterwards, the passage which contains the recorded control movements can be played back, and you will see the knobs move just as you have recorded them. As the data controlling these knobs consists of MIDI controller events, you can edit them just like any other MIDI event, using the various MIDI editors, like the Drum or Event List Editor. You wont need a Mastering device (Twin-track tape recorder, DAT or the like) to record the final mixdown of your production. By pressing the Bounce button you can automatically create a stereo file of the total mix, which can be burnt onto a CD without further editing. To do this, however, you will need to record the complete MIDI accompaniment once as a stereo audio signal, so that this can be mixed together with the other audio tracks played by MAGIX midi studio 2005 deLuxe. No external mixer is needed for the Bounce procedureexcept possibly to listen to whats happening. Tip:If youd like to record all of your MIDI tracks as an audio file, you can simply plug your external MIDI device(s) directly (or via a mixer, if you have more than one MIDI device) into the line input of your audio card. From here, arm an audio track, and start recording as per normal. If you are using the internal synthesizer on your soundcard, open the Windows mixer (as discussed in the section Input Source and Level from page 169 onwards). Open the Recording panel of this mixer, accessible via the Options menu in the applet. In this panel, select the MIDI Synthesizer (or similar name) by clicking the checkbox at 178

the bottom of the fader. This will make the synthesizer on your card, the new input source for midi studio. From here, its recording as usual. Note that some cards allow you to select multiple sources in the Windows mixer Recording panel. Doing so will activate multiple input sources, which means that if a signal is present at ANY of these sources, it will be recorded. Make sure that ONLY the source you want to record is active! To deactivate the other sources, uncheck their checkboxes.
The Mixer
The Mixer is the simplest and most convenient way to mix audio and MIDI tracks. MAGIX midi studio 2005 creates a mixer based on all tracks which are assigned to the track list of the Arrange window. It contains as many channels as there are tracks. The Mixer deals with both audio and MIDI tracks. These are laid out in the same order as in the Arrange window. Each channel represents a track in the Arrange window: the audio channels correspond to the audio tracks, the MIDI channels correspond to the MIDI tracks. The parameters which you can adjust in the Arrange window are also available in the Mixer. You can open the Mixer via the Key Command ctrl + m or via the Windows > Open Mixer menu option. On the left is the parameter display which tells you (among other things) which effects are assigned to the aux sends for connected MIDI devices. Selected tracks, audio or MIDI, are indicated by a red outline in the Mixer. Display: The Track menu is where you can define what types of track are displayed in the Mixer. You can switch off MIDI tracks if necessary. In addition to the audio and MIDI track faders in the Mixer, you will also find some extra faders. These are the effect and master (output) objects. They are created automatically by midi studio. Keep reading, and youll find out all about them. The View menu is where you can customize the display to suit your requirements. You can hide the labels for the user-defined pots (knobs) on the MIDI mixer channels, which saves a great deal of space. You can individually switch off the display of the program numbers, bank numbers, the user-defined pots on the MIDI mixer channels (Assign), the pan pots (Pan), the faders (Volume), and the track names and numbers, to create more space onscreen. You can also switch off the display of parts of the audio channels in a similar fashion.
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Like the other editors, the Mixer can be stored as part of a screenset. Setting Knobs to their defaults: Clicking a fader or knob on MIDI track faders while holding the alt key will reset the value to a neutral value. The neutral value is zero for all controls except Volume = 100, and Pan, Balance, Cutoff = 64 (center position). Send all Mixer Data: By choosing Options > Send All Mixer Data you can transmit all currently visible mixer knobs and faders to MIDI. Track Selection when Playing or Recording: You can prevent the Arrange windows track selection from changing whenever you make an adjustment to a channel, while midi studio is in record or playback mode. There is an independent parameter for each, accessible via Options > Change Track in Record Mode and Options > Change Track in Play Mode. GM, GS, XG: To adapt the Mixer to the MIDI standard supported by the sound module you are using, you will find a flip menu to the right of the mixer. Here, you can choose between the GM, GS, and XG standards.
EQs, Effects and Plug-Ins

The Mixer offers a number of real-time CPU-based effects which can be used with any audio hardware that can be addressed by midi studio. Included are: EQs, Reverb, Delay and others. In addition, midi studio allows the use of real-time effects made by different software manufacturers to be integrated into midi studios audio signal-flow. These are managed exactly like the internal effects of midi studio. MAGIX midi studio 2005 supports plug-ins which comply to the DirectX or VST standards, including VST Instruments. These are just like the included software instrumentsthe SAMP-7, Carpet Sweeper, M-TB 6, the 4 virtual drum kit plug-ins, EZ piano, FMX1 and Percusor. A hint about the Memory usage of plug-in effects: A propriety Plug-In requires between 10 and 400 KB. A single DirectX or VST Plug-In, with its own graphic interface (editing window), can require up to 2 MB. Please ensure that you have enough free memory if using third-party effects.
Effect Returns
In midi studio, all effects except the channel EQs are normally sent to effect faders (Return). This makes these effect objects effect returns. If you insert a reverb effect in an 180

Insert point of a Return (i.e. an effects fader), you can apply reverb to your mix by; setting up a Send to the Return on all desired audio channels in the Mixer. This is done by selecting the corresponding effect fader from one of the send insert panels on the audio fader (and adjusting its level via the knob) and adjusting the output level (fader) of that effect object MAGIX midi studio 2005 introduces the ability to also insert an effect on the master (main output) faders, allowing you to sculpt your overall mix. MAGIX midi studio 2005 features two insert points on the master outs. To select an effect, click and hold on one of the Inserts panels on any of the effect or master faders, with the mouse. This will open a flip menu, where the desired effect can be chosen. Releasing the mouse button will assign the desired effect to the insert. Once done, a double-click on the effects name on the faders insert panel will open its edit window. Info:The reason why effects returns are used in midi studio is to save CPU power. Each effect, as mentioned earlier, uses an amount of memory and processing power. If multiple audio tracks are sent to an effects fader (return) or routed through the same master output, they can share the same effect. As an example, imagine 6 tracks required a reverb effect, and you tried to place a reverb on each track. Doing so would place a lot of strain on your computers processor. In many cases, this would be too much for your computer and it would start glitching on playback of your audio, or simply stop playing. By using effects returns (or a main output channel) with a shared effect, the 6 tracks in our example can be sent to one reverb, which your computers CPU should be able to handle with ease. Bypassing Inserts: Inserts can be bypassed (switched off) by clicking on the insert name while holding the ctrlkey. The names of activated effects will be displayed with a highlighted background, the names of bypassed effects will have a grey background. When an effect is open for editing: A click on the little box with the triangle, you will see options for the plugins such as: Copy Setting, Paste Setting, Load Setting, Save Setting as , Save Setting). The functionality of these is pretty self-explanatory: Copy a setting from one 181

plug-in to the other (copy/paste), save the setting on the hard disk for later use, load a previously saved setting, or save an existing setting under another name to preserve the current effect setting. The settings for each plug-in are stored in a folder named after the plug-in. All of these plug-in-settings folders for each plug-in reside in a folder called Plug-In Settings. The Plug-In Settings folder resides in the midi studio program folder. Please do not attempt to change this folder hierarchyeverything is set up correctly by the installation routine.
Equalizer (EQ)
You can insert up to 3 bands of EQ per track. You can select High- and Low Shelving Filters and semi-parametric sweep EQs (ParEQ). BP the Bypass switch in the top right turns the EQ band off. Typ next to the BP switch you can use a flip menu to select the type of EQ, (Thru, Low/High Shelf, Semi-Parametric) Hz dB (Q) mid frequency cut/boost switchable in five steps
EQ adjustments can be stored and played back over MIDI. A long click on the Thru button allows you to activate a new equalizer band. You can add up to 3 EQs or filters. Use the mouse as slider to alter the values, or direct numerical entry by double-clicking in the field and typing in a value, followed by pressing Enter. All EQ adjustments can be automated. Please read the section Automation from page 225 onwards.
Sends (Aux Sends)

The Sends allow you to send a portion of any signal out of the signals audio object, to an internal effect. Sends are linked to the channel faders, meaning that the level of the track fader will affect the amount of signal sent to the aux effect. To use a Send, choose one of the possible four send destinations, and adjust the amount of signal supplied to the effects fader by using the corresponding Send knob. As you are adjusting the level, the relevant value appears in the pot. You may assign up to 4 sends per track. Normalizing the Send Level: You can reset the Sends to 0dB (90) with a ctrl-click on the knob. 182

Master Inserts
The Master Inserts are simply effects inserted into the main output channels. There is one insert panel per main output channel in MAGIX midi studio (two in MAGIX music studio 2005 deLuxe). Master Inserts follow the channel faders in the audio signal path, meaning that the level of the track fader will affect the amount of signal sent to the master faders.
midi studios Real-Time Effects

You can add any of the real-time effects by click-holding on an insert slot of the return (i.e. the effects fader) or main output faders. Double-clicking an already assigned insert slot opens the relevant plug-in edit window. This is where you can edit the parameters of the real-time effects. The Stereo Delay effect only works if the corresponding Return path is switched to stereo. The effects explained:
Chorus
The Chorus effect can be used to make a signal bigger, particularly the stereo Chorus (s/s). The Chorus effect is based on a very short digital delay with a periodically modulated Delay Time parameter. The pitch of the delayed signal rises and falls periodically like the playback of a tape recorder when the tape speed is changed with the pitch knob. The modulated signal is mixed with the original signal, which simulates the effect of several voices playing or singing the same musical part. Mix: determines the ratio between the dry and effected signal. Intensity: The modulation width of the chorus effect (the amount of pitch deviation). Speed: The modulation frequency of the chorus effect.
Flanger
A flanger works almost like a Chorus, but with shorter Delay Times being used and with the effected signal being fed back to the input. This creates resonances and filtering
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effects based on the frequency of the modulation, and the harmonic content of the original signal. With the Delay Time constantly changing, the harmonics rise and fall through the audio spectrum, creating a characteristic metallic flanging effect. The other parameters are as per the Chorus effect described above. Feedback: Feedback controls how much of the delayed signal is routed back into the input. Negative values mean that the phase of the routed signal is inverted. This will result in a resonance that will be one octave lower, and only its odd-numbered harmonics will remain. You can use Feedback to increase the intensity of the flanger which can produce very dramatic effects.
Stereo Delay
The stereo delay, as the name suggests, delays the audio signal, or simply creates echoes of the original signal. Left/Right Delay: The Time parameter defines the delay time in milliseconds. Very small values (up to 10 ms) produce resonances, larger values (10 to 100ms) produce doubling-effects, and even greater values produce echoes. Feedback: Feedback controls how much delayed signal is routed back to the input, which allows you to control the number of repeats. Cross Feed: This parameter determines how much of the left channel is routed to the right and vice versa. Higher values result in more complex reflection clusters.
Fast Reverb
Reverbs require far more processing than other real-time effects, especially with high quality values. The Fast Reverb is a good sounding reverb that puts less strain on the system than other reverbs. Pre Delay: Pre delay determines the amount of time between the original signal and the initial reflection. With the right level of pre delay, the reverb gains space. The 184

ideal values are normally between 5 and 50 ms. Very small values may sound better in solo mode, but in the mix can lead to blurring of the signal with its reverb. Larger values can be interesting for combined delay/reverb effects, but in nature this would only occur if the sound source was outside a tunnel opening. Reflectivity: The density of the reverb. High values lead to a reverb that is more dense which, dependent on the sound material, may sound betterbut less natural. With room simulation, the Density determines the composition of the virtual reflective surfaces. Higher settings simulate harder surfaces, lower settings softer surfaces. Roomsize: The Roomsize parameter defines the size of the simulated room. Small rooms have denser, more closely spaced reflections, less air damping of the soundwaves between the reflections off the walls, and therefore more complex phase relations between reflections. Hi Cut / Lo Cut: Using the Low Pass (High Cut) and the High Pass (Low Cut) you can determine the frequency range of the reverberation. There is one additional, new control for the Fast Reverb. Density/Timeyou can look at this parameter as a room sound thickness control. Low Density/Time values will make the reverb sound thin with audible reflections. While high Density/Time values will produce a thicker or denser room sound but sometimes introduces a metallic color as well.
Fuzz Distortion
The parameters and function of the fuzz distortion simulate the distortion of a solid state, transistorized amplifier stage, as used in fuzz pedals for electric guitars. While most rock and blues musicians tend to prefer the warm sound of overdriven tube amps, the fuzz is suitable for harsh psychedelic and techno sounds. Its nice to combine this effect with flanger and delay.
VoiceBox
This is a plug-in that fits late night sci-fi category. This complex algorithm can drown your audio in liquid or bubbles and bend it into the far corner of the galaxy. Androids and extra-terrestrials speak highly of this one. 185

All this is possible with three controls. Threshold adjusts the intensity of the VoiceBox effect. Center and Bandwidth in conjunction change the color of your VoiceBox patch. Lower Center values will make it sound boomier, while higher values will add a lisp. Bandwidth could almost be described as a sound quality control. Low Bandwidth values introduce a short wave radio quality to your sound while higher values will open up the sound.
Phasor
The Phasor is based on the classic, analog phaser circuitry introduced in the 60s. It will add cool, resonating sweep effects to your tracks. The sonic result is not unlike a flanger but somewhat softer in its nature. A popular application is the processing of string and pad sounds but hihats sound nice through it too. Experiment to get the effect that best suits your music. The MAGIX Phasor can be automated to move up and down. You can adjust the speed of this motion with the control Speed. Intensity determines the strength of the phasing effect. The results range from subtle sweeping motions to harsh jet-like effects. The Feedback control adds some emphasis, resulting in a robotic character on high settings.
Digitizer
Crunch it, crush it and chew up your tracks. You want the sound of dirty, lo-res digital gear? Then you need the Digitizerdeadly digital distortion. Use it on anything that needs a bit less. You only need two controls: Downsampling and Resolution. Decreasing the Downsampling amount will reduce your high end and introduces digital artifacts. Lowering the Resolution raises the crunch factor. Your source signal will get more and more metallic and finally breaks up into the 186

unintelligible. (note: extreme use of the Digitizer might damage your speakers, so take care!)
Daft Filter
Are you looking for that techno feel or does your track need some analog phatness? The Daft Filter builds on the sound of the analog era. A classic lowpass filter with resonance, complete with a built-in low frequency oscillator to automate the famous techno filter sweeps. The Cutoff control removes the bright high-end content of your source audio to the point where it becomes dull (not dull as in boring, but rather less bright) and eventually disappears completely. Resonance adds emphasis to the sound. High Resonance values will produce the characteristic whistle and scream you are probably familiar with from your favorite techno songs. Intensity introduces an up and down motion to the filter. The higher the Intensity values, the more pronounced the motion will become. The speed of the filters up and down motion can be adjusted with the Speed control.
Mono Delay
This is the mono version of the Stereo Delay plug-in and should be used on mono audio channels. With the delay you can produce repeating echoes and metallic, resonating effects. The controls are similar to the controls of the Stereo Delay. With Mix you control how much of the delay effect is heard in relation to the original. Higher values mean more of the effect is mixed to your original signal. At Mix 100%, you will only hear the delay. With Delay Coarse, you dial-in the delay time. This is the time after which your original signal starts repeating. High values create what you know as echo or repetitions. Small values create metallic, resonating effects. Delay Coarse works together with Delay Fine. Delay Fine can dial187

in the delay time in much smaller steps. Add Delay Fine to Delay Coarse to get the total delay time. The Feedback control. This is where you adjust how many times your original signal repeats. At 0% you hear only one repetition. Raise the Feedback control and more and more repetitions occur until at 99% the sound seems to continue endlessly. High Cut and Low Cut are tone controls for each delay repetition. Raise High Cut and the repeating sound will get duller over time. Raise the Low Cut control to reduce the low end over time. The repeating sound will appear to get thinner. Try experimenting with delay times less than 10 ms. You will discover many nice robotic and metallic sounds.
Gold Reverb
Reverb effects are used to artificially create the impression of space around an audio signal. You can create the sound of rooms, halls and churches. The Gold Reverb is an alternative to the Fast Reverb. It provides a different reverb sound color you might find more suitable in some applications. It is also very easy to use. Only four controls need to be adjusted. With Mix you control how much of the reverb effect is being heard. Higher values mean more of the effect is mixed to your original signal. At Mix 100% you will only hear the reverb effect. Predelay is the amount of time that elapses between the original signal and the reverberation. Raising the Predelay time will create the illusion of stepping away from the sound source. High Predelay times might sound unnatural or clutter your mix. Short times can color the sound. Try to find a nice medium but dont be afraid to experiment. Predelay adjusts how big the room around your audio channel appears. Short time values will sound like a small room while long time values will produce the illusion of standing inside a big hall or stadium. High Cut is the tone control of the Gold Reverb. You can create dark sounding rooms with low settings or bright spaces with high settings. 188

Compressor
Do you have audio tracks which sometimes are too soft and other times too loud? This is where the MAGIX Compressor comes in! The Compressor can even out volume differences and also give an audio track more punch. Vocals, Bass Guitar and Kick Drums are normally good candidates for this treatment. Threshold can be seen as a effect depth control. The lower you set the Threshold the more of the audio signal is being compressed. In other words, this is a control where lower means more. Ratio determines the intensity of the applied compression. The control values are expressed in ratios, hence the name. A 1:1 ration means there is no compression, with higher RATIO settings the effect intensity rises. At 29:1 (the highest ratio you can dial-in) your audio signal gets completely squashed as if a ceiling is pressing down on it. The Compressor has become a limiter! Attack and Release deal with time. The Attack time tells you how long it will take until the full compression intensity is reached (Ratio) and the Release time determines how long it will take for the compression to subside to zero. In a manner of speaking, Attack fades in the Compressor while Release fades it out again. 0 Attack will make your track sound more even, while a little higher setting gives you more punch. Some experimentation is needed to master the Compressor, as it is one of the most fundamentally usefulbut misunderstoodtools in music production. Start with a Ratio of 3:1, Attack time of 10 ms and a Release time of about 100 ms. The Threshold depends on your signal. Try settings of about 20 dB first. Functions of the Plug-In Window: Every Plug-In window has a row of switches at the top whose functions are the same in all Plug-Ins. Link: If the Link button is switched off (default), you can open several Plug-In windows simultaneously. If the Link button is switched on this Plug-In window is used to display all double-clicked Plug-Ins. Bypass: The bypass switch takes the whole effect out of the signal flow. The effects input signal is routed directly to the output unaltered.
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Choosing an Audio Object: If you have used the displayed effect algorithm in another effect object, you can simply swap between the objects. You can quickly compare settings. Insert Slot Selection: If you have installed more Plug-Ins in other insert slots of the same effect object, you can quickly change to the other Plug-Ins. This allows you to quickly balance the settings of all of the Plug-Ins within an object.
Pitch Shifter
The first thing you may notice about the Pitch Shifter is its minimalist approach-just a few parameters are available. Semi Tones is used to set the transposition in semi-tone increments within a range of one octave upwards or downwards. Cents controls detuning in increments equivalent to 1100th of a semi-tone step. Use the Mix slider to control the desired balance between the original and processed signals. The Drums, Speech and Vocals buttons are used to set internal parameters so that the program delivers the best results for a given application. When you select Drums, the groove of the original track remains intact. With Vocals, the intonation of the original is retained. As such, the Vocals setting is well-suited for all signals that are inherently harmonic or melodious; string pads, for instance. Speech mode is a compromise between the two-the program attempts to retain both the rhythmic and harmonic aspects of the signal, which is desirable for complex signals such as spoken-word recordings or rap music. Speech is also suitable for other hybrid signals such as rhythm guitar. When in doubt, Speech is a good place to start. A/B the options to compare them and find the one that best suits a given signal. When auditioning settings and judging them for quality, its a good idea to temporarily turn the Mix control up to 100%. Keep in mind that the Pitch Shifter artifacts are a lot harder to hear when you mix a smaller percentage of your transposed audio with the overall signal.
EQ-15
MAGIX music studio 2005 deLuxe features a 15-band mastering graphic equalizer which can be inserted on the main output faders for control over your overall mix. It may also be used on effects channels for fine control of 190

signals. The graphic EQ may be used on mono or stereo channels.
Unlike the EQ found on the individual audio channels, the graphic equalizer features 15 Gain controls (mini-faders) which are pre-set to the following frequencies: 25-40-63100-160-250-400-630Hz-1-1.6-2.5-4-6.3-10-16kHz. To boost or cut a particular frequency band in an incoming signal, simply adjust the appropriate Gain Control (+/ -) fader for each. A separate Gain knob controls the level of the entire plug-in. In practice, use of the Graphic EQ is much like using the equalizers commonly found in car stereo or home hi-fi systems, where you can set up a curve in the faders. Judicious use of the Graphic EQ will allow you to fine tune your mixes or to radically sculpt your signals, so that they sound like theyre coming through a telephone handset. You can also boost the bass presence of signals, adding depth and richness to nasal or weak vocal performances, for example.
Plug Ins from Other Manufacturers

DirectX: midi studio supports the DirectX (also known as Direct Show) and VST 1.0 and 2.0 plug-in effect standards, which allows real-time effects made by different software manufacturers to be integrated into midi studios audio signal-flow. Please follow the installation instructions from the PlugIn manufacturers to ensure their correct installation. There is an application on the midi studio program CD that allows you to exclude certain DirectX Plug-Insthe Plug-In-Enabler. Due to some technical changes with the new audio engine, some Direct Show plug-ins which appeared in generation 5 and 6 may not appear MAGIX midi studio 2005. If so, exit midi studio, and start the latest version of the plug-in enabler in order to re-activate the deactivated plug-ins, assuming that these had been working correctly before. VST Plug-ins may have an installation procedure like DirectX effects. Other VST plug-ins can simply be copied into the VST Plugins folder which resides inside your midi studio program folder. Please refer to any 191

printed documentation that shipped with your plug-ins for further information on how to deal with installation/ use. All compatible DirectX or VST plug-ins are automatically available in the plug-in menu (via the insert panels) on the effects and master faders, along with midi studios own effects. N.B.Some VST 2.0 effects are actually software synthesizers like the included Carpet Sweeper synth. These types of effects are only available from the flip menu found on an Audio Instrument object. As with standard effects faders, Audio Instrument faders feature an Insert panel. Double click an inserted Plug-In to open its editor. If the selected Plug-In does not have its own graphical editor, a default midi studios interface will be used to access the Plug-Ins parameters. VST2.0 Support: midi studio supports the use of VST2.0 plug-ins. Of course, this means that VST1.0 plug-ins are now also supported. Please note the difference: VST1.0 plug-ins work as audio-in/audio-out plugins, as do your built MAGIX plug-ins, and are thus to be inserted in the effect objects (see above). However, VST 2.0 plug-ins work as MIDI-in/audio-out plug-ins, as do your built-in MAGIX software instrument plug-ins, and are thus to be inserted in Audio Instrument objects (see below). These support the stereo outputs of the relevant plug-ins. The VST2.0 support has been updated featuring many detail improvements and enhanced functionality: VST 2.0 instruments and effect plug-ins now respond to VST2.0 clock information, making it possible to perfectly synchronize delays, LFOs etc. to the song tempo. Note that not all VST2.0 plug-ins offer VST2.0 clock sync. Please refer to the documentation of your VST2.0 plug-ins for more information. Internal sound programs (patches) of VST2.0 plug-ins can now be changed via standard MIDI program change commands. For example, you could use the controls of a MIDI keyboard to step through the patches of a VST2.0 software instrument and record the program changes on an Audio Instrument track in MAGIX midi studio 2005. It is also possible to manually insert program changes using the Event Editor. To do so, open the event editor and click on the 88 button using the pencil tool. Each click generates one program change at the current SPL (song pointer location). Use your mouse pointer to further edit the pro-
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gram change number and its bar/beat position in the event list. To work with VST plug-ins in midi studio, copy the plug-in files to the folder called VST PlugIns in the corresponding directory. Simply create a folder with this name if one does not already existbut the installation routine should have done it for you. In order to prevent particular plug-ins from being shown in the plug-in list, move the plug-in file to another folder, which could be named VST_Unused, for example. MAGIX midi studio 2005 supports programs for VST/ VST2.0 plug-ins, if a plug-in provides program memory. If it does, you will find a new menu in the title bar of the plug-in window that displays the currently chosen program (PROG 01 etc.). Double click on a program name to rename it. Some Extra Info: The Plug-In enabler can be used to activate and deactivate DirectX plug-ins. It is possible to apply DirectX and VST plug-ins simultaneously. Like midi studios own plug-ins, VST plug-ins can also be automated. This type of automation is not possible with DirectShow plug-ins due to technical limitations of the DirectShow interface.
Audio Instruments
MAGIX midi studio 2005 supports the included Carpet Sweeper and Percusor synthesizers, plus the SAMP-7. MAGIX midi studio 2005 deLuxe also offers an additional two software instruments called the M-TB 6a synthesizer4 virtual drum kit plug-ins, the EZ piano and the FMX1. In addition, VST 2.0 compatible software instruments are also supported by MAGIX midi studio. Dozens of VST 2.0 instrument plug-ins are available from third-party developers which can be added to your MAGIX midi studio system. Outfitted with an innovative user interface, the included synthesizer units provide subtractive synthesis that meets classic analog ideals. They offer everything that made analog synthesizers so famous: rich sound, punchy filters, flexible modulation possibilities and extremely fast envelopes. The SAMP-7 is a RAM-based instrument which can play back recorded audio files which are mapped across a keyboard range, allowing you to play your samples. Sam193

plers are ubiquitous tools in todays music production, and thousands of sounds are available for purchase in stores and online. To get you started, weve included a number of instruments on your program CD. The EZ piano is a modeled electric piano that harks back to the glory days of 60s and 70s pop, rock, jazz, R & B, soul and funk. MAGIX midi studio 2005 includes four virtual drum kit plug-ins: Tech I, HHop 2, Rock 3 and Accu 4. Each of the 4 drum kit plug-ins includes 3 stylistically different drum sets consisting of 16 drum sounds each. The FMX1 is a software FM synthesizer producing the typical bell and digital FM sounds. These software instruments integrate seamlessly within midi studios internal digital mixer; all plug-ins effects can be used and all parameters can be automated. The direct connection with the sequencing engine of midi studio guarantees unsurpassed precision through sample-accurate timing that is superior to that of any external MIDI synthesizer or sampler. To use these software instruments, midi studio features a category of audio objects called Audio Instruments. Use these types of audio faders to insert the instrument plugins in the insert panel found at the top of the fader. The default songthe Autoloadfeatures a couple of ready-togo Audio Instrument tracks and corresponding Mixer faders. Simply open the Mixer and insert the desired synth by click-holding on the Audio Instrument insert panel. An Audio Instrument is simply an audio track with the track parameter Cha switched to one of the Audio Instruments (1-6). As such, each audio track can be switched to Audio Instrument duties by setting its Cha parameter (in its object parameter box) to an Audio Instrument channel. Tip:It is far more convenient to create a new Audio Instrument by simply selecting Functions > Track > Create Audio Instrument Track.
Remarks on the Use of Audio Instruments

Audio Instruments generally use more CPU resources than traditional effects, so you need to be judicious about their use, particularly if your computer isnt a cutting-edge speed demon. Follow these tips to reduce system load if you find your system struggling and your audio or Audio Instruments start to glitch on playback. Please note that muting an Audio Instrument track in the Arrange does not reduce system load. You can, however, bypass the software instrument by pressing
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ctrl and clicking on the Audio Instruments insert in the Mixer. The bypassing of an Audio Instrument can be automated, so remember this option if the synth is not in use during a particularly busy part of your songi.e. if theres a lot of other effects and/or softsynth use. When an Audio Instrument track is selected, it is ready to be played in real-time and consequently produces some system load. Normally, midi studio releases system resources used by the Audio Engine when the sequencer is stopped. But this is not true if an Audio Instrument track is selected in the Arrange and is therefore available for real-time playing. Selecting a MIDI track or a normal audio track exits this stand by mode and releases reserved system resources again when the sequencer is stopped. Audio Instruments can only be addressed through corresponding Audio Instrument tracks in the Arrange window. Audio Instrument tracks can be processed by the Quantize, Transpose or Delay sequence parameters in realtime. If you want to shorten sequences, please divide them with the scissors tool and erase the part you do not need any more. The reason for this is the totally different internal handling of an Audio Instrument as compared to external MIDI instruments. The good thing is: the playback timing of Audio Instruments is sample accurate. To hear instrument plug-ins in conjunction with plug-in effects, midi studio must be in play mode. As with all of the other plug-ins in MAGIX midi studio, you can alter the parameters of the software instruments and save your own Settings for later recall. Please read the section When an effect is open for editing: from page 181 onwards.
The Synthesizers
To make it as easy as possible to work with the included synthesizers, each of them is tailored to a special task; for example, the Carpet Sweeper is built to deliver warm and full pad sounds, which give your tracks that soft and spacious feeling. By tailoring each synthesizer to meet a specific purpose, we were able to reduce the number of parameters, resulting in an ease and speed of use unparalleled by conventional synthesizers. To make the new synthesizers still easier to use, each even comes with its own selection of presets. By all means, use these as a starting point for your own sound creations, but 195

dont be afraid to experiment with all of the parameters as well. This is the most enjoyable way to learn about the synthesizersand it is the best way to create your own sounds that will set your tracks apart from those of your contemporaries. Were sure that you dont want to be blinded by the technical jargon normally associated with synthesizers. As such, rather than talking in confusing technical terms, well take a more musical and understandable approach to help you get the most out of our synthesizers as soon as possible. There are, however, some terms and principles that need to be understood before getting to each synth in detail so here we go!
Principles
Synthesizers produce their sounds by providing control over the pitch, the timbre (sound color) and the volume of a sound. To do this, each synthesizer has a sound source, called an oscillator. An oscillator produces a sound that goes on forever. The pitch of this sound can be adjusted and played via your keyboard. Typically you can select between waveforms that provide different sound characteristics, with the proviso that they all sound very bright. This bright sound from the oscillator is then passed to the filter, which controls the timbre of the sound. A filter can make the bright sound darker or duller (not dull as in boring, but rather less bright), with the amount of darkness being adjustable with the Cutoff control. Furthermore, a filter can also add some sharpness or bite to a sound. The amount of sharpness is controlled with the Resonance control. When Resonance is turned up, the sharpness gets so pronounced that the filter itself might start outputting an additional sound. This can be pitched with the Cutoff control. The interaction of the oscillator and the filter gives us lots of sonic varietycontrol the pitch of the entire sound at the oscillator, select different bright sound characteristics at the oscillator, give the sound a timbre anything between bright and dark or sharp and soft with the filter. Remember though, that the sound output by the filter still goes on endlessly. This is where the amplifier comes in. It gives a beginning and an end to the endless sound by simply turning its volume up from zero and down to zero. Okay, now you have learned how and where in a synthesizer the three basic sonic parameterspitch, timbre and volumeare controlled. But there is one final step waiting to be taken in order to fully understand how a synthesizer
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does what it does. And that is that each of the parameters pitch, timbre and volume can not only be controlled manuallyby twisting a control named volume or pitch but can be controlled automatically by the synthesizer itself. To do this, a synthesizer offers not only the above-mentioned oscillator, filter and amplifier sections, but also some additional bits (technically referred to as modules) that produce adjustable curves. These curves can be oneshot or repeat periodically, and are used to alter pitch, timbre or volume automatically. Here are two examples: first, imagine an additional module that produces a periodically repeating curve that goes up and down and up and down and so on. Now imagine this curve controls pitch. The result? Pitch goes up and down and up and down and so on, according to the curve. In this case, we say that pitch is modulated by the curve that goes up and down and up and down and so on. Sonically, this pitch modulation would sound like a police, ambulance or fire engines siren. Second example: imagine an additional module that produces a one-shot curve that goes up, when you press a key on your keyboard, and that goes down, when you release the key. Now imagine that this curve controls volume. The result? The sound starts when you press a key, and it ends when you release it. In this case, we say that volume is modulated by the curve that goes up when you press a key on your keyboard, and that goes down when you release the key. As an audio example, think about what happens when you press a note on a piano keyboard. The harder you strike the key, the louder the sound. The sustained note that you hear after striking a piano key is the sonic equivalent of the release mentioned. To sum everything up, a synthesizer gives you manual control of the three basic parameters of sound: pitch, timbre and volume. Furthermore, a synthesizer can control these parameters automatically by itself, which is called modulation. And now lets get straight to the astounding capabilities of your new synthesizers. Enjoy! Please note: The following explanations of the synthesizers are designed to be read as, and when, you like. It is not necessary to read the explanations in a specific order; so you can start with the synthesizer youd first like to get acquainted with. As synthesizers fundamentally work in the same way, as youve just learned, some explanations will be repeated in 197

each synthesizers section. As with all the best things in life, theres always a price to paybut we figured that this approach will get you started as soon as possible. To get the most out of the following, we recommend that you have midi studio up and running on your computer, with your audio and MIDI interfaces and a MIDI keyboard connected. Further to this, please ensure that you have inserted the desired synthesizer in the Audio Instrument mixer channel in the Mixer window, and that you have selected the track of this Audio Instrument in the Arrange window. Ready? OK, lets start.
The SynthesizersM-TB6
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The M-TB6 is specialy tailored to produce some of the most sought-after sounds you know from various dance music styles like Techno, Rave, Acid and many more those pulsating, hypnotic bass lines with that special distortion that sometimes sounds like its screaming. If youre old enough to remember the old Roland TB-303 Bassline, you know what to expect. We carefully modeled the M-TB6 sound to resemble the charm of the original and then added some extras that a lot of musicians missed on this classic Roland machine. As the M-TB6 is designed as a bass line synthesizer, it offers monophonic operation, meaning that it produces one note (or voice) at a time. This is the same as a flute, for example, which can only produce one note at a time. So lets get on to the sound generation of the M-TB6. The oscillator of the M-TB6 offers you two different basic sounds: a sawtooth and a square wave. Locate the big Mix control: this allows you to create a mix between the sawtooth and the square wave. Turn Mix slowly and note that the square wave sounds somewhat deeper than the

sawtooth wavein musical terms this means that the square wave is one octave lower (i.e. half the frequency) than the sawtooth wave. This feature of the M-TB6 allows you to create very deep bass sounds by mixing these two waves, something which was not possible with the original Roland Bassline. Now, look for the three pushbuttons left of Mix. Only one of these can be active at a time. With these buttons you can select the general pitch of the M-TB6 in octave steps. The meaning of the numbers on the switches stemsbelieve it or notfrom the pipes of church organs: Back then, the length of a pipe was measured in feet. The shorter a pipe, the higher the pitch or frequency of its sound. Doubling the length of the pipe resulted in halving its pitch. So, 16 is one octave below 8, and 32 is again one octave below 16. All clear? Lets get back to the present day and our synthesizers Below the octave switches you will find the Glide. To hear the effect of this control you have to play legato, not staccato. Playing staccato means that you release a key on your MIDI keyboard before you press another key. Playing legato means that you hold a key already pressed while pressing another key. You may have to practice this a little, but you will soon see the benefit. Turn up glide and play some notes legato and youll hear that it takes some time for the sound to travel from the pitch of the first note to the pitch of the new note. The travel time is specified by the Glide control. You can switch Glide on and off simply by varying your playing stylei.e. playing staccato (off) or legato (on). This is a very powerful and effective tool to give your bass lines a live touch, so experiment with this (and practice your playing) to get the best results for each song. So much for the oscillator of the M-TB6. On to the filter. It features the controls already familiar to you from the introduction: Cutoff for darkening the sound, Resonance for sharpening it. Make sure that you try these controls intensively, as they are the most effective and important tools for sound creation. As explained in the introduction, synthesizers are unique in the way they allow internal automatic control of the basic sound parameterspitch, timbre and volume. As a practical example of this theoryCutoff can be automatically moved up or down from the original position set. All controls associated with this functionality can be found on the silver bar named Filter. Please note that you will not see the Cutoff control itself moving, but you will hear the 199

appropriate effect. To check it out, turn Cutoff half way up (or down, if youre a pessimist), locate Int, found between Cutoff and Resonance, and turn it up. As you press a key, you will hear a change in timbre as if you had moved Cutoff manually. Leave Int turned up and proceed to Decay, located just below the word Filter engraved into the surface of the M-TB6. Try out different Decay positions. You will quickly learn that: Int controls the amount of the automated Cutoff movement, while Decay controls the time over which this timbre shift takes place. That was easy, wasnt it? Just three more things: You can set Int to positive values, making Cutoff start higher than its original position and falling to its original value in the time specified by Decay. To make this more sensitive to your playing, try turning up Velo above Decay. This will make Int react to how hard you hit a key. If Velo is turned full-down, it does not matter how hard you hit a key. Turning it (up) clockwise increases the sensitivity, meaning that you have to hit a key harder to reach the Int value you have set. If you dont want any Cutoff movement at all, simply press the little zero symbol right above Int. This will reset Int. Now lets move on to the angled silver bar named Volume. Locate the Vol control. This sets the output level of the M-TB6. To the side and below Vol sits Decay. This control works as per the Decay control in the filter section, but controls volume. With low Decay settings, your sound will start at the level set by Vol and will fall to zero (inaudible) quite quickly. With high Decay settings it will take the sound considerably longer to fade out. Turn up Velo to make the sounds level react to how hard you hit a key. Theres only one parameter left, at the very right of the MTB6s surface: Overdrive. This is the key to those much sought after screaming sounds. Turn it up and have fun!
The SynthesizersCarpet Sweeper

The Carpet Sweeper is designed to give you warm, soft and animated pad sounds, thus creating a spacious atmosphere in your music. As opposed to bass synthesizers like the M-TB6, the Carpet Sweeper is designed as a chordal instrument providing eight voices, meaning that you can play up to eight notes at a time.
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The sound generation of the Carpet Sweeper begins with an oscillator, with which pitch or frequency can be adjusted via the three push-buttons at the left. Only one of these buttons can be active at a time. They select the general pitch of the Carpet Sweeper in octave steps. The meaning of the numbers on the switches stemsbelieve it or notfrom the pipes of church organs. Back then, the length of a pipe was measured in feet. The shorter a pipe, the higher the pitch or frequency of its sound. Doubling the length of pipe resulted in halving its pitch. So, 16 is one octave below 8, while 32 is one octave below 16. Back to the Carpet Sweeper. Its oscillator can, of course, not only be tuned, but offers a choice of two entirely different basic sounds: a sawtooth and a pulse wave. Locate the big Mix control and turn it. You will notice that you can switch between the sawtooth wave at the very left of the dial, and the pulse wave, which continuously covers the rest of the dials range as you turn it. Listen closely to the sonic differences between the wavesthe sawtooth wave gives you a bright, string-like sound, while the pulse wave covers a continuous range from bright, hollow, clarinet-like sounds at the left of the Mix control, and bright, nasal, clavinet-like sounds at the right end of the Mix control. And, of course, everything between, dependent on the Mix setting. As the icons indicate, turning Mix clockwise narrows the width of the pulse wave. Try it and listen to the results. There is another difference between these two waves. Select the sawtooth wave, locate the Vib/PWM control and turn it up. You will hear the pitch of the sound going up and down and up and down and so on. This cyclic pitch change is called a vibrato, thus the abbreviation in Vib/ PWM. The vibrato intensity is set with Vib/PWM. The vibrato speed is set with the Speed control below Vib/PWM (this is the modulation stuff we spoke about earlier). 201

Now switch Mix to the pulse wave and turn on Vib/ PWM. You will not hear a vibrato, but a cyclic change in the sound color itself. This sound change is achieved by modulating the width of the pulse wave, as if you were manually turning the Mix control. This is called pulse width modulation, abbreviated to PWM. The speed of this cyclic sound change is again controlled with the Speed control below Vib/PWM. Both principles, vibrato and PWM, are key features in bringing life and animation to your pad sounds. So much for the oscillator of the Carpet Sweeper, its time to move on to the filter. The filter features the main controls already familiar to you from the introduction: Cutoff for darkening the sound, Resonance for sharpening it. Please try these controls intensively, as they are the most effective and important tools for sound creation. Let us jump to the Attack and Release sliders. They control the volume of the soundover time. The higher the Attack value, the longer it takes the sounds level to raise from zero to full level when you press a key. As long as you hold the key, the sounds level will be full. As soon as you release a key, the sounds level will fall from full to zero in the time specified with Release. The higher the Release value, the longer it takes the sounds level to fall from full level to zero when you release a key. But Attack and Release are not only used to control the level course of the sound, they can also be used to move Cutoff automatically up or down from the position you set. Please note that you will not see the Cutoff control moving, but you will hear the appropriate effect. To hear this effect, turn Cutoff half way up, locate AR Int just left of the middle between Cutoff and Resonance and turn it up. As you press a key, you will hear a change in timbre as though you had moved Cutoff manually. Leave AR Int turned up and try out different Attack and Release positions. You will find that AR Int controls the amount of the automated Cutoff movement, while Attack and Release control the times over which this timbre shift takes place. AR Int can be set to positive or negative values. Positive AR Int values makes Cutoff raise from its original position with the time specified by Attack as you press a key, and fall down to its original value in the time specified by Release as soon as you release a key. Negative AR Int values makes the Cutoff fall from its original value in the time specified by the Attack as you press a key, and rise up to its original value in the time specified by Release as soon as you release a key. 202

You can make AR Int sensitive to your playing. Try turning up Velo Filter below AR Int. This will make AR Int react to how hard you hit a key. If Velo Filter is turned down fully, it does not matter how hard you hit a key. Turning it up clockwise increases the sensitivity, meaning that you have to hit a key harder to reach the AR Int value you have set. And if you do not want any Cutoff movement at all, simply press the little zero symbol just above AR Int. This will reset AR Int. The final output level of the Carpet Sweeper is controlled with the big Volume control. Sideways and below the Volume control sits Velo Volume: Turn it up to make the sounds level react to how hard you hit a key. That leaves us with three mysterious buttons in the upper right of the Carpet Sweeper. Besides Vib/PWM, these three switches are the final key for animated, swirling sounds. Try them out and hear for yourself how they breathe life and motion into your sounds. You can deactivate these effects by clicking on a previously activated effect.
The SynthesizersPercusor
The Percusor is the most elaborate and universal synthesizer in midi studio. Coupled with M-TB6 and the Carpet Sweeper, the Percusor puts all of that synthesizer magic at your disposal, and its sonic capabilities start where the M-TB6 and Carpet Sweeper leave off. Its full-featured ADSR section is well suited to finely-crafted percussive sounds. The Percusor is like the Carpet Sweeper, designed as a polyphonic instrument providing eight voices, allowing you to play up to eight notes at a time.
As a source of enormous sonic wealth, the sound generation of the Percusor offers a special oscillator, the pitch or frequency of which can be adjusted via the three pushbuttons found to the left. These buttons select the general
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pitch of the Percusor in octave steps. Only one of them can be active at a time. The meaning of the numbers on the switches stemsbelieve it or notfrom the pipes of church organs. Back then, the length of a pipe was measured in feet. The shorter a pipe, the higher the pitch or frequency of its sound. Doubling the length of pipe resulted in halving its pitch. So, 16 is one octave below 8, while 32 is one octave below 16. There is another similarity between those big pipe organs and the Percusorboth are able to produce new timbres by mixing existing ones. But instead of routing air through a series of pipes, the Percusors oscillator offers six sliders for convenient mixing of six different sounds. Locate the six sliders and move them up and down, one by one. We will start from the left, with the triangle wave slider. In the synthesizer world, waveforms are named after their shape when viewed through an oscilloscopewhich is kind of a TV set for watching the shapes of electrical wavesthe triangle wave does indeed look like a triangle. The triangle wave does not sound as bright as the other waveforms you will encounter on the following sliders. It resembles a softly blown flute with quite a lot of low-end energy. Use it as an addition to give your sound creations a nice bottom end, or use it stand-alone for pleasant, mellow sounds. Next comes the sawtooth slider. The sawtooth is one of the two most popular synthesizer waveforms. It sounds very bright and rich, resembles stringed instruments and is a good starting point for almost any sound experiment. The other of the most popular synthesizer waveforms is the square wave, right beside the sawtooth slider. Compared to the sawtooth, the square wave sounds bright as well, but with a hollow, clarinet-like character. The next two sliders do also give you square waves, but their pitch is one or two octaves lower, respectively, than the pitch of the other waves. Use them to give your sounds a really huge, wide character and the deepest basses. Or try this for unusual bright timbres: set the octave switch to 4 feet, pull down the sliders of all waves but the square wave two octaves below the original pitch. Now carefully pull up the sawtooth slider and note how bright your square wave gets The remaining slider is for the noise waveform. This sounds exactly as it reads: noisy. It is non-pitched, meaning it has no audible pitch and is thus independent from the note you play or from the setting of the octave switches. When used alone, this is the waveform of choice 204

for all kinds of non-pitched percussion instruments, explosions, and sound effects like wind or waves. If you mix it to the other waves, you can emulate things like breath noise in a flute, or, when added at a very, very low volume, it can give your sound that animated high-end sparkle. Thats about it for the oscillator of the Percusor, so lets move on to the filter. It features the main controls already familiar to you from the introduction: Cutoff for darkening the sound, Resonance for sharpening it. You will find them in the middle of the Percusors surface. Please try these controls intensively, as they are, together with the almost endless mix combinations of the waveform sliders, the most effective and important tools for sound creation. In between the filter controls and the six waveform sliders you will find the Vib/Wah control. Turn it to the left. You will hear the pitch of the sound going up and down and up and down and so on. This cyclic pitch change is called a vibrato, thus the abbreviation in Vib/Wah. The vibrato intensity is set with the left range of Vib/Wah. The vibrato speed is set with the Speed control below Vib/PWM. Now turn Vib/Wah to the right: You will not hear a vibrato, but a cyclic change in the sound color itself, as if you moved the Cutoff control manually up and down and up and down and so on. And this is exactly what is happening, but it is now done automatically for you by the Percusor. The speed of this Cutoff modulation is controlled by the Speed control found below Vib/Wah. If you do not want to hear either vibrato or cutoff modulation, just click the little zero symbol above the Vib/Wah control. In between the Cutoff and Resonance controls you will find three switches named 1/3, 2/3 and 3/3. An engaged switch can be deactivated by clicking on it again. To learn what they do, deactivate these switches, pull down all waveform sliders but noise, turn Cutoff down low (but not all the way!) and raise Resonance slowly until the noise you hear has a distinct whistling character. When you now play different keys on your MIDI keyboard you will notice that the pitch of this whistling is not affected by the notes you play. Now activate 3/3 and play some notes again. You will hear that you can now almost play the whistle like any other waveform. This is done by controlling the Cutoff via the note played. It will not exactly track the notes you play, but dont worry. These are the sorts of inaccuracies that make these digital synthesizers, calculated inside your computer, sound like the real deal. Remember, an analog synthesizer is made out of resistors, transistors and diodesparts that react to temperature and agewhich add 205

some kind of uncontrollable life to sounds. With the other settings 2/3 and 1/3, the Cutoff will not track the notes played as closely as with 3/3. Lets jump to the sliders found on the right side of the Percusor: A (stands for Attack), D (stands for Decay), S (stands for Sustain) and R (stands for Release). They control the volume curve of the sound over time: the higher the attack time (A), the longer it takes the sounds level to raise from zero to full level when you press a key. Continue to hold the key and the sounds level will fall down to the sustain level set with the sustain slider S in the decay time set with the D slider. The higher the decay time, the longer it takes the sounds level to fall from full level to sustain level. As long as you hold the key, the sounds level will then stay at the sustain level. As soon as you release a key, the sounds level will fall from sustain level to zero in the release time specified with R slider. The higher the release time, the longer it takes the sounds level to fall from the sustain level to zero when you release a key. So, while A, D and R adjust times, S adjusts a level. Please note that your sound will fade to zero in the decay time, even if you hold a key, when the sustain level is set to zero. But ADSR sliders are not only used to control the level curve of the sound, they can also be used to move the Cutoff automatically up or down from the position you set. Please note that you will not see the Cutoff control itself moving, but you will hear the appropriate effect. To activate it, turn Cutoff half way up, locate ADSR Int below the right side of Cutoff and turn it up. As you press a key, you will hear a change in timbre as you would move Cutoff manually. Leave ADSR Int turned up and try out different ADSR slider positions. You will find that ADSR Int controls the amount of the automated Cutoff movement, while ADSR sliders control the curve form with which this timbre shift takes place. ADSR Int can be set to positive or negative values. Positive ADSR Int values make Cutoff raise from its original position with the curve specified by the ADSR sliders as you press a key, and fall down to its original value when you release a key. Negative ADSR Int values makes Cutoff fall down from its original position with the curve specified by ADSR as you press a key, and rise up to its original value when you release a key. You can make ADSR Int sensitive to your playing style. Try turning up Velo Filter above ADSR Int. This will make ADSR Int react to how hard you hit a key. If Velo Filter is 206

turned full down, it does not matter how hard you hit a key. Turning it up clockwise increases the sensitivity, meaning that you have to hit a key harder to reach the ADSR Int value you have set. And if you do not want any Cutoff movement at all, simply press the little zero symbol right above ADSR Int. This will reset ADSR Int. The final output level of the Percusor is controlled with the Volume control. Sideway below Volume sits Velo Volume: turn it up to make the sounds level react to how hard you hit a key. To give your carefully crafted Percusor sounds that cutting edge, make sure you give the Chorus and Overdrive controls to the right of the Percusors surface a try. Chorus will broaden your sounds with a swirling effect, and Overdrive will give them the aggressive bite to cut through even the densest arrangements.
The SAMP-7 Sampler

The SAMP-7 offers all you would expect from a hardware sampler, in software. As a purely software instrument, the SAMP-7 is perfectly integrated within MAGIX midi studio, and makes use of the RAM and the hard disk(s) of your computer. This gives you instant access to all audio files used in a specific song, or stored on your computers hard disk(s). Theres no need for a separate sampler library, separate devices and all of the cables needed to connect them. Each instance of the SAMP-7 is 16 voice polyphonic and features filtering, enveloping and modulation controls. The SAMP-7 is compatible with the popular EXS24 and SoundFont 2 sample formats. This ability to directly load and import these sample formats means that a massive, ready-made library of instruments and sounds is available for purchase or download. So just what is a sampler anyway? A sampler, in musical parlance, is basically a device that can play back audio recordings. This can be either a hardware device, like your MIDI keyboard, or software. From this, you might deduce that MAGIX midi studio itself is a sampler, and in broad terms, it is! Where the playback of audio recordings differs between MAGIX midi studios audio tracks and those of the SAMP-7 is in how this playback is done. The audio tracks are played back from hard disk, whereas the audio recordings played via the SAMP-7 are played from RAM. The difference between hard disk and RAM-based audio file (sample) playback means a few things: 207

Few computers are equipped with gigabytes of RAM, so long samples, such as a live drum track for an entire song are best played back from hard disk. Short samples can be played back from either hard disk or RAM. When triggered from RAM, short samples can be mapped across a keyboard range and played as an instrument. These mapped samples can be placed on every key, or on every few keys, and the SAMP-7 will automatically transpose the samples between keys, allowing you to play the instrument. Now that you know what a sampler is, youre probably keen to know how you can use the SAMP-7. Loading and Playing a SAMP-7 Instrument: The SAMP-7 comes with a library of ready-to-play Sampler Instruments, stored in EXS format. After installing MAGIX midi studio 2005, these Sampler Instruments can be found in the Sampler Instruments subfolder of the main MAGIX midi studio program folder. Please follow these steps in order to try out the Sampler Instruments: Start MAGIX midi studio. Create a new Audio Instrument track (or use an existing one). Open the Mixer window, and select the SAMP-7 from the list of plug-ins in the Audio Instrument channels plug-in slot. Select the track assigned to the Audio Instrument channel in the Arrange Window, in order to send MIDI data from your keyboard to the plug-in. Double-click on the SAMP-7 label in the Mixers Audio Instrument channel in order to open the plug-in window. You can now select one of the Sampler Instruments from the flip menu in the black panel area (directly above the word Filter). To do so: Click-hold on the panel and a hierarchical menu will open, with sounds assigned in categories. Simply scroll to the desired category, and then Sampler Instrument name, and release the mouse button, which will begin loading the instrument. You can begin playing it as soon as the instrument name appears in the black Sampler Instrument load panel. Editing Sampler Instruments: The plug-in window can be accessed by double-clicking the SAMP-7 label on an Audio Instrument object in the Mixer. It gives you access 208

to all of the SAMP-7s synthesizer parameters; for example you can alter the filter settings and the envelopes here. As each SAMP-7 instance can have its own Audio Instrument with separate settings, it can also have its own plugin window. On the SAMP-7s front panel, youll see a number of control knobs and sliders. These are divided into three sections, namely; Filter, Vibrato and Volume. At the top of the interface, youll see the Sampler Instrument load flip menu.
The SAMP-7 plug-in window
Flip Menu for Selecting a Sampler Instrument: With this menu, you can select a Sampler Instrument for the SAMP-7, and load it into your computers RAM. In order to be shown here, a Sampler Instrument must reside in the Sampler Instruments subfolder of MAGIX midi studios program folder. Filter Section: Filter On/Off Switch: This button switches the filter section on or off. Please note that the knobs and buttons in the Filter panel area are active only when the filter is turned on. With the filter section turned off, the SAMP-7 uses less CPU cycles. Cutoff: The cutoff frequency of the lowpass filter. As you turn this knob to the left, more high frequencies are filtered from the signal. The value set with Cutoff also serves as the starting point for any modulation involving the filter. Vel Filter: Detemines the amount of Cutoff modulation by velocity. The received velocity values are added to the current Cutoff value. In practical terms, this parameter makes the sound darker or brighter, dependent on how hard the keyboard is played. It should be noted that if Cutoff is set to its maximum value, the Vel Filter will have no effect. Volume: The main volume parameter for the SAMP-7. With this parameter you can adjust the overall volume of your sample instruments. Vel Vol: The Volume parameter can be modulated by velocity. The Vel Vol knob determines the sensitivity for veloc209

ity. When turned fully right, the more sensitive the Volume will be to your playing. Amp Envelope: This is an ADSR envelope generator for controlling the sounds level over time. Each slider controls the Attack, Decay, Sustain, and Release phase of your Sampler Instrument over time. See the section The SynthesizersPercusor from page 203 onwards for more information. Vibrato: Vibrato is a cyclic pitch change. The setting of the Vibrato knob will determine the vibrato intensity. On top of this value more Vibrato can be added via the mod wheel on your MIDI keyboard. LFO Speed: The vibrato speed is set with the LFO Speed control below the Vibrato knob. Importing SoundFont 2 Files: To make use of this functionality, simply copy or move your SoundFont 2 files into the Sampler Instruments folder. Select the file name in the SAMP-7s Sampler Instrument load flip-menu and the file will automatically be converted. An EXS Instrument file will be created in the Sampler Instruments folder which contains the original SoundFont 2 file. The raw samples associated with the Sampler Instrument will be placed in a SoundFont Samples folder within the MAGIX midi studio program folder. Should a SoundFont 2 Bank file (a Bank contains multiple soundsa General MIDI bank, for example) be loaded, it will create a Bank folder and also a Samples folder. These new folders will have the same name as the SoundFont 2 Bank file, with the word Bank or Samples appended. All sounds contained in the bank will automatically have an EXS Sample Instrument file created and placed into the newly created Bank folder. The SAMP-7 Sampler Instrument flip menu will automatically be updated to reflect the new folder hierarchy. All samples associated with the Bank will automatically have a Samples folder created inside the SoundFont Samples folder which resides in the MAGIX midi studio program folder. As an example, a SoundFont 2 bank file named Vintage Drums is imported by the SAMP-7. It contains over 50 individual drum kits from several different vintage drum machines. A new folder named Vintage Drums.Bank will be created in the Sampler Instruments folder. A second folder named Vintage Drums.Samples will be created in the SoundFont Samples folder. Both of these folders are found in the main MAGIX midi studio program folder. The Sampler Instrument flip menu hierarchy is updated and the original Vintage Drums entry is replaced with a
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Vintage Drums.Bank entry. This new entry is a folder which contains the individual Sampler Instruments, which can be selected and loaded as per usual. Once conversion is complete, the original SoundFont 2 source file/ s can be freely deleted from the hard disk(s).
Please note: You can store your imported Sampler Instruments in any folder on any of your computers hard drives. To do so, you must create an alias (shortcut on Windows) pointing to this folder within the Sampler Instruments folder located in the main MAGIX midi studio program folder. Care should be taken when importing samples to ensure that when a song is loaded, the associated Sampler Instruments will be found. Sampler Instruments are only searched for in the Sampler Instruments folder (or an alias to it). Any Sampler Instruments stored in other locations will not be located and must be loaded manually. File Organization: As your sample library grows, the list of Sampler Instruments will also expand. To aid you in keeping the list of Sampler Instruments manageable, the SAMP-7 features a sophisticated, but easy to use method of file management. The Sampler Instrument flip menu directly reflects the folder structure within the Sampler Instruments folder. You can choose to sort your Sampler Instruments in groupsi.e. basses and guitarsby sound type, alphabetically, or by song. To organize your Sampler Instruments into a preferred hierarchy: Using Windows Explorer, simply create a foldere.g. Basses within the Sampler Instruments folder. 211

Drag and drop the desired samples/instruments into this newly created folder and their menu structure will be reflected when clicking on the SAMP-7 Sampler Instruments flip menu. Note that you will need to relaunch MAGIX midi studio after changes are made to the folder hierarchy in the Sampler Instruments folder. The menu is designed to only display sub-menus of folders that contain EXS Sampler Instrument files. Other folders are not added to the menu. Shortcuts pointing to folders outside the Sampler Instruments folder can also be added to the menu. Even the Sampler Instruments folder itself can be a shortcut to a folder on a different drive or location. When selecting a Sampler Instrument from a sub menu, a bold entry at the top of the root menu is added to indicate the current selection. The sub menu that contains the selected Sampler Instrument is also shown in bold type, as are further sub menus. This makes it easy to trace the file path of the currently loaded Sampler Instrument. Creating your own Sampler Instruments: The SAMP-7 features a ready-built collection of Sampler Instruments for you to use. As discussed earlier, it supports the EXS and SoundFont 2 sample formats, but there may be occasions where you would like to create your own Sampler Instruments. To facilitate the creation of your own Sampler Instruments, we have designed a number of User presets. These preset Sampler Instruments contain up to 16 Zones, which are mapped across the keyboard. Each Zone points to one sample (audio file). The samples and zones are mapped as follows:
Zone Root Key Key Range Sample Name
User 16 Zone Layout 1 2 3 4 5 6 7 8 9 10 11 C1 D1 F1 A1 C2 E2 G#2 C3 E3 G#3 C4 F4 C1C#1 D1E1 F1G#1 A1B1 C2D#2 E2G2 G#2B2 C3D#3 E3G3 G#3B3 C4E4 F4G#4 user1.wav user2.wav user3.wav user4.wav user5.wav user6.wav user7.wav user8.wav user9.wav user10.wav user11.wav user12.wav
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Zone Root Key 13 14 15 16 A4 C#5 F5 A#5 Key Range A4C5 C#5E5 F5A5 A#5C6 Sample Name user13.wav user14.wav user15.wav user16.wav
User 8 Zone Layout 1 2 3 4 5 6 7 8 C1 G#1 E2 C3 G#3 E4 B4 F#5 C1G1 G#1D#2 E2B2 C3G3 G#3D#4 E4A#4 B4F5 F#5C6 user1.wav user2.wav user3.wav user4.wav user5.wav user6.wav user7.wav user8.wav
User 4 Zone Layout 1 2 3 4 C1 E2 G#3 C5 C1D#2 E2G3 G#3B4 C5C6 user1.wav user2.wav user3.wav user4.wav
Zone Key Range
Sample Name
User Drums 16 Zone Layout 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 user1.wav user2.wav user3.wav user4.wav user5.wav user6.wav user7.wav user8.wav user9.wav user10.wav user11.wav user12.wav user13.wav user14.wav user15.wav user16.wav
User 1 Zone Layout 1 FullRoot C3 user1.wav
The Root Key shown in the tables is assigned to the lowest note in the Key Range of the Zone. The Root Key is the actual note on the keyboard which you should press if
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you wish to hear the audio sample played back at its correct pitch. If you play notes above the Root Key within the same Zone, the sample will play back at a higher speed, and therefore, pitch. The User Drums 16 preset is mapped across the bottom 16 keys of a 61-note keyboard (note numbers 3652), allowing you to set up your own drum kits. As the Key Range of the audio samples is limited to a single note per Zone, the Root Key matches the notes displayed in the User Drums 16 table. The Key Range: refers to MIDI note ranges, and works in the following fashion: MIDI note #60 is known as MIDDLE C or C3. MIDI note #61 = C#3. Up an Octave (12 notes) from C3MIDI note#72 = C4 Down an Octave from C3MIDI note #48 = C2 To customize the User Sampler Instruments: Browse to the Sampler Instruments sub-folder of the MAGIX midi studio program folder using Windows Explorer. Here, you will find a further sub-folder named User Zones, plus a number of other folders. Double click on the UserZones folder, and you will see a number of files called User X Zone.exs and a number of folders named User X Zone. (The X in these names refers to a number). The User X Zone.exs files are the actual Sampler Instrument files that are loaded into the SAMP-7. The User X Zone folders contain the raw samples (audio files) which the User X Zone.exs Sampler Instruments point to. N.B.It is strongly suggested that you only work on a copy of the User presets, or at least make a backup copy to another hard disk location. Before beginning, we recommend that you copy the entire UserZones folder. Note that you must rename your samples to match the name of the samples they are replacing and you must retain the existing file/folder hierarchy. If this is not done, SAMP-7 will not be able to locate your samples when loading your User Sampler Instruments. To customize the user instruments, double click on the desired User X Zone folder where you will find a number of files called user1, user2, user3 etc. These files are 500msec 440Hz Sine Waves stored in WAV format. From here, all you need to do is replace the existing user.wav files with your own samples. As an example; if replacing user1.wav thru user 4.wav in the User 4 Zone folder. 214

Open Windows Explorer and browse to the folder that contains the samples you wish to replace the User 4 Zone audio files with. Within this folder, rename the four (4) samples you wish to use to user1.wav, user2.wav a.s.o. You can rename files by clicking on them with the right mouse button and selecting Rename from the menu. The file will be highlighted and you can simply type in the new name. Dont forget to add the .wav suffix. Press Enter to confirm the name. Once done, simply drag your newly created user1 4.wav files into the User 4 Zone folder, and click on Yes when prompted if you wish to replace the existing files. Launch MAGIX midi studio, insert and open the SAMP-7, then select the User 4 Zone Sampler Instrument, and start playing.
The EZ piano
The EZ piano is designed to recreate the sound of classic electric pianos. The piano synthesis engine is designed solely for the simulation of electric pianos, and does not make use of any sampling technology. The EZ piano does not feature acoustic piano or grand piano sounds. Its only purpose is the ultra-realistic simulation of electric pianos. The dynamics and scaling of the sounds over the entire 88-key range is silky smooth and does not suffer from the abrupt changes in sound that typify sampled instruments. There are no audible loops, and we promise that youll never hear any low pass filters closing while the sound of a note is decaying. The EZ pianos engine also simulates the physical movement of the various electric piano reeds, tines and tone bars in the electric and magnetic fields of the pickups found in the original instruments. It synthesizes the ringing, smacking and bell-like transients of the attack phase, as well as the hammer action and damper noises. The sound generator reacts smoothly, musically and precisely to the 127 steps of velocity sensitivity as defined in the MIDI specification. Use of the EZ piano: The insertion of the EZ piano into an Audio Instrument channel is as per the other software instruments. The EZ piano user interface consists of two simple, but effective, controls which you can use to tailor the sound.
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Bell: Bell determines the level of the inharmonic treble portion of the EZ piano sound. Adjust the knob to create typical electric piano sounds. Turning it to the right introduces more Bell making the sound brighter and somewhat reminiscent of the electric piano sounds of the early 80s. Decay: This parameter effects the length of the electric piano sound while holding down a key on your master keyboard. Turn the rotary knob counter clockwise to shorten the electric piano sound. Turn it clockwise to lengthen it. The middle position is the neutral default position. Chorus: Like the Tremolo the Chorus adds a modulation effect to the electric piano sound making it sound richer and thicker. The Chorus rotary knob controls the intensity of the chorus effect. Turn it clockwise to increase the chorus effect. Turn it all the way counter clockwise to deactivate the chorus effect (default). Tremolo: A periodical modulation of the amplitude (level) of the sound is what we call a tremolo. The modulation is caused by an LFO. Turning the knob to the right will increase the amount of tremolo.
Drum Kit Plug-Ins

MAGIX midi studio 2005 includes four virtual drum kit plug-ins: Tech I, HHop 2, Rock 3 and Accu 4. Each of the 4 drum kits plug-ins includes 3 stylistically different drum sets consisting of 16 drum sounds each. Tech Ioffers essential drum sounds for the techno production including 16 popular 909-type drum sounds. HHop 2includes 808-type drum sounds, an important ingredient for hip hop drum grooves. Rock 3a universal and flexible drum kit for a wide varity of styles including rock tunes. Accu 4a compilation of 16 acoustic drum and percussion sound for any music style. Additional Drum Kits: The HHop, Tech, Rock and Accu Drum Module plug-ins each offer two additional drum kits. The original, as well as the additional, drum kits are selected and activated via the drum kit pop-up menu, found 216

above the slider section of the respective Drum Module plug-in. Like the other audio instruments plug-ins in MAGIX midi studio 2005, the virtual drum kits are used as audio instruments on Audio Instrument tracks. The drum kits can be inserted into the six audio instrument channels of the MAGIX midi studio 2005 mixer as stereo or mono audio instrument plug-ins.
The user interfaces layout of all four drum kit plug-ins are identical and function alike. 16 sliders are used to mix the relative levels of the 16 drum sounds in the set. One slider for each drum sound. Each slider is labeled with an abbreviation of the drum sound it controls. The default 0 position is indicated by a line half way between top and bottom. Above this line the individual drum sounds get louder below they will get softer. The Master Vol. rotary knob to the right controls the overall volume of the plug-in. Each drum sound is assigned to one MIDI note starting with C (default C1)i.e. the Kick drum is played with the C1 key, the Rim with C#1, Sn1 with D1 and so on. Root lets you shift the whole drum kit to another octave of your MIDI keyboard starting for example at C2 instead of C1. To change the Root octave click and hold with the mouse in the Root edit field while dragging the mouse up or down. All changes you are making using the plug-in user interface are automatically stored with the song when you save. As with other plug-ins in MAGIX midi studio 2005 changes can also be stored and loaded as song independent Settings using the settings dialogthe downward pointing triangle next to the Bypass button.
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FMX1FM Synthesizer
The FMX1 is a powerful, yet easy to use, software synthesizer based on Frequency ModulationFM. The 16-voice polyphonic FMX1 produces the typically rich bell and digital sounds that FM synthesis has become synonymous with. At the core of the FMX1 engine, youll find a multi-wave Modulator oscillator and a sine wave Carrier oscillator. The Modulator oscillator modulates the frequency of the Carrier oscillator within the audio range, thus producing new harmonics. These harmonics are known as the sidebands. The FMX1 is divided into three areas. The top ring contains the global parameters. The raised Y-shaped FM engine in the center consists of the Modulator, Carrier and FM controls, including the FM Envelope and LFO. The bottom section houses the output section, and features the Volume Envelope, Main Level control, Velocity etc. Now lets have a closer look at the parameters. Global Parameters: Transpose: The base pitch is set with the Transpose parameter. You can transpose the FMX1 by 2 octaves. Click in the black parameter field and drag the mouse up or down to change the value. Tune: Tune will fine-tune the FMX1 50 cents. A cent is 1/ 100th of a semitone. Click in the black parameter field and drag the mouse up or down to change the value. Randomize: The Randomize facility generates new sounds with each mouse click. Click the Randomize button to create a new randomized sound, based on the Intensity value. Higher Intensity values will produce more random sounds. Experiment with values below 10% for small vari218

ations of a given sound. Click in the black parameter field and drag the mouse up or down to change the value. Unison: Unison will layer 2 complete FMX1 voices, making the FMX1 sound larger and fatter. In Unison mode, the FMX1 can be played with 8-voice polyphony. FM Parameters: FM: As mentioned above, the Modulator oscillator modulates the Carrier frequency, resulting in newly generated sidebands that add new overtones. Turning up the FM control (the large dial in the center) produces increasing numbers of overtonesand the sound becomes brighter. The FM Intensity parameter is sometimes called the FM Index. (Although the technology behind it is very different, you could compare the FM Intensity parameter to the Filter Cutoff parameter of an analog synthesizer.) FM Envelope: To control the FM Intensity parameter dynamically, the FMX1 provides a dedicated ADSR FM Envelope, consisting of four sliders: Attack time, Decay time, Sustain level and Release time. The envelope is triggered every time a MIDI note is received. The Attack slider sets the time needed to reach the maximum envelope level. The Decay slider sets the time needed to reach the Sustain level (determined by the Sustain slider). The Sustain level is held until the MIDI note is released. The Release slider sets the time needed to reach a level of zero, after the MIDI note has been released. Env Depth: The strength, or impact, of the FM Envelope control over the FM intensity is determined by the Envelope Depth control. Turning the Envelope Depth control clock-wise increases the effect of the FM Envelope. Turning the Envelope Depth control counter clock-wise inverts the effect of the FM envelope, meaning that the envelope slopes down during the attack phase, and slopes up during the decay and release time phases. In the center (0) position, the envelope does not have an effect. You can easily center the Envelope Depth dial by clicking on the 0. LFO: The LFO (Low Frequency Oscillator) serves as a cyclic modulation source for FM Intensity or Vibrato. Turning the LFO control clock-wise increases the effect of the LFO on FM Intensity. Turning it counter clock-wise introduces a vibrato. In the center (0) position the LFO does not have an effect. You can easily center the LFO dial by clicking on the 0. Rate: The speed/rate of the LFO cycles is set with the Rate parameter. 219

Modulator and Carrier: Harmonic: In FM synthesis, the basic overtone structure is determined by the tuning relationship of the Modulator and Carrier. This is often expressed as a tuning ratio. In the FMX1, this ratio is achieved with the Modulator and Carrier Harmonic controls. Additional tuning control is provided by the Fine Tune parameter. You can tune the Modulator and Carrier to any of the first 32 harmonics. The tuning relationship (or ratio) greatly changes the base sound of the FMX1, and is best set by ear. As a rule of thumb: even tuning ratios tend to sound more harmonic or musical, while odd ratios produce more inharmonic overtoneswhich are great for bell and metallic sounds. As an example, the Modulator and Carrier set to the First Harmonic (a 1:1 ratio) will produce a sawtooth-like sound. If the Modulator is set to the Second Harmonic, and the Carrier to the First Harmonic (a 2:1 ratio), the tone produced will sound similar to a square wave. (In this respect, the tuning ratio is somewhat similar to the waveform selector of an analog synthesizer.) Note: The Harmonic dial of the FMX1 carrier can be set to a value of zero. This, in effect, produces a DC (Direct Current) signal. In this scenario, the Carrier actually acts as a wave shaper. Fine (tune): Fine tune adjusts the tuning in-between two adjacent harmonics (as determined by the Harmonic control). The range of this control is 0.5 harmonic. Dependent on the amount of detuning, this will create either a subtle beating of the timbre orif high detuning amounts are usedadds new harmonic and inharmonic overtones. In the center (0) position Fine tune does not have an effect. You can easily center the Fine tune control by clicking on the 0. Modulator Wave: In classic FM synthesis, sine waves are use as Modulator and Carrier waveforms. To extend its sonic capabilities, the FMX1 modulator provides a number of additional digital waveforms. When turned completely counter clock-wise the Modulator produces a sine wave. Turning the Wave parameter clock-wise will continuously fade through a series of complex digital waveforms. These digital waveforms add a new level of harmonic richness and complexity to the resulting FM sounds. The Output Section: Sub Osc Level: For added bass response, the FMX1 features a sine wave sub oscillator. This operates one octave
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below the FM engine (as determined by the Transpose parameter). Turning up the Sub Osc Level control mixes the sub oscillator sine wave with the FMX1s FM engine output. Vol(ume) Envelope: The Volume Envelope shapes the overall volume contour. The Volume Envelope consists of four sliders: Attack time, Decay time, Sustain level and Release time. The Volume Envelope is triggered every time a MIDI note is received. The Attack slider defines the time needed to reach the maximum volume level. The Decay slider sets the time needed to reach the Sustain level (as determined by the Sustain slider). The Sustain level is held until the MIDI note is released. The Release slider controls the time needed to reach a volume level of zero, after the MIDI note has been released. Stereo Detune: Stereo Detune adds a rich and diverse chorus-like effect to the sound of the FMX1. This is achieved by doubling the FMX1 voice with a detuned second FM engine. The amount of detune is adjusted using the Stereo Detune dial. A wide stereo effect is also added, increasing the space and width of your sound. Velocity: The FMX1 is able to respond to MIDI velocity, and reacts with dynamic sound and volume changes i.e. harder playing will result in a brighter and louder sound. The sensitivity of the FMX1 in response to incoming velocity information is determined by the Velocity parameter. Set the Velocity control all the way to the left (counter clock-wise) if you dont want the FMX1 to respond to velocity. Turning the control clock-wise will increase velocity sensitivity, and with it, introduces dynamic changes to the sound. Main Level: The Main Level control adjusts the overall output level of the FMX1. Turning it clock-wise makes the FMX1 output louder. Turning it counter clock-wise will decrease the output level.
Faders and Level Adjustment

Level Meter: The channel strips have a level meter for displaying playback or monitor level. When you arm a track in preparation for recording, the meter will display the input level. Peak Hold: As with conventional mixing desk meters, peak values are held on the display for a few seconds, so that they can be read more easily. Even if your CPU processing capacity is not sufficient for a smooth display, it reliably shows the last maximum level. 221

Clip Detector: If the signal overloads, and goes into clipping, the Clip detector (the red virtual LED at the top of the meter) will light and remain lit. You can reset the detector by clicking anywhere on the meter. Adjusting the level: The fader on each track object sets its playback level. The recording level is not set in midi studio, but at the source supplying the signal. You cannot adjust the level on the digital input. midi studios fader shown here is used to control the monitor level. To refresh your memory on this topic covered in the printed manual:

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As an example, this illustration shows the control panel for the Creative Labs SoundBlaster Live sound card. You will find similar utilities for hardware from other manufacturers. The playback level for audio recordings is controlled via the Wave/DirectSound slider. This control is placed after midi studios output. This means that midi studios master output fader (in the Mixer) can only control the full output dynamic range if this slider is set to its maximum. The dynamic range is

the difference between the quietest and loudest signals in your audio recordings. You can also switch views to display a mixer control panel that allows you to set the input level for each input source via Options > Properties > Recording from within the control panel shown above. Disable each input source that you dont plan to record (usually everything except the line-in) by unchecking the checkbox found at the bottom of each fader. Tip: The line-in will usually provide the best results. Try to avoid the use of the sound cards microphone input, especially with cheaper audio cards. It is a better idea to use an external microphone preamplifier, such as that found on a mixing desk, and then record via the line input. If you dont have a mixer, you can use the microphone IN on your home hi-fi and run out of its LINE OUTS, if these connectors are available on your stereo systemnote that not all do. The Volume control can be accessed more easily if you check the option to Show Volume Control on Taskbar in Control Panel > MultiMedia > Audio This will place a loudspeaker icon on the taskbar, which will reveal a master volume control when clicked once with the mouse. Back to it The level reading of the audio objects and the aux sends can be shown in decibels (dB) or MIDI controller values. To change the scale, select the appropriate object and alter the Val as parameter. You will find this in the Arrange windows parameter box for the selected audio fader/object. A MIDI volume of 90 is equivalent to 0 dB. The maximum boost is +6 dB. You can reset the volume fader to 0dB (90) by ctrl-clicking. During Recording: An independent monitoring level is available if a Track object is record enabled. When the object is again disarmed, the original level will be restored.
Routing
Mute control: You can mute any audio object by pressing the button marked M. Pressing the button again restores the previous level. Pan/Balance: Mono objects feature a Pan control which determines the position of a signal in the stereo image. Stereo objects, on the other hand, possess Balance controls. The balance control differs from the pan control in that the former controls the relative levels of two signals 223

(L/R) at their outputs. The latter merely shares one signal proportionally between two outputs. You can reset the pan control to center (64) with a ctrlclick. Track arming: The Rec control (see image) arms a track, making it ready for recording. Once the track has been armed, the control flashes. During actual recording, it remains lit all of the time. Rec controls only exist for Track objects. Please note that the number of Track objects which can be armed at the same time, is limited to the number of tracks which your audio hardware can record simultaneously. You can select which available input the Track object will record from, by using the input selector switch, found in the I/O section of the Track object. Click-holding on the switch will reveal a flip-menu, showing all available inputs for your hardware. If the record track is stereo, the inputs will be displayed in pairs (Input 1-2). For mono tracks, they will be displayed individually. (Input 1, Input 2) Solo: All audio objects have a solo button. This mutes all other audio objects. The muted objects are marked with a flashing M in the mute button. Please note that this does not mute MIDI tracks. You can solo several objects at once. ctrl-clicking releases other active solo buttons, so that you only hear one channel (Interlocking Solo or Solo Toggle). ctrl-clicking any activated solo button removes the solo status from all audio objects. Solo Safe: When you solo a channel, if you want to hear the signal together with its effects, the effect return channels should not be muted. Unlike conventional mixing desks, midi studio scans the entire signal flow and leaves the effect return channels open. The same applies when you solo an effect return signal. The channels feeding the effect are muted (taken out of the routing) but their effect sends remain open so that the effect still receives a signal. alt-clicking an inactive solo button makes this audio object solo safe. This stops it being muted when you solo another channel. Solo safe status is marked by a cross in the solo button. alt-clicking again removes the solo safe status. Mute Remote Control: Mutes are recorded as Controller #9 events. This allows you to control muting e.g. via hardware controllers.
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Value 127Mute (actually any value except 0 or 64) Value 0Switch off mute Value 64Toggle mute
Stereo Objects
all of the types of audio objects (Track, Input, and Output) may be used configured as stereo. Audio sequences on the tracks of stereo objects are always dealt with together, no matter what the operation being performed. If you open the Sample Edit window, both sides of the stereo pair are shown there, and processed together. Creating Stereo Objects: To do this, select the object named Audio 1. Click on the Mono symbol, at the bottom left of the object, next to the REC button. The button will now show two interlinked circles, indicating that it is now a stereo object. If you click-hold on this button, you will see a flip-menu, giving you two choices: MonoSets the track to play mono files. StereoSets the track to play stereo files. The Effects: Whatever parameters you adjust for stereo objects, the changes affect both sides equally. The pan control becomes a balance control. Stereo objects have their own set of parameters for setting level, balance, effect send and EQ. As a result, you can toggle between stereo and mono object types without losing the parameters for each type. Any combination of stereo and mono recordings is permitted. you can set tracks 1 and 2 each to stereo, and use tracks 3 and 4 for mono recordings, if you wish.
Automation
On a mixing desk, Automation is the ability to record the changes to the levels of the various audio channels over time, and then recall and reproduce these changes automatically when mixing. Full automation allows you to recall of the adjustments to all of the parameters on a desk, such as the pan and EQ settings, as well as all of the channel levels. Naturally, the virtual mixing desk of midi studio is fully automated. This includes all buttons, fader and knob movements including the effect returns and the master faders. Fader movementsjust as with MIDI eventsare recorded on a track. This track will consist of a sequence with corresponding MIDI events from the respective fader 225

or knob. After being recorded, these events can be edited, just like any other MIDI sequence. The different channels in the mixer create events assigned to different MIDI channels. When automation data is recordedfrom the Mixer, the automation data is recorded to the corresponding track in the Arrange window. Example: Lets say you have three tracks: a bass track, a piano track (both MIDI tracks), and an audio drum loop on an audio track in the Arrange window. First up, open the Mixer window and then: Click on the Record button in the Transport window, and move any fader or knob on the Mixer. Automation data will be recorded. If the fader for the piano channel on the Mixer is moved, midi studio automatically creates a new sequence on the piano track in the Arrange window. Move the volume fader for the drum loop, and a new sequence is written to the corresponding audio track in the Arrange window. During the recording process, it is possible to jump back and forth between the mixer channels. The mixer assigns automation data to the correct track automatically. On a practical level, its better to concentrate on one track at a time, rather than switching between faders. Operation: Select Windows > Open Mixer in the menu bar. Click on Record in the Transport window. Move the faders, knobs, or buttons on the mixer. To record the changes to the effect returns and the master faders, you need to create new FX Return and Master tracks in the arrange window (Functions > Track > Create New FX Return Track, Functions > Track > Create New Master Track). Ensure that you have selected the appropriate track, go to the mixer window, press record and operate the appropriate return or master fader.
Bouncing
The Output channel strip has a bounce switch (BNCE). This allows you to create an audio file based on all audio tracks assigned to this output. All parameters, including volume, pan, and effects are recorded as part of the bounced file. Bouncing takes place in real-time, so any automation of the audio signals plus that of any effects faders they may be routed to is faithfully recorded as part of the bounced audio file. To Bounce down your tracks: Press the bounce switch on the output object Set the parameters in the Bounce dialog window (see below). 226

Press the bounce switch in the Bounce dialog window. A file selector appears where you can enter a destination folder and name for the bounced file. Options in the Bounce Dialog Window: Start and End Position: This is where you can define the passage which you want to be written into the bounce file. The default is the whole song, from the beginning of the first audio region to the end of the last. However, if the cycle function is switched on, the default will match the locator positions. In any case, you can adjust these start and end positions manually. As an example of where this might be useful: if one of your audio tracks uses a reverb which has a long tail (it takes a while to fade out). Beneath the Start and End positions, the memory requirement for the bounced file is shown. By clicking Bounce, you will create the Bounce file. If you choose Burn, the file will automatically open in MAGIX audio studio. The Stereo Filetype flip menu allows you to select between Split Stereo and Interleaved file formats. In almost all cases, you will use the Interleaved format. This is used by CD-burning programs and many other audio editing programs, including MAGIX audio studio. The Split Stereo file type is not as commonly used, but can be useful if you wish to apply different processing to one side of a stereo audio file. Note that if a process like reverb is used on one side of a split stereo file, it will, in all likelihood, change the length of the file. Needless to say, joining the two stereo halves back together after one of them has changed length is a difficult proposition.
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The Audio Window The Audio Window

The Audio Window is basically midi studios equivalent of the Windows Explorer for audio files. In this window, you should do ALL of your audio file administration tasks, like saving etc. You can also use the Audio window for many other file edits, the creation of regions and more. While many of these tasks can be achieved in the Arrange window, or with greater accuracy in the Sample Editor, the Audio window is very useful for different jobs. If you work with (or intend to) a lot of audio files, then get to know the Audio window well. It makes the task of handling lots of audio files much simpler. MAGIX midi studio 2005 allows you to access all digitally stored audio recordings (audio files) available in the Wave (.WAV) or Aiff (AIF, AIFF) formats. All recordings made using midi studio are stored as Wave files. Info: WAV = Windows Audio File AIFF = Audio Interchange File Format The Audio window of a midi studio song is where you organize all of the audio files used in the song on the hard disk. It doesnt matter whether these audio files have just been recorded or whether they were copied weeks ago from a CD-ROM onto the hard disk. The Audio window gives a midi studio song access to any compatible data on the hard disk. There is no timing assignment of the recordings in the Audio window. An audio file contains no information on its time position in relation to the musical sequencers time axis. This assignment is made by arranging sections of the audio files, known as regions, in the Arrange window in the same way as MIDI sequences. The Audio window is really like a catalog for audio files. It also gives you an overview of what regions have been defined for each audio file. Here you can define new regions and edit, delete, or rename existing ones. When you edit them here, the accuracy is limited to units of 256 sample words. To make more precise edits use the Sample Edit window. These regions can then be dragged directly into the Arrange window, where they now may be arranged as audio sequences. 228
The Audio Window

The menus in the Audio window contain all of the operations relating to the administration of audio files and regions.
Opening the Audio Window

To open the Audio window select Audio > Audio Window. You can open several Audio windows at once (even within one Screenset) for example, if you want to use different zoom factors. 8 1 2 3 4 5 11 10
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6 7 1 2 3 4 5 6
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Link button Region cycle button Monitor button Selection field for the output channel for monitoring Tool box for the Audio window Click this small triangle to show or hide the regions in the relevant audio file 7 Click the lock symbol to protect the parameters of the region 8 The name of the audio file (large print) 9 The name of a region (small print) 10 Grab and drag this point to adjust the horizontal window division 11 Region box with waveform display 12 Display of the audio passages outside the current region 13 The Anchormusical reference point in the region If you add an audio file to the Audio window, midi studio automatically creates a region encompassing the entire length of the file.
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The Audio Window

You can create as many regions as you want from the same audio file and there are also no limits in terms of length, as long as the region is no longer than the source audio file. Regions can be moved with the mouse into the Arrange window. The audio file is then played at the desired song position.
Layout
On the left side of the window is a thin column. At the top this are the mode buttons, and at the bottom are the tools. These are described in the following sections. The column to the right lists the audio files, and their regions by name. Further to the right, the region waveforms are displayed graphically in the large white area of the window. A region is shown as a boxed, black or colored area, while the rest of the audio file is shown in light gray indicating that this part of the audio file is not used for the region.
Zoom Functions
The two zoom bars at the bottom right of most windows can be used to enlarge or reduce the display (zoom function). You can use the zoom bar on the right to enlarge or reduce the vertical display area altering the height of the region waveform display. The lower zoom bar is for enlarging or reducing the horizontal display size, i.e., altering the time display of the regions.
The Mode Buttons

The mode buttons allow you to select different operating modes. These affect both the display and the playback of regions in the Audio window. Link: Link mode in the Audio window means that whenever you select an audio region in the Arrange window the same region is automatically selected and displayed in the Audio window. You can switch link mode on or off by clicking the button with the chain link icon. Hidden regions cannot be displayed in link mode. If you want to display them you need to Show the regions (see section Hiding and Showing Regions from page 232 onwards).
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The Audio Window

Monitoring: You can play regions directly in the Audio window. This monitoring is not related to the time axis of the sequencer. There are several ways of playing a region: Playing from a specific position: Click-hold the desired region in the waveform display with the mouse. Playback starts at the point where you clicked. This allows you to play specific sections. Playback stops as soon as you release the button. Playing the whole region: If you want to play an entire region, select it by clicking the name of the region in the audio list. Now click the button with the speaker symbol to start playback. Click the button again to stop playback. As well as using the mouse, you can also start or stop this type of playback using the Play/Stop Region Key Command. (default: Space Bar) Stereo playback: If a region from a stereo file is selected, clicking the speaker icon plays both sides of the stereo file. However, if you click the icon while holding down ctrl or shift only the selected region (mono) is played. If you subsequently select a region from another stereo file, midi studio goes back to playing in stereo. Region Cycle: Regions may be looped continuously during monitoring. To switch region cycle on or off, click the button with the circular arrow symbols. This mode applies to all regions in the Audio window. This cycling only affects the monitoring in the Audio window and has no effect on song playback. It should not be confused with the cycle function in the Arrange window. You can adjust the start and end points of the region in real time while the region is being cycled. This is useful for setting precise region lengths, for example when polishing drum loops. Choosing the Audio Output for Monitoring: The actual routing of the audio signals to the different outputs is done in the Arrange window (using the audio object in the track list). However, you can choose a specific channel of the audio hardware for monitoring in the Audio window. Set the desired output in the Cha button below the speaker icon. Tip:Note that if FX-Routings and EQs are active for the selected mixer-channel, you will hear them while monitoring. Choose another channel without FX/EQs for clean monitoring.
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The Audio Window

Display The Audio List
The list display of the audio files and regions, (known as the audio list) gives an overview of all of the audio files used in the current song and the regions contained within them. This is where audio files can be added, removed, deleted, or renamed. Regions can also be created, deleted and renamed. Hiding and Showing Regions: After you add an audio file, you can see the file name in the Audio window in large print. This takes up minimal screen space, and shows you as many currently used files as your zoom setting and monitor size will allow. There is a small triangular arrow directly next to the file name 1.
Click the small triangle 2 next to an audio file to reveal its regions. Like the list display of folders in the Explorer, this shows you the contents of the audio filesi.e. the relevant regions. The arrow is now pointing downward toward the regions, which are shown in small print. Click the triangle again to hide the regions. You can also press ctrl while clicking on this triangle to quickly Hide/Show all regions.
The Waveform Display outside the Region

midi studio defaults to showing the waveforms outside the defined region area in light gray. You can alter the display yourself by clicking inside the region while holding down ctrl and keeping the mouse button held down. A flip menu appears containing the following options:
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The Audio Window
2 Dark : Light waveform display outside the regions. Middle : Waveform display outside the regions colored mid gray (or selected color). Bright : Waveform display outside the regions colored dark gray (or selected color). None : Waveform display outside the regions same color as waveform inside region.
Overview Calculation
In addition to the pure audio data, an audio file also contains data which is required for graphic display of the waveform in the Audio window and Sample Editor (Overview data). Automatic Overview Calculation: If the option Create Overviews after recording is switched on in Audio > Audio Preferences , graphic overviews are automatically calculated right after audio recording. If you switch off this option, overviews are not calculated automatically. However, you can start them manually. Starting Overview Calculation manually : Sometimes when you load/import audio files, you need to carry out the calculation manually if the audio files dont contain any overview data. Controlling the Overview Calculation: The calculation of the overview data for an audio file is shown in a float window. This calculation is carried on in the background so you can continue working with midi studio. You can position this float window wherever you wantthe last position is saved in the Preferences. Double-clicking this window opens a dialog box. If you stop the calculation by clicking Abort you can still play the audio filebut bear in mind that without an overview it will not be easy to edit.
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The Audio Window

Continue carries on the overview calculation in the background as it normally would. Clicking Finish transfers the calculation to the foreground and therefore speeds it up considerably. The disadvantage is that you cannot use your computer for anything else until it is finished. Update File Information: By editing an audio file in an external sample editor like MAGIX audio studio artifacts of the audio filee.g. its lengthmay change. If you select this function via Audio File > Update File Information midi studio will be informed of the change.
Operation Selection Techniques

There are several different ways of selecting audio files and regions in the Audio window. To select a single item just click either its name in the audio list, or the waveform display. If you hold down shift at the same time you can select several items, even if they are spread out. In the audio list you can also use the rubber band selection. To select all items at once choose Edit > Select > Select All (ctrl a).
X X X X
Audio Files: Selecting the next Audio File: The Key Command Select Next Audio File selects the next audio file in the audio list. Selecting the Previous Audio File: The Key Command Select Previous Audio File selects the previous audio file in the audio list. Audio Files and Regions: Selecting used Regions: When you choose Edit > Select Used all audio files and regions used in the arrangement of the song are selected. Selecting unused Regions: Choosing Edit > Select Unused selects all those audio files and regions which are not used in the arrangement of the current song. For example, you can select this function at the end of a production to delete any items that are not required (backspace).
Edit Commands
all of the standard edit commands are available in the Audio window. As usual, they apply to the currently selected entries (whether audio files or regions). The Cut, Copy and Paste commands only apply to exchanging items between two different songs. An audio file can only appear once in a songs audio list, and so cannot be 234
The Audio Window

copied within a song. For instructions on how to physically copy an audio file to the hard disk, please see the section Copying Audio Files from page 242 onwards. Cut: The selected audio files or regions are cut out, i.e. moved to the clipboard. They are removed from the Audio window. Shortcut: ctrl x. Copy: The selected audio files and their regions are copied to the clipboard. They remain in the Audio window. Shortcut: ctrl c. Paste: The contents of the clipboard are added (providing they contain audio files and their regions from another song). Shortcut: ctrl v. Clear: Any selected audio files or regions are deleted. You can achieve the same effect by pressing backspace. Dont forget; the functions Cut or Clear do not delete audio files from the hard disk, they just remove them from the Audio window of the current song. If regions from the audio files in the Arrange window are being used as audio sequences these sequences will be deleted from the Arrange window as well. If you want to delete the selected audio files from the hard disk, select Audio File > Delete File(s). Undo: Reverses the Previous Command (Shortcut: ctrl z). You should select this function if you want to reverse an action. Not all actions can be reversed using Undo. If you select a function which you cannot Undo, you will be warned of this before you can execute the function.
Regions
Creating a Region: Select the desired audio file and select Audio File > Add Region. The new region will appear in the list, after the existing regions. Copying a Region: If you select an existing region and then carry out the Add Region function, another region is created whose definition (start, end, Anchor) is exactly the same as the selected region. Deleting a Region: You can use the Eraser tool to delete one or more regions. If any of these regions exist in the Arrange window, they will be removed from there, as well. You should therefore be careful when using this tool. However, the Undo function is always available, if you inadvertently remove a needed region. You can also delete any selected regions with delete.
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The Audio Window X

Altering the Limits of a Region: You can directly alter the limits of a region in the graphic display using the region edit (finger) tool. You can also use the normal mouse pointer. Just make sure you click and hold on the region by the lower third when carrying out the following actions: Moving the Start Point: To adjust the start point of a region, click and hold on the left border. You can now adjust the start point. Moving the End point of a Region: To adjust the end point of a region, click and hold on the right border. You can now adjust the end point. Moving the whole Region: You can also move an entire region within an audio file, by click and holding on it in the middle. The mouse cursor will be displayed as two arrows pointing left and right. If the region is very small, use the zoom function to enlarge the section. Make sure you can see the two arrows before making any alterations. If you want to adjust the limits of the region without moving the Anchor, hold down ctrl during the operation. This applies to moving the start or end points, as well as moving the whole region. Moving the Anchor: To move the Anchor, click and hold on the small Anchor triangle below the region. The mouse cursor will be displayed as the pointing finger tool. A guide line appears above the Anchor triangle. With audio sequences in the Arrange window, the Anchor is marked by a vertical, dashed line. Moving to Zero Crossings: If Edit > Search Zero Crossings is switched on, adjustments to the start or end point of the region are snapped to the nearest point where the wave form crosses the zero axis. This ensures glitch-free playback. When adjusting the start point, the area before the selected point is searched. When adjusting the end point, the area after it. This option is useful when defining regions in the Audio window. Please note that Search Zero Crossings also applies to all operations in the Arrange window. Fine Movement: The graphic display in the Audio window is optimized for quick and simple organization of the audio files and regions. This involves displaying as many things as possible simultaneously in a window. The finest resolution for positioning the start point, end point and Anchor, is therefore limited to units of 256 samples. This is usually sufficient, particularly if search zero crossings is switched on.
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The Audio Window

However, sometimes you need to make precise adjustments down to the individual sample words. Drum loops are a good example. The Sample Edit window is better suited to these situations. To open the Sample Edit window for a region, double-click on that region. Protecting the Region Parameters: Regions can be locked, to protect against accidentally altering the start and end points, or the Anchor position. The small lock symbol next to every region can be opened and closed by clicking it. If it is locked, you can play the region, but you cannot edit it. A protected region can still be deleted. Renaming Audio Files and Regions: To rename audio files and regions in the Audio window, just double-click the name in the audio list. A text input box appears where you can type in a new name. Before renaming audio files the following warning appears: Keep in mind other songs may use the same le! Do you still want to rename the le? You should check whether the audio file that you want to rename is used by another song. If it is, dont rename the file, otherwise it will not be found or played by the other song. midi studio helps you in these situations: midi studio alters the name of an audio file in all currently opened songs which use this file. midi studio automatically assigns the new name to any stereo file which is connected to the renamed file, and is stored on the same storage location, on the same drive (and has the same name). MAGIX midi studio 2005 deLuxe also renames any backup files on the same drive. If you rename a stereo file, MAGIX midi studio 2005 deLuxe automatically assigns the new name to up to five files (both the mono files used, their backups and the stereo file). Its a good idea to store all these files in the same location. (Refer to the section on moving files.) You can rename regions whenever you like. Providing the regions have the same names as their audio files, any renaming of the audio files is automatically carried over to their associated regions. Adding a Region to the Arrangement: To add a region to the song arrangement, grab the middle of a waveforms graphic display and drag it onto ANY audio track in an open Arrange window to create an audio sequence.
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The Audio Window

Dont be alarmed if the region starts to play. It will stop playing as soon as you move the mouse pointer outside the Audio window. You can prevent this playback by using the region drag tool (the small hand with the outstretched fingers), or by click and holding on the name of the region in the Audio List and dragging it into the Arrangement.
File Administration Record File

Defining the Record Path: Every recording in the Arrange window creates a new audio file. To keep track of your recordings, you should tell midi studio where the data is to be written before you start recording. You can also define a file name for the audio files that are recordeda kind of working titlewhich midi studio will automatically keep using, by appending a series of numbers to the file name for every subsequent recording. The path (folder) for audio recordings can be set individually for each song. To select the dialog window for these settings, open the Audio > Set Audio Record Path or open the Record menu (click-hold the Record button). The menu entries are: Pre-Allocate Recording Files: If this option is selected, midi studio creates an empty audio file for the next recording when you record-enable a track. In addition, at the end of every recording, the audio file for the next recording is immediately created. This allows you to start audio recordings quickly. Unused recording files are deleted when you quit midi studio. Put another way, the empty file created is a container into which you will pour your audio recordings. When midi studio creates these in advance, a buffer (an amount of memory) is generated which reduces the strain on the computer, which helps you record glitch-free audio files. Maximum Recording Time (Recommended): xxx Minutes: This parameter defines the maximum recording time for new audio files in minutes; this determines the size of the temporary recording file. You can switch this option off, in which case a record file as big as the free memory available to the currently selected hard disk will be created. Disadvantage:
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The Audio Window

the audio file can be heavily fragmented, if the actual recording time is much less than the maximum available value. It is strongly recommended that you switch on this option, and set a top limit for the recording time. If there is not enough storage space available, the maximum length of the recording is temporarily reduced. During the recording you can see how much time is available in the Record Float window (with the red bar). When you enter the Recording Time remember Important: the display of the remaining memory and the maximum recording time depends on the following factors: the number of tracks which are to be recorded simultaneously. the sample rate. It is always advisable to choose a much smaller value than the maximum possible recording time. If you dont, the first recording will use ALL of the available space on the hard drive, which will leave no room for further recordings. By default, the Maximum Record time is set to 1 minute in midi studio. Global Record Path / Song Record Path: The Global Record Path is stored in the Preferences and applies to all songs. The advantage in this is that you dont have to define a record path for every new song before you can record, providing you dont mind recording files for every song into the same folder. This is not recommended, however. The Song Record Path allows you to organize the audio recordings for each song into its own folder. The advantage here, is that when you change between different songs, any new recordings are automatically stored in that songs folder, without having to switch the path manually. The audio files, plus the song file, should all be saved in a single folder with all files having a similar name. This is especially useful for backup purposes and should one of those the computer ate my homework things happen. It is much easier to track down and recover files if they can be searched for by name. Keep reading Set: These buttons can be used to define the recording path. You can create a new folder (if required) in the dialog box. To the right, you will see the current drive and the remaining capacity (only if the drive is registered). 239
The Audio Window

If you click-hold the drive the entire path is displayed. This way you can see exactly which folder you are recording into. Here is an example illustrating the individual steps: It is usually advisable to store all of the audio files from one recording session or song in its own folder. Lets suppose the song you are working on is called Morning Light. Choose Audio > Set Audio Record Path. Create a new folder by clicking the folder symbol in the file selection box. Call of the folder something like Morning Light Audio and click Open. Now enter a working name for the audio files. It is a good idea to enter a name which mentions the song and the type of recording. If you are recording vocals for the song Morning Light you could use something like Morning LeadVoc as a working name. Then click Store. For every new recording a successive number is added to the name. For example:
Morning LeadVoc.#01 Morning LeadVoc.#02 Morning LeadVoc.#03
You can change the path and name whenever you want, by selecting the Set Record Path function again. Lets assume you want to record the lead guitar for our example song Morning Light. Enter a new name such as Morning LeadGuit. When you set the Path remember If the hard disk to which the path leads is not connected or is switched off, the path is deleted. If you rename the drive, midi studio will not be able to find your files.
Adding Audio Files

If you want to use an audio file stored on the hard disk in the current song select Audio File > Add Audio File , or simply drag them from Windows to the desired position in the arrange window. All Files: All Files displays WAV and AIFF file types simultaneously. Click Cancel in the file selection box when you have finished choosing the files. The file names will then be listed in the Audio window. Add Audio Files from CD: If files are to be added from CD, or some other protected volume, you should copy
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The Audio Window

these files to your hard disk, in order to be able to edit them. Auditioning Audio Files on CD: Use the File > Add Audio File menu option, and in the file browser which appears, browse to the CD-ROM. Click on the file you wish to audition with the right mouse button and select Properties from the menu. In the Window which opens, select the Preview tab and press the play button. It should be noted that this is a function of Windows, not of midi studio, and may vary on your machine dependent on which utility you use for CD playback. On some systems, with Microsoft Media Player 5 or above installed, a right-click will open a menu which has a Play command near the top. If this is the case on your system, use it, or consider updating your version of Media Player. Removing Audio Files: To remove an audio file from the current song, select its name in the Audio window and press backspace. This does not delete the file from the hard disk.
Creating Audio Files

Audio files are normally created by making a recording. After a digital mixdown of regions in the Arrange window a new audio file is also created (see section Digital Mixdown from page 174 onwards). Deleting Audio Files: In theory audio files are displayed and organized by the Windows operating system in exactly the same way as all of the other Windows files. You can therefore delete or copy them in Windows Explorer. However, this has the following disadvantages: If you delete an audio file you may not know if it is needed in a song. If you accidentally delete audio files midi studio warns you of this when you load the song. In addition, there will still be items in the Audio window and Audio sequences in the Arrange window which originally referred to the missing audio file and have therefore been orphaned. This detracts from a clear overview of the song. For this reason, it is safer to delete redundant audio files in the Audio window. First, select the audio files which you want to delete. Be careful, because once files have been deleted they are gone for good. You cannot use the Undo function to recover deleted audio files. 241
The Audio Window X

Choose Audio File > Delete File(s). You will see an alert message informing you of the number of audio files about to be deleted. Click Cancel to abandon the deletion process, or click Delete to permanently delete the files. Here too, you should make sure that the files about to be deleted are not being used in any other songs.
Making Backups
The Audio File > Backup File(s) function stores duplicates of files at the same storage location as the original(s), with the extension dup. Dont forget the backup options that are available in the Sample Edit window.
Copying Audio Files

The Audio File > Copy File(s) function copies files to a different location on your hard disk (or other storage medium). When you copy a file you can enter a new name in the file selection box (similar to the Save A Copy As command available when in the Sample Edit window). MAGIX midi studio 2005 checks whether there is enough space to copy the selected file(s) at the target location. If there is already a file with the same name there, midi studio asks whether you want to replace it. midi studio also gives you the opportunity of replacing the audio file in the song with the file that you have just copied. Data format: midi studio allows saving audio files in the formats Wave (.wav) or AIFF (Audio Interchange File Format). Saving in AIF format is only possible on files which were originally imported in this format.
Moving Audio Files

The Audio File > Move File(s) function enables you to move audio files on your hard disk. Unlike the copy function, the source file disappears afterwards. If the source drive/partition is the same as the target drive/partition the files are simply moved to the other folder. This is a very quick and convenient way of organizing the drive and the song. Choose Select Used from the Edit menu of the Audio window (this refers to the files which are being used in the Arrange window), and move them to a new folder. This folder will then contain just the audio files from this song. Be very careful when using this function. A different song may use the same audio files. The next time you start the other song, you will then need to locate the files that you have moved. 242
The Audio Window

MAGIX midi studio 2005 updates the information on the new path for all open songs which use this audio file. Thus, you can open every song which uses the audio file(s) you are moving. Then move the files to the new location, and save the songs to transfer the storage reference(s).
Special Features of the Stereo Format

The internal structure of multi-track HD recording systems is such that each individual audio track can be dealt with independently. Accordingly, a separate audio file is created for each track. MAGIX midi studio 2005 deLuxe can record stereo files in two different ways.The first is by coupling two mono tracks and therefore two audio files. This is known as the split stereo format. Other programs, (particularly for mastering) create files containing both channels of a stereo recording. These are composed of a sequence of alternate small packets of data from both tracks. This type of file format is called the interleaved stereo format. MAGIX midi studio 2005 deLuxe can handle both formats. Special Features of Split Stereo Files: There are a few special features for dealing with the audio files relating to split stereo sound files: In the file selection box split stereo audio files are treated as a single file even though strictly speaking they are two independent files. In the audio list you can see both files. They have the same name apart from the file extensions (.WAL) and (.WAR). If you rename one channel of a stereo audio file, the file for the other channel is automatically renamed as well. Their regions can also be renamed. If you use the Add Region command to create a new region, MAGIX midi studio 2005 deLuxe does this for both audio files. Any alteration made to either region is automatically transferred to the other region. This applies to the start point, end point, and position of the Anchor. If either of these regions is moved to the Arrange window to create an audio sequence, the other region is moved there, as well.
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The Audio Window

Other Functions involving Audio Files
Reassigning Audio Files: If midi studio cannot find one or more audio filesfor example when it opens a song the regions are shown as gray areas in the Audio window.
If the files are available under a different name or if you want to assign a replacement file, you can do this as follows: Double-click the relevant region, or select Audio File > Update File Information.
Choose Locate in the dialog box and a file selection box opens, where you can load the desired audio file. What to do if midi studio cannot find an Audio File: Sometimes midi studio cannot find a file which was previously used in the song. This could be due to one of the following: You have not connected the relevant hard disk or you have renamed the drive. You have stored the files in a different drive, or moved them to another drive. You have renamed the files in Windows Explorer, or renamed them in the Audio window of another song. You have deleted the files. In this case midi studio produces this dialog box:
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The Audio Window
You can respond in any of the following ways: Locate: The current drive is searched for this name. If the search is unsuccessful, midi studio asks you if you want to search other drives for these files. This enables you to assemble songs even if you have copied or moved the relevant files onto other media. Skip: (Dont search for this file). Use this function if you know that this audio file no longer exists or has been renamed. This button changes to Skip All if after the first skip, yet another audio file could not be found. Skip All (for Several Files): (Dont search for any more files). Use this function if you know that all audio files in this song no longer exist, or have been renamed.
Other Functions
Choosing the Sample Rate: In the Audio > Sample Rate menu you can choose one of the available sample rates 44.1kHz or 48kHz. The sample rate setting is global and applies to the playback of all audio files in the current song. It is not possible to play different audio files simultaneously using different sample rates. If you have loaded several songs, each with different sample rates, midi studio can automatically take account of this when you switch songs. Each song can only contain files of one sample rate. Converting the Sample Rate: midi studio can digitally convert sample rates: Double-click a region in the Audio window to open the Sample Editor. Press ctrl a to select the whole file. Choose Factory > Sample Rate Convert Enter the desired sample rate in Hertz next to Destination (Hz) (e.g. 44100), and Press return. For more detailed instructions see section Sample Rate Converter from page 267 onwards.
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Audio Driver Audio Driver

EASI/ASIO
The driver settings for sound cards are covered in the printed Installation and Tutorial manual. Please refer to it for detailed information on hardware setup.
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The Sample Edit Window The Sample Edit Window

This portion of the reference manual is dedicated to the Sample Editor. Here, you will discover how to use the sample editor and how to quickly navigate through, edit and save new audio regions. Youll also look at the relationship between files and regions and will see how easy it is to slice n dice, reverse and more with your audio files. For MAGIX midi studio 2005 deLuxe users, well also take a look at the Factory which offers a number of powerful audio manipulation tools, including time-stretching and pitch-shifting functions. The Sample Edit window offers an enormous number of data-editing functions which are used to process individual audio files. You can edit mono as well as stereo files. You can set the lengths of audio regions with extreme precision (down to single-sample resolution) by making use of the windows adjustable zoom resolution. The anchor points can also be positioned here with the same degree of accuracy.
Opening the Sample Edit Window

There are various ways of opening a Sample Edit window: Select Audio > Sample Editor. Double-click on any audio region in the Arrange window; this opens that region in the Sample Editor. Double-click on any region in the Audio window; this takes that region into the Sample Editor. If no region is selected, midi studio will ask if youd like to load a new file into the Sample Edit window. If youre dealing with an interleaved, or half of a split stereo region or audio sequence, both channels/audio files will be displayed in the Sample Edit window, with the left side on top, and the right side below. If you open the Sample Edit window from the Arrange window, as opposed to the Audio window, the bar ruler is able to reference the regions position in the song.
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The Sample Edit Window

Layout
5 1 2 7
4 1 2
8 This is the overview; the entire audio file is depicted here. This is the parameter box for the current selection, and shows the start point and length of the selected area. When the Catch (walking man symbol) button is activated it insures that the playback position is always visible in the window. The other controls operate as in the Audio window. Amplitude Scale (readings as percentage, or 16-bit decimal values). The dotted frame shows the extent of the section visible in the display area. Detailed waveform display. The horizontal time ruler displays the name of the edited region at the top left. Beneath that is the time position in the audio file, in various formats. The Start point, Anchor and End point of the currently selected region can be changed by simply click and holding on, and dragging them.
4 5 6 7
Display Overview
Between the Sample Edit windows title strip and bar ruler is the Overview. This display always shows the full 248

length of the currently selected audio file, regardless of the zoom resolution set by the zoom bars. Please note that no idea of scale is given in the overview; a kick drum sample lasting 0.3 seconds could take up the same space here as a choral passage lasting 15 minutes. During playback, the current position is indicated by a vertical line, moving in real time. This is visible in both the overview and the detailed waveform display. The current selection is also displayed in the overview. The section visible in the detailed waveform display is shown in the overview as a dotted rectangle. 1 2
The overview: the dotted box 1 shows the section of window currently displayed in the detailed waveform display. Part of the selection 2 is also visible. Functions in the overview: A short mouse click on the overview brings the area clicked on into the detailed waveform display. A long click on the mouse resumes playback from this position. Releasing the mouse button halts playback once more. Double-clicking lets you listen to the sample from the position clicked.
Window functions
The Catch and Link functions work in pretty much the same way as in the other edit windows. Catch Mode: Catch mode insures that the Sample Edit window always displays the area around the current playback position (whether you are playing the song, or monitoring the sample). Catch is turned on and off either by 249

clicking the switch with the walking man symbol on it or via the Key Command. Link Mode: Link mode ensures that any audio sequences selected in the Arrange window are displayed in the Sample Edit window. Link mode is turned off and on by clicking the switch marked with the linked chain symbol or via the Key Command. If you often work in Link mode, give this a try: open a Sample Edit window and switch on Link mode. Now close the window. midi studio now leaves Link mode permanently on. Double-click on the audio region you wish to view. You can see straight away that the display in both windows is linked.
The Detailed Waveform Display

The Zoom Tool: Just as in the other windows, there is a zoom tool in the Sample Edit window toolbox (the magnifying glass). If you use this tool to draw a rectangle, the selected area of the window will be magnified so that it fills the whole screen. You can also repeat the action. Clicking the mouse once (with the tool) returns you to the previous zoom resolution. You can access the zoom function even more conveniently by pressing alt, if the pointer tool is selected. Before you can draw a magnification box, you need to click on an empty space in the window. X- and Y-Axes Scales: The Y-axis has a vertical scale showing the waveform amplitude in percentage units (obtained by selecting View > Amplitude Percentage). On the other hand, if you select View > Amplitude Sample Value the scale will be displayed in sample units. The X-axis (the time ruler) shows the course of the audio file over time. You can select various units for this scale by using the View menu. Dont forget that this display format also affects the figures shown in the Info Line and the selection parameter field: View > Samples: Displays the sample word number from the beginning of the song or audio file. View > Min:Sec:Ms: Gives the scale in Hours:Minutes:Seconds:Milliseconds from the beginning of the song or audio file. View > SMPTE Time: Gives the scale in SMPTE time (in Hours:Minutes:Seconds: Frames). The time scale begins at the song start, with the SMPTE offset. When you use 250

this scale, the absolute SMPTE value of the source clock is shown on the X-axis. View > Bars/Beats Gives the scale in Bars, Beats, Divisions and Ticks, like the bar ruler in the other time-related windows. The Zero point is represented by 1 1 1 1, but lengths are measured from 0 0 0 0. Absolute and Relative Time: The different axis scales in the Sample Edit window can be displayed on the basis of one of two different reference values: by reference to the time axis of the song (absolute position) by reference to the beginning of the audio file (relative position) Relative Position: The units in the time axis (between the Overview and the waveform display) will be displayed with dotted lines when it is displaying the Relative Position.You will be in this mode if you open the Sample Editor from the Audio window, or if the Sample Editor is in Link mode, and you select a region in the Audio window. The beginning of the section is automatically assigned the value zero, or in Bar/Beat terms, 1 1 1 1. Please note that this does not necessarily match the actual song position. The calculation of all remaining musical sections is then done using the current song tempo. Absolute Position: You can recognize this format by the broken line below the units in the time axis.There will be a broken line below the units in the time axis when it is displaying the Absolute Position. You will be in this mode if you open the Sample Editor from the Arrange window, or if the Sample Editor is in Link mode, and you select a region in the Arrange window. Time is measured from the start of the Song, which is given the value zero (or 1 1 1 1 in Bar/Beat terms). In this instance the time axis shows the absolute (song) time and the figures do not refer to the audio file. Display Waveform as Sample Bits: At high magnification on the detailed waveform display, you can switch over from the usual representation of the waveform to one that shows the structure of the digital data you have recorded. You can do this by selecting View > Show as Sample & Hold This method of displaying the waveform can be useful, for example, when eliminating clicks and pops from your recordings.
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Thanks to the clever use of oversampling techniques and low-pass filters at the D/A conversion stage, the stored sample bits (on the right) are ultimately converted into a signal waveform more like the one shown on the left.
The Sample Edit Window In Use Monitoring Sample Playback

There are various ways of playing back the sections of audio visible in the Sample Edit window, making it possible to hear audio as you edit it. Playback occurs independently of the position of the sequencer in a Song. If, on the other hand, youd like to hear the selected audio passage in the context of the whole song, youll need to use the transport controls as usual. Playback from the overview: Monitoring playback from the overview display is carried out in exactly the same way as with regions in the Audio window. Simply click-hold the mouse at the point at which you wish to begin playback. Releasing the mouse causes playback to stop. You can also start monitoring from any position by double-clicking there. Playing the current selection: To play back the current selection, click on the switch depicting a small loudspeaker. You can also perform this function with the Key Command Play/Stop Selection (default Space Bar). Playback from a certain position: If you double-click at any point on the time axis, the audio file will play back from this point, to the end of the current selection. If you double-click on a point beyond the selected area, the audio file will play right to its end. Cycle Playback Mode: On the left-hand side of the Sample Edit window, just above the Loudspeaker symbol, is the Cycle button. If you turn this on, the currently selected section of audio will cycle continually when sample edit window playback is engaged. Please note that you can change the start and end points of the selected area, while monitoring it in cycle playback 252

mode. In this way, you could edit the start and end points of (say) a drum loop until it loops perfectly. When youre satisfied, you can make a new region from the selection with the function Edit > Selection > Region. Choosing the Audio Output: The small box under the loudspeaker symbol allows you to select the output channel to be used for monitoring. Set the number of the output you want to use in the Cha box under the loudspeaker symbol. Playing Regions: You can play currently selected parts of files from within the Sample Edit window. If you wish to play back a region, you must first select it by using the function Edit > Region > Selection. When you open the Sample Editor by double-clicking an audio region, this region will automatically be selected in the Sample Editor. The same thing happens when you click a region, while the Sample Editor is in Link mode.
Automatic Scrolling
You use the scroll strip on the bottom and right edges of the Sample Edit window to scroll through the detailed waveform display in the usual way.
Making Selections
Selecting the Whole Audio File: You can select the entire audio file with the function Edit > Select All (ctrl a). Manual Selection: To select a particular section of an audio file, click on the start or end of the area you want to select, hold down the mouse button, and move the mouse to the right or left. To change the boundaries of a selection: By clicking on a selection while holding down shift, you can change its existing start and end points at any time. Whether you change the start point or end point by doing this, is determined entirely by whether the point you clicked on was nearer to the start or end of the selection. The closest one wins Changing the Further Selection Limit: If you hold down ctrl shift the further selection boundary is changed (rather than the nearer). Moving a Selection: If you hold down ctrl, you can shift the whole selection without changing its length. The Selection Parameter Box: Please note that the start point and length of the current selection are shown in the selection parameter box at all times.
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The Relationship between Selections and Regions

When you open the Sample Edit window by double-clicking on a region (in the Audio window), or audio sequence (in the Arrange window), the Sample Edit waveform display will open with the entire region selected. Changing the selection has no direct effect on the borders of the actual audio region. The playback monitor only plays back the current selection. MAGIX midi studio 2005 deLuxe offers two functions that govern the interaction between selections and audio regions. These will allow you to create and edit regions with the minimum of fuss. Selecting the Region: By choosing Edit > Region > Selection, you select the entire region currently in the Sample Edit window. The current region is the one selected in the Audio window (or the region belonging to the audio sequence selected in the Arrange window). This function is useful if, for example, after editing it in various ways, you want to select the whole region again, so that you can put it into Cycle Playback Mode. Turning a selection into a Region: If you wish to make your current selection into an audio region, select Edit > Selection > Region. In this way, you can take an audio passage, define it as a selection, and then convert it to a region, in place of the original region you selected.
Creating new regions: To define a new region from an area youve just selected, select Edit > Create New Region. You can define this function as a Key Command. Editing Regions in the Sample Editor: If accuracy is what you need, you should edit the start and end points of
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regions in the Sample Edit window, not the Audio window. The same goes for any adjustments you make to the anchor, which in many cases should really be placed on the amplitude peaks, rather than at the start of the attack phase of the sound. A good example would be recordings of brass instruments, which may take some time to build to a peak. By moving the anchor to these peaks, the region will snap to the grid in your arrangement using the anchor as the pivot point. The flexible zoom settings allow you to be as precise as you like, going right down to the level of single bits, at the highest magnification. Be Careful! Any changes to the position of the Anchor point will change the relative position of that audio region in the song. Since the region start is the default position for the anchor you must also take care when changing a regions start point. The small markers on the lower edge of the waveform display allow you direct access to the boundaries of the region and the anchor. As usual, you can just click and hold on them, and pull!
Protecting the Anchor point: If you move the start or end points of a region past the anchor point, the anchor point will also move. This is quite often not what you want to happen. Holding down ctrl while you move the start or end markers of a piece of audio prevents the anchor from moving.
Search Zero Crossings

If this editing option is switched on, MAGIX midi studio 2005 deLuxe will search for the nearest point where the waveform crosses the zero amplitude axis, whenever the start or end points of a selection are changed, to avoid 255

glitches in playback. The program looks before the start point and beyond the end point.
Editing commands
Like the other windows, the Sample Edit window features the usual edit commands Cut, Copy, Paste, Clear and Undo under its Edit menu (or via the keyboard). Please note: in the Sample Edit window all of these commands (except Copy) change the data on the audio files itself; in other words, they behave destructively. Consequently, they cannot be reversed using the Undo command. Cut: cuts a selected passage out of an audio file and copies it to the Clipboard. all of the following sections of audio move forward to fill the gap. Copy: copies a selected passage to the Clipboard, leaving the selected area in its original location. Paste: Inserts the contents of the Clipboard at the cursor position, or start point of the selection. If there is no selection available, the cursor acts as the paste point (it is shown as a thin dotted line). If audio data is present behind the paste point, it is moved back to make room for the Clipboard contents. If anything is selected at the time of the paste, it is deleted and replaced by the Clipboard contents. Clear: Erases the selection without placing it in the clipboard. All data beyond the deleted passage is pulled forward to fill the gap. Undo: Cancels the last edit command used, and reverses its effect. This also works with the destructive editing commands described in the section Functions from page 258 onwards and in section The Digital Factory from page 263 onwards. Remember that the Undo function in the Sample Editor is organized separately from the rest of the program. This allows you to try out the edit in the Arrangement. If you dont like it you can go back to the Sample Editor and reverse the edit using the Undo function. Space is reserved on the hard disk for armed tracks which is not available for undo files. midi studio therefore automatically switches off record-ready status for audio tracks, if the disk is nearly full, and this would make an edit possible in the Sample Editor.
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File Management Backup Copies
Automatic Backups: Before you carry out a destructive edit on an audio file in the Sample Editor, MAGIX midi studio 2005 deLuxe will ask you if you wish to make a backup copy of the file youre working on, unless one exists already. The No Dialog button ensures that this question will not be asked again while you are editing in the current window. You can even turn off the question altogether on the page Audio > Audio Preferences In this case the question will be asked only when the program is loaded, and when you carry out your first edit. You can reply as follows: Process: No backup is made and the edit goes ahead. You wont be asked the question again until the next time you launch MAGIX midi studio 2005 deLuxe. Cancel: Stops the Edit. Preferences: Opens the Audio Preferences window and gives you the chance to reinstate the Backup question dialog box, so that it appears every time you go to make a destructive edit. Manual Backups: You can make manual backups of the file youre editing, or replace it with a backup version at any time you likeand you can do it from the Sample Edit window with a variety of functions: Audio File > Create Backup: Creates a duplicate of the audio file youre working on (with the extension .dup) and places it in the same folder, on the same level. Audio File > Revert to Backup: This function completely replaces the current audio file with the backup (provided one exists, of course). A warning message informs you of the creation date of the backup file before the current file is replaced. Please note that you cannot reverse this function with Undo. Audio File > Save A Copy As Copies the current audio file to the location of your choice. Audio File > Save Selection As Saves the current selection as an independent audio file. After it has been saved, you can choose whether or not you wish to bring the file into the Audio window. An interleaved stereo file is created when the source file is an interleaved stereo file.
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Functions
The following section describes various useful functions available in the Sample Edit window, for perfecting audio recordings. You can use these to add the finishing touches to your work. Each of the commands affects only the currently selected audio. If you want to use them to alter the whole audio file, you need to use the Select All function beforehand. All of the following functions are destructive, so they change files stored on your hard drive. You can use the Undo functionbut only until you make another destructive edit. So you could, for example, change the start and end points of the selected audio in between destructive edits, without losing your undo facility. Since the Undo function in the Sample Editor works independently of the rest of the program, you can try out an edit in the Arrangement and make changes there. As soon as you open the Sample Editor again (or bring it into the fore ground), the Undo function is available for the last destructive sample edit. Before these functions are executed, you are asked to confirm them as a safety measure. This confirmation dialog box can be turned off by choosing Audio > Audio Preferences > Warning before process Function in Sample Edit (Menu) or (Key). MAGIX midi studio 2005 deLuxes more complex editing functions are found in the Factory menu, which is described in section The Digital Factory from page 263 onwards.
Normalize: Normalization is the process by which a digital signal is bought up to its highest possible level, without introducing distortion. Normalizing is possible in midi studio by selecting Functions > Normalize from within the Sample Editor. This is done in the following way; midi studio finds the point with the highest volume (xdB) in the currently selected audio, and determines how far this is from the maximum possible level. The level of the whole selection is then raised by this amount. The dynamic balance of the audio passage remains unalteredit merely gets louder.
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513 Normalize
Example showing the Normalize function. 1 Before 2 After
Please note that the start and end points for the section being normalized should generally not fall within a continuous section of audio, as this will result in abrupt increases in volume after normalization. The start and end points should therefore be located in sections that also contain pauses. Occasionally, you should remove any unwanted, audible noises that fall in gaps in the music with the aid of the Silence function. Change Gain: You can use Functions > Change Gain to raise or lower the level of a passage of audio by a specific amount. A dialog box appears in which you can set the required level change in percent (Change relative:). If you click on Search Maximum, the highest peak level is determined and the value is then calculated that would be used to normalize the audio file. The value results in absolute: displays the maximum level that would be achieved by changing the gain by the amount shown in the Change relative: box. You should never make a gain change that results in a value over 100%, as this would create digital clipping. The gain change is effected by hitting Change (or return). Fade In: You use Functions > Fade In to create a fade in. You set up the period of time over which the fade-in will occur with the help of the currently selected audio (as shown in 1 and 2). Volume is set to zero at the left start
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point of the selection, and the fade-in occurs over the length of the selection.
Example showing the Fade In function. 1 Before 2 After
Fade Out: Functions > Fade Out works in the same way as Fade In, except that the fade works in the opposite direction. This lets you fade passages out automatically.
Example showing the Fade-Out function. 1 Before 2 After
Fading Tips: 1: Common fades (like the typical fade-out at the end of a track) can also be achieved with the help of the mixer faders or using HyperDraw. The advantage of using MIDI volume to achieve the fade is that your audio doesnt need to be edited in any way. 2: If you use the Silence function (see below) to remove unwanted background noise from silent passages, small jumps in volume can sometimes appear at the start and end points of selections, as well as on the flanks of the audio signal. In this case, select only a small area (e.g. within and just in front of the flank of the signal) and then use the Fade-in function.
Silence: You use Functions > Silence to remove all data from a selected area. The waveform material contained in the selected audio passage and the corresponding amplitude values are all set to zero. You can use this function to silence the unwanted background noise in quiet passages.
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Example showing the Silence function. 1 Before 2 After
Invert: Functions > Invert completely reverses the phase of all of the currently-selected audio material. All negative amplitude values become positive, and vice versa. While this doesnt change the file audibly, if it is heard in isolation, you can use Invert to correct phase cancellation errors, particularly if youre mixing down to mono. This is particularly valuable when several out of tune signals (or several signals processed with chorus pedals) are to be mixed down to mono together. The effect depends on the audio material.
518 Invertieren
Example showing the Invert function. 1 Before 2 After
Reverse: You reverse the selected audio passage by selecting Functions > Reverse.
Example showing the Reverse function. 1 Before 2 After
Trim: By selecting Functions > Trim you can erase all of the regions that arent selected. Use Trim to remove unimportant passages from the start and end of your Audio Files.
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Example showing the Trim function. 1 Before 2 After
Make sure that the areas you are about to delete do not contain any regions which you may need. Regions outside the selection will be lost, and regions which are partly outside will be shortened. If any such regions are being used in the Arrange an alert box appears, giving you the option of cancelling the trim function. Remove DC Offset: When using poorly constructed audio hardware, direct current (DC) can be undesirably layered over the audio signal. This results in a vertical shift in the waveform position, which can be clearly seen in the Sample Editor. During playback, this can cause crackling sounds at the start and end of the audio region.
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Waveform with 1 and without 2 DC Offset
With Functions > Remove DC Offset it is possible to center the waveform around the zero amplitude line, to avoid crackling at cut points.
Search Peak: When you choose Functions > Search Peak, the currently selected audio region is searched for the sample bit with the greatest amplitude value (i.e. the loudest bit). The cursor in the waveform display is then placed on this bit. Search Silence: When Functions > Search Silence is chosen, the selected audio is searched for sections containing silence (digital zero). The cursor is then placed at the start of the first section found that fits this description.
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The Digital Factory
Along with the real-time effects (see section midi studios Real-Time Effects from page 183 onwards and the Audio Instruments covered in the section Audio Instruments from page 193 onwards) the Digital Factory is one of the most remarkable, and innovative features of MAGIX midi studio 2005 deLuxe. This allows you to edit the selected areas in audio files (e.g. regions or whole audio files) using a range of sophisticated functions. Nearly all of these functions are destructive, which means that the data in an audio file on the hard disk will be permanently altered. However, the Undo function is available, if you need it. You can also set your preferences for a backup file to be automatically created before you edit the file, or you can do it manually. All functions in the Digital Factory can be performed on any size of mono, or stereo files in the interleaved or split stereo format.
Overview
Time Machine: Independent alteration of the pitch and/ or length of a recording (pitch shifting and time compression/expansion). Audio Energizer: Increase of the perceived volume, even with recordings already at a maximum Normalized level. Sample Rate Converter: For adjusting the sample rate, or creating unusual pitch effects. Groove Machine: The Groove Machine changes the groove of a recording.
Operation
The functions of the Digital Factory are available via the Factory menu in the Sample Edit window. Operation: Open the Sample Edit window by double-clicking an audio sequence in the Arrange window, or a region in the Audio window. This selects the region to be edited. Or: select the area to be edited. Or: press ctrl a, to edit the whole audio file. The functions always affect the selected area. Choose Factory > Make the desired settings in the float window that appears.
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You can start playback if you wish to. Even though the functions alter the data in the audio file, they can still be applied while the file is playing. Click the edit button at the bottom (e.g. Process & Paste). The label on the edit button varies, depending on the function. The Info Line at the bottom of the screen keeps you informed about the functions progress. The selected area of the audio file is replaced by the edited audio material. Options: By choosing Edit > Undo (or ctrl z) you can compare the edit with the original whenever you want. In the meantime you can work in the Arrange window, because the Undo function of the Sample Edit window operates independently of the rest of the program. You can repeat the edit with other regions or audio files without having to close the chosen Factory Functions window and reopen it. The function will always be carried out on the selected material. You can also use the flip menu at the top edge of the window to switch directly between the individual functions of every section of the Digital Factory. If you are playing your song (using MIDI and audio data) while you are editing the audio material, owners of slower computers may experience slightly jerky playback of the audio material although the MIDI playback will continue to function correctly. The editing time also increases slightly, if the song is playing.
Machines
The top section of the Factory menu contains all of the functions for altering audio data within a file.
Time Machine
The Time Machine allows you to radically alter the time structure of audio files, including time compression/expansion, and pitch transposition. Overview of the features of the Time Machine: Time compression or expansion without transposition, Pitch transposition with or without altering the length and tempo, Any combination of these functions. Consider the Time Machine to be a universal tool for the control of pitch and tempo of digital recordings. Each of these parameters can be addressed independently. The current settings are visually represented by 264

the position of a ball in a 2-dimensional graphic where the axes are time and pitch. Opening the Time Machine: To open the Time Machine, select Factory > Time and Pitch Machine. For instructions on selecting the affected area, and basic operation please refer to section Operation from page 263 onwards.
Parameters: Most of the parameters are mutually dependent; you dont need to enter them all to get a good result. We suggest that you dont adjust a parameter, unless you know what the value should be. On the left side under Original you can see the present value, and on the right under Destination enter the desired target value for the edit. Tempo Change (%): Tempo alteration in percent. (There is no original value here). Tempo: Tempo in bpm (beats per minute). Make sure you set the right length in bars, otherwise the correct original tempo will not appear here on the left! Length (Samples): Length in samples. Length (SMPTE): Length in SMPTE time. Length (Bars): Length in bars. If you have already adjusted the song tempo to the region which you are about to edit, the original value will automatically be set correctly. Otherwise, you have to enter the original length manually here. Transpose (Cent): Transposition of the sound material in 1/100 semitone units (cents). Free Transposition: Next to the transposition parameter you will see the description Free. This will probably be the most common setting when you use the Time Machine. It means that the program carries out free compression/expansion or transposition. In this situation, the pitch and tempo of the audio material to be edited are completely independent of one another. 265

Classic (correlated) Transposition: Here you can switch, via a flip menu from Free to Classic. The Classic mode is for situations where you want to transpose a selected region, and also affect its tempo. This produces an effect which you are probably familiar with, as it simulates the sound of changing the speed of a tape. In this case, the pitch, sonic character, and playback speed change together. On the left of the Time Machines dialog window, you can see a graphic representation of the current settings. You can grab the ball within the graphic and freely move it to adjust the compression/expansion and pitch shift. The further the ball deviates from the center position, the harder the algorithm has to work, and the lower the expected sound quality will be. Remember also, that the quality of the result depends greatly on the source material used. Dont let this keep you from experimenting. Feel free to try extreme settings for compression/expansion or transposition. In such cases, the result may not always be what you expect, but it might be just the effect youre looking for. You can move the ball in the 2-dimensional display with the mouse. The position of the ball directly effects the numerical values, and vice versa. You can reset the ball and all numerical values to center (neutral) positions by simply ctrl clicking in the graphic display.
Audio Energizer
The purpose of the Audio Energizer function is to increase the perceived volume of the audio material, while altering the sound as little as possible and without causing clipping. Digital distortion (which would be the inevitable result of simply increasing the level, and which sounds very unpleasant) is avoided using this algorithm. You could compare the effect to that of an analog tape which is saturated by a high recording level. However, the distortion factor and effect on the audio material by the audio energizer is much lower. Heres an example of the effect. If an already normalized audio file (audio data which is already at the maximum possible dynamic range) is edited, the effect is as follows: a VU meter will show a higher level, indicating increased average energy in the signal. However, a peak display will show the same level as before, since the maximum signal level has not been exceeded. 266

Opening the Audio Energizer: Select Factory > Audio Energizer in the Sample Editor. For information on the effective range, and basic operation please refer to section Operation from page 263 onwards. The function is executed by clicking the Energize button.
Parameters: The main parameter is Factor. This is where you choose the amount of average level boost. 0% means no alteration, while higher values produce an increase in energy. The setting you make here will depend on the audio material, situation and personal taste. Begin by trying values in the 40100% range. Values below 10% will hardly have any effect, values over 100% can lead to undesirable alterations in the sound, dependent on the material. Values over 200% are not recommended with normalized files because they will have detrimental effects on the sound and dynamics. They can also greatly increase the required computation time. On non-normalized audio data, even high values can be effective because the overall level is increased to the maximum without affecting the dynamic range. The Attack and Release parameters affect the steepness of the filter. You can try increasing these values to double or four times the default, if the result sounds too digital or raw. This can happen if small elements previously hidden among the main events in the original audio file are boosted. For example, the reverb sometimes gets louder which may introduce a hard edge to the sound. The perceived loudness of the overall audio material is increased. If the material contains anomalies such as noise, these will also be increased, and sometimes becomes audible.
Sample Rate Converter

The Sample Rate Converter is used for converting the sample frequency. For example, audio files which have a 48kHz sample rate (recorded on a Hi-Fi DAT recorder and digitally transferred into the computer), can be converted to 44.1kHz. Opening the Sample Rate Converter: Normally you will want to convert the sample rate of a whole audio file.
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The Sample Edit Window X

To do this, select the whole audio file in the Sample Editor (ctrl a). Select Factory > Sample Rate Convert in the Sample Edit window. For information on the effective range and basic operation please refer to the section Operation from page 263 onwards. To execute the function click the Convert button.
Parameters: Source (Hz) This shows the previous sample rate of the audio file. However, to enable you to change incorrectly stored sample rate formats (for example after editing in other programs)or for effectsyou can enter any value you like here. You should only use this function if you know what you are doing. Destination (Hz) Here you can enter the desired sample rate to which the selected area is to be converted. In most professional audio circles only the 44.1 kHz sample rate is used. There is little audible advantage in using 48kHz. This format is mostly used with older DAT machines.
Groove Machine
The Groove Machine allows you alter the feel, swing, or groove of the digital audio material, in percentage steps. We call it digital re-groove. Opening the Groove Machine: First, make sure that the tempo of MAGIX midi studio 2005 deLuxe exactly matches that of the chosen audio material. Select Factory > Groove Machine in the Sample Editor. The function is executed by clicking the Re-Groove button in the ensuing dialog box. Parameters: Next to Swing you can set the percentage for the swing factor. At 50% there is no changeyou normally get the best results between 55% and 65%. The Based On Period parameter tells the Groove Machine whether the audio material should be edited on the basis of an eighth note, or sixteenth note swing. The Down Beat Level and Off Beat Level parameters define whether the down beats (or off beats) in the audio material
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should be raised or lowered. Positive values increase the level, negative values reduce the level. Bear in mind that raising the level of normalized audio material can cause distortion (particularly on the down beats, which are usually louder). The Corresponds with Tempo parameter automatically transfers MAGIX midi studio 2005 deLuxes current tempo to the groove machine. The length or tempo of the selected audio material must be defined, otherwise the Groove Machine cannot work accurately. The length can be defined in musical values (bars, beats, divisions and ticks) under to Bar Length, or you can set the tempo directly, using Corresponds with Tempo.
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The WavePlayer The WavePlayer

As mentioned in the Tutorial manual, the WavePlayer is midi studios in-built sampler. With the inclusion of the SAMP-7 in MAGIX midi studio 2005, the WavePlayer functionality is of less importance than in previous versions. We have retained the WavePlayer in MAGIX music studio 2005 deLuxe for compatibility reasons. This will allow users who have upgraded from earlier versions to conveniently continue working with previously created song files, which may have made use of this facility. For new MAGIX midi studio users, you may make use of either the SAMP-7 or WavePlayer for your sample instrument playback. We would recommend the SAMP-7s use, as it is more convenient and flexible than the WavePlayer. This section of the reference manual will teach you how to assign your WAV files to keys, and how to use the WavePlayer in your songs.
The WavePlayer window

The WavePlayer of midi studio provides polyphonic playbackincluding filter and envelope treatmentof any WAV-files you like. This is just like having a dedicated sampler without buying expensive external hardware. As with the midi studio in general, the CPU of your computer also computes the WavePlayer. Therefore, in order to get a lot of voices and fast computation of all processes simultaneously, the following simple rule-of-thumb applies: the faster the CPU and the larger the RAM, the better. Dont try to save money on these items, especially if you are planning a new purchase. False economy at the beginning could very possibly lead to frustration later on. WavePlayer driver: In order to use the WavePlayer, please bear in mind that you must select a DirectSound driver for the WavePlayer under Audio > Audio Hardware & Drivers > Audio Driver, because the WavePlayer works only with a DirectSound driver. If you want to use the WavePlayer and the audio features of midi studio simultaneously, you need to use a DirectSound driver for PC AV also. If you have two soundcards, you can assign one to audio duties using the ASIO driverprovided it has an ASIO driver, of course! The second soundcard can be assigned to the WavePlayer, provided it has a dedicated DirectSound driver. 270
The WavePlayer
If you only have ONE soundcard, and it does not have a DirectSound driver, or is assigned to use ASIO in midi studio, you can not use the WavePlayer. Controlling the WavePlayer: The WavePlayer is controlled via its special track in the Arrange. This track cannot be erased. The Track parameter box of the WavePlayer: The Track parameter box of the WavePlayer differs only slightly from those of MIDI tracks (see section The Track Parameters from page 140 onwards). You will notice that there are no settings for the MIDI port and channel as these are not necessary for the WavePlayer. You will, however, find a new checkbox: No seq trp. Transpositions of sequences on the WavePlayer track will be ignored if this is checked. This is very useful if the WavePlayer plays back drumloops or drumkits, because transposing such elements would result in unwanted timing shifts and timbral mutations (see also section Chase Notes in No Seq Trp Instruments from page 349 onwards). Opening the WavePlayer window: You can open the WavePlayer window via Options > WavePlayer , the related Key Command or a double-click on the WavePlayer track.
The Structure of the WavePlayer

In the WavePlayer window you see the note range from A0 to C6. You can assign a separate WAV-file to each of these 64 notes. Each WAV-file sound can be shaped via an independent synthesizer-like sound shaping section consisting of a VCF with an envelope and a VCA with an envelope. In addition, each WAV-file can span a note range than greater than one note and thus be played polyphonically just like on a real sampler. Furthermore you can adjust the synthesizer-parameters for multiple WAV-files simultaneously. Finally, the output of the WavePlayer can be adjusted in level and balance. Unlike the previously mentioned settings, level and balance are not set in the WavePlayer window, but in the Mixer and/or the Track parameter box.
Assigning WAV-files
A click on the File Name field opens a file selector box in which you can select and load a WAV-file. This WAV-file gets assigned to the key belonging to the File Name field you clicked on.
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A right-click on an already assigned File Name field erases that WAV-file from the WavePlayer keyboard assignment. Adjusting the keyboard range: Right beside the File Name field you find the settings of the assigned WAV-file, arranged on a grey cross beam. The upper and lower edges of this crossbeam can be click and held on and moved with the mouse to define the keyboard range of a WAV-file. Please note that while a WAV-file can be transposed down as far as you wish, its upward transposition is limited to an octave. This applies if the upward transposition is achieved by playing the keyboard, using the Tune parameter or a combination of both of them.
The parameters of a WAV-file in the WavePlayer

Each WAV-file in the WavePlayer has its own parameter set. The View menu allows you to decide which parameters you wish to see. Tune: The pitch of a WAV-file is adjusted in cent (1 cent = 1/100 semitone). The adjustable range is 1.200 cents (that equals 1 octave). Start and Length: Adjusts the point in the WAV-file from which it gets played back when pressing a key (Start) and how much of the WAV-file will be played back from the Start point (Length). Both parameters are displayed in samples. If View > Wave Display is active, these parameters can be changed graphically with the mouse in the wave display. Trigger: Determines how a WAV-file is played back. If Gated is selected, the WAV-file will only be played back as long as you hold the corresponding key. If Freerun is selected, the WAV-file will be played back to its full length, regardless how long you hold the key. Freerun is especially suited for drum or percussive sounds. Link: This checkbox is only visible if you have loaded more than one WAV-file into the WavePlayer. Checking this box for a specific WAV-file means that its VCA, VCF and envelope settings will be determined by those of the WAV-file immediately above. On: This checkbox is only visible if you have not activated Link for this specific WAV-file. If you check On, youll activate the sound shaping section consisting of VCA, VCF and envelopes for that specific WAV-file, and any WAVfiles linked to it. 272
The WavePlayer
Please note that you can save computing power by deactivating the sound shaping section, therefore possibly gaining more voices for the WavePlayer. Sound shaping via VCA and envelope: These parameters let you change the volume curve of a WAV-file. In honor of good old analog synthesizers, this section is called VCA, which stands for Voltage Controlled Amplifier. While the VCA is responsible for the volume change, it is itself controlled by an envelope which determines how the volume changes over time. The envelopes of the WavePlayer have two time sections: Attack (Atk) and Decay (Dcy). Attack determines the time the envelope needs to change gradually from zero level to full level. Decay starts immediately after Attack has finished and determines how much time the envelope needs to change gradually back from full level to zero level. In other words, if you press a key, the envelope starts at zero level, changes gradually over the Attack time to full level and then falls gradually back from full level to zero level in the Decay time. The WavePlayer uses the curve of such an envelope to control the VCA. It then takes a WAV-file and puts it through the VCA. You then hear the WAV-file with a new volume curve, determined to your taste via the envelope parameter settings. Fade in the WAV-file automatically in the Attack time and then fade it out automatically in the Decay time; the smaller the values for Attack or Decay, the shorter the fade-times. There is only one exception: if Decay is set to maximum, there wont be any fade-out at all and the WAV-file will sound till it is finished. Vel in the VCA section stands for Velocity and determines how dependent the volume of a WAV-file is on the velocity with which you hit a key. The larger value Vel has, the harder you need to hit a key to gain the maximum volume. Soundshaping via VCF and envelope: This section changes the tone color of a WAV-file. The section responsible for tone color changes in an analog synthesizer was called VCF, which stands for Voltage Controlled Filter, so we used this abbreviation here. The WavePlayer uses lowpass-filters. Broadly speaking, these filters let the deep parts of a sound passed, but not the high parts, thus changing the brightness of a sound. The Frequency (Frq) of such a filter determines the border between the deep and the high parts of a sound. Technicians call this the cutoff-frequency. To put it briefly, the lower the Frq value, the duller the sound will be. 273
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With Res (Resonance) you can emphasize the parts of the sound that are in the immediate neighborhood of the cutoff-frequency (or the deep-high border). The higher Res is, the sharper the overall sound. As is the case with the VCA, the VCF (more precisely, the cutoff-frequency) is also controlled via its own envelope. Env determines the influence of the envelope. The interplay between Frq, Atk, Dcy and Env is as follows: press a key, and the cutoff-frequency starts at the value adjusted via Frq, rises in the Atk-time to a value equalling the sum of Frq and Env, and falls back from that to Frq in the Dcytime. As in the VCA-envelope, if you set Dcy to maximum, Dcy will be disabled and the cutoff-frequency will stay on the sum of Frq and Env for the duration of the sample. Finally, Vel controls how hard you need to hit the keys in order to reach the value specified by Env. If you go for small Vel values, you will reach Env even with soft key strokes.If you choose large Vel values, youll need to hit the keys quite hard in order to reach the value specified by Env.
Global WavePlayer parameters

With Initialize > Default Parameters, all WavePlayer parameters are set back to default values. Initialize > Delete All Assignments clears all key-WAVfile-assignments immediately, so you can start from scratch at once. View allows you to exclude certain parameter groups from display to save space or protect them against unwanted adjustment. View > Wave Display means that, in addition to the numeric information, each WAV-file will be graphically displayed as a waveform. The WavePlayer plays only the black marked section of the graphic. You can adjust the borders of that region and its position with the mouse. View > Parameters: If this item is checked, you have access to the parameters Tune, Start and Length of all WAVfiles. View > File Info provides you with the following valuable information about each WAV-file: Format, Sample Rate and Size. These values are read-only. View > Keyboard displays a keyboard at the left window edge to make the note-WAV-file-assignment easier. View > Filter Parameters activates the display of the VCF and VCF section. View > Filter Parameters as Knobs: Displays the VCA and VCF parameters as knobs instead of numbers. 274
The Event List The Event List

This portion of the reference manual, and the next few chapters, will provide you with detailed information on the use of the midi studio editor windows. This chapter covers the Event List. Use it to refer to functions available in this powerful editor, and for further clarification if needed. The Event List displays MIDI data in the form of a list, combining all of the data-editing functions of the other editors, (except for graphic operations and the expressive options offered by the Score Editor). Usage: The Event List is used whenever you need to make precise alterations to recorded data, and the graphic display of the other editors is not suited to the task. It is the only editor which gives you access to all recorded event data. You can also restrict what you see, allowing you to edit only specific event types. Opening the Event List: To open the Event List and view the contents of the selected sequence, select Windows > Open Event List, or use a Key Command (ctrl 2).
4 2 5
Structure: The standard buttons are supplemented by two scroll arrows 1 to help you move through the list. The event type buttons below them 2 allow you to filter specific event types from the display, and access or add them (by clicking on them with the right mouse button). Beneath the toolbox is the quantization grid selection field for the event quantize function (above 3). There is also a field for defining the Division value (to the right of 3) which corre275
The Event List

sponds to the Division value as set in the Transport window. If the Catch function is switched on, the arrowshaped position marker 4 will always point to the current event. The structure of the actual list display 5 is described on page 279.
Display
The event type buttons allow you to filter the display to remove individual event types from the Event List, so that you can view only the specific types of events you are interested in. Click the desired button with any tool (except the pencil). If a button is grayed out, that event type will not be displayed. All of the functions affect only the events displayed, so non-displayed events are protected from any alterations you make. Here is a short overview. For more detailed information on the individual event types see page 281. The note symbol stands for note events. The symbol with the dual-digit, seven-segment display stands for program change events. The hand wheel symbol with a marker in the middle (pitch bend wheel) stands for pitch bend events. The hand wheel symbol with a marker at the bottom (modulation wheel) stands for all control change events. The single weight symbol stands for aftertouch events (channel pressure). The multiple weights symbol stands for polyphonic key pressure events (polyphonic aftertouch). This symbol stands for SysEx events. The symbol with a row of zeros and ones is called the full message button. This does not filter out any type of event but affects the display of all event types. Normally the display in the Event List is restricted to one line per event. When the full message display is active, all information stored along with the event is shown too. This is particularly important for editing SysEx messages. When examining note events in the Event List, you will also notice midi studios internal score layout information included in the list. You can edit this in the Event List if you want, but it serves little purpose.
Operation
Scrolling: Clicking either of the scroll arrows moves the display up or down by one event. The event at the position marker is always selected (so the existing selection
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changes as you scroll). The scrolling speed can be varied as you scroll, by vertically moving the mouse. The Key Command Scroll to Next/Previous Event is also available from the Event window, and has the same end result. Remember that if the MIDI Out button is switched on every newly selected event will be played. This means you can scroll through the list and audibly monitor the events as you go. If you want to keep the selected event where it is, use the usual scroll bar functions. Selection Techniques: When selecting events with the mouse, you should click near the status column to avoid any unintentional parameter alterations. You can use any of the standard selection techniques here: individual selection by clicking on events, multiple selection using the rubber band, or both of these (without altering the previous selection), in conjunction with shift. Dont forget you can also make selections according to specific criteria via the Edit menu (read the section Selection Techniques from page 107 onwards). Any events which you remove from the display by clicking on the event type buttons are immediately deselected. This ensures that functions affect only the displayed (selected) events. Special Selection Functions: Some selection commands (which can be accessed from within all of the Editor windows via their Edit menus), can also be utilized in the Event List by selecting an item with the mouse while holding down additional modifier keys. 1. If you click on an event while holding down ctrl, you select all events between the last event that was selected and the current one. 2. If you hold down alt and select an event, all similar events will also be selected. 3. If you select an event while holding down the alt and ctrl keys, all identical events will be selected.
Event Editing
Adding Events: To add an event, click on the desired event type button with the pencil. The event is then added at the current song position, and is automatically selected. Duplicating Events: To duplicate an existing event (for example, so you can alter the parameter value of the copy) click on the original event with the pencil. An input box appearsthis is where you enter the position for the 277
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newly-duplicated event. If you just hit return, the duplicate will appear at the same place as the original. Pasting from the Clipboard: When adding events using the clipboards Paste function, a position input box will appear, allowing you to type in the position of the first event. Once again, if you confirm by just pressing return, the original position of the event is retained. The relative positions are also always maintained. This means that the events are not added at the song position, as in the graphical editors. For more details on the way the clipboard works, please refer to page 109. Moving Events: To move an event in time, alter its position indicator. As soon as you alter its position, the list is automatically sorted, even though the currently selected event remains the same.
Altering Values
Event positions or parameter values can be altered in the usual way by using the mouse like a slider (click and holding on and dragging), or via text input (just double-click on the parameter value). You cannot alter the type of events using this method, however. To alter the event type, you must either open a transform window or add an event of the desired type, and then delete the original event. Altering the Values of Several Events: If a parameter of a selected event is altered, it will affect the same parameter in all selected events. Relative Value Alteration: When you alter parameter values in a multiple selection, the relative differences between the parameter values remain unchanged. The parameter values that you click and hold on, or double-click on, can therefore only be altered until the value of one of the selected events has reached its maximum or minimum value. Flexible Relative Value Alteration: If you want to continue altering a parameter value in a multiple selection (even if one of the values in the selection has reached its maximum or minimum), hold down ctrl while you move the mouse, or press return to confirm a numerical input. Absolute Value Alteration: If you want to set a parameter to the same value for all selected events, hold down the shift and ctrl keys while you use the mouse as a slider. Numerical Value Input: If you want to directly input a number, double-click the relevant parameter. 278
The Event List

The Duplicate Event and Numerical Edit Key Command also allows you to create new events: if an event is selected, it will be duplicated. If no event is selected, a new one is created.
Event List Structure

The individual columns in the list have the following meanings:
Position: The position of the events in the song; for note events this means the beginning of the note. The units represent bars, beats, divisions, and ticks (see page 126). Counting begins at 1 for each unit (first bar, first beat, first division, first tick: 1 1 1 1), and continues until it is carried over to the next largest unit. Numerical inputs start from the left (which means you can enter just the bar number if you want). The units can be separated by either spaces, dots, or commas. Position within the Sequence: If you select View > Local Position, the event positions do not refer to the absolute location within the song but to the relative position within the sequence. Status: This is where you can see the event type, as specified by the status byte of a MIDI message (for details, refer to the section Event Type Structure from page 281 onwards). You cannot directly edit this parameter. Cha: The MIDI channel used to record an event. Remember that during playback this MIDI channel will be replaced by the Cha parameter of the track. The event is only output to the recorded MIDI channel when the Cha parameter is set to All. You should also keep in mind that with notation, the record MIDI channel is used to assign a polyphonic voice to the note. (for more on this, read Arrange Window). Num, Val: These columns contain event data bytes. Their meaning depends on the event type:
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Status Note Control Pitch C-Press P-Press Program Num Pitch Controller number LSB (not used) Pitch Bank Select Val Velocity Value MSB Value Value Program number
Length/Info: With controller events, this column shows the controller name, and with SysEx events, the manufacturers name. With pitch bend events, a 14-bit value is displayed here, which is composed of the first (Num) and second (Val) Data bytes combined. This value can be edited directly from here. With notes or sequences, the length is displayed here. Here too, the units are bars, beats, divisions, and ticks. For the sake of clarity, when the length begins with one or more zeros, the _ symbol is used instead. The minimum length is 1tick (_ _ _ 1) not 0 ticks, because it makes no sense to simultaneously switch a note on and off. Numerical input starts on the right, working to the left and you can enter just ticks if you want. The units can be separated by either spaces, dots, or commas. End instead of Length: If you choose View > Length as absolute Position you can make the length display show the absolute position of the note off event, instead of its length from the note on.
List Structure on the Arrange Level

When you click on the background of the Arrange window, you move up one level in the sequence hierarchy.
This allows you to see all of the arrange objects in the current song. On the arrange level, the Event List displays the following columns:
Position: The start of the arrange object (see page 279). 280
The Event List

Name: Name of the sequence. You can alter the name with the text tool. Track: Displays the track number. You cannot edit this value from here (you might totally destroy your arrangement if you could). If you want to move arrange objects to other tracks, it is better to do it graphically from the Arrange window. Length: The length of the arrange object (see page 280).
Event Type Structure

Note Events:
Num MIDI note number (note #). The range is from C-2 (note #: 0) to G8 (note #: 127). Middle C is note # 60 and in MIDI terminology is called C3. On some keyboards/synth modules (notably those made by Korg and Roland), the note range is C-1 (#0) to G9 (#127). In these cases middle C is called C4. In the Preferences (Display page) you can reference the display to the description used most frequently on your devices (Display middle C as ). Val Velocity of a note from 1 to 127. The value 0 carries the note off message, and thus is not available. Length/Info Length of the note. Although MIDI can only transfer note on or note off messages, midi studio actually stores the position and length of all of the notes which makes them easier to access musically. The note off message is generated automatically during playback. Program Change Events:
Program change events can be transmitted to connected MIDI devices to select different patches. These may be sounds in a synthesizer, programs in an effect unit, or snapshots in an external automated mixing desk. Val A program number between 0 and 127. 281
The Event List

Some manufacturers (e.g. Yamaha) number the programs in their devices from 1 to 128, not 0 to 127. In this case, you need to subtract 1 from the program number given in the device itself. Other manufacturers use various methods of dividing into groups (or banks) and sounds. The most common is dividing into 8 groups of 8 sounds, each numbered 1 to 8. These devices respond to program numbers 063 by selecting storage locations 1188. The instruction manuals for these devices should contain conversion tables to assist you. Num Bank select. Normally you will see this symbol, which means no bank select will be sent. If you assign a number between 0 and 62, a bank select event is sent before the program change event. This allows you to address different sound banks (e.g. preset, internal, card) inside your synthesizer. Please check your synthesizers manual to see whether, and how it responds to bank select commands. If so, take a look at the section The Patch Name Editor from page 138 onwards which covers patch naming and bank selection in detail. Pitch Bend Events:
Pitch bend events are used to continuously vary the pitch. They are usually generated by a centered pitchbend wheel or a joystick on your keyboard. Num Fine pitch bend division (LSB). Many keyboards just transmit the value 0. If the pitch bend wheel has an 8-bit resolution, you will see the value 0 or 64 here. Val The effective pitch value (MSB) of 0127. The value 64 corresponds to the mid-way setting of the wheel. Length/Info The 14-bit value is displayed in this column as a decimal figure ranging from 8192 to 8191. This value may be edited in this column in the usual way.
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Control Change Events:
These event types are used to transfer MIDI controllers (e.g. modulation, sustain, volume and pan). Num The number of the controller. all of the various MIDI controllers (such as the modulation wheel or sustain pedal) have their own numbers (#1 or #64 respectively). Some other effects are also defined, such as volume (#7) or pan (#10). Controllers that are defined in the MIDI Standard are described in the Length/Info field. Val Value of the controller. Continuous controllers have a range of 0127. Switch controllers (#64#90), transfer only two states; off (val = 0) and on (val anything between 1 and 127). Aftertouch Events:
Aftertouch (or channel pressure) events are generated by a mechanical pressure sensor beneath the keyboard. The resulting sound modulation affects all of the notes on that particular MIDI channel. Num This column is empty with aftertouch events, since they have only one data byte. Val Strength of the pressure on the keyboard (0127). Poly Pressure Events:
Poly pressure events are generated by mechanical pressure sensors beneath each individual key. The resulting sound modulation affects only that particular note. Only a few keyboards currently support this capability. 283
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Num MIDI note. Val Strength of the pressure on the key. Meta Events:
Meta events are not MIDI events, but are control messages specific to midi studio. They are used to automate specific midi studio functions, and organize objects in the notation which cannot be represented by MIDI events. To create a meta event, click on the Full Message button with the right mouse button. Num and Val Num determines the function of the Meta Events you create, and Val is the value that is sent. In the Event List window you should only ever insert and edit the following Num values: Num = 47 Send Byte to MIDI. This sends the track any byte value (Val) between 0 and 255 ($00-$FF). As an example of how to use this Meta Event, if you send 246 as the byte, this is equivalent to a MIDI tuning request message. The display will show Send Byte $F6. Only use this Meta Event if you know what youre doingif you dont, your sound modules and synths may start to behave very oddly indeed Num = 49 Goto Screenset. This event calls up a screenset (Val determines the number). The track is irrelevant. Num = 50 Song Select. This event will switch songs on a MIDI data filer (Val = the stored song number), if you have one connected. The track for this event is irrelevant. Num = 52 Stop Song. Playback will be stopped.
Event Float Window

The event float window can be accessed from most other windows. Select Options > Event Float (or the Key Command Open Event Float) to open an event float window. This gives information on the currently-selected object, and can be compared to a single line of the Event List. You can edit all of the parameters in this window.
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The following parameters are displayed: the start point of the selected object in bars, beats, divisions, and ticks, the type or name of the selected object, the recorded MIDI channel and first data byte (if the selected object is an event)for notes, the nameand, if there is one, the second data byte; length of the selected object in bars, beats, divisions, and ticks.
285
The Drum Editor The Drum Editor

The Drum editor reference chapter covers the use of the editor, customizations you can make and special functions and modes you can use.
Usage
The Drum Editor has many uses. The main ones are creating and editing drum sequences, and graphically editing controller data.
Opening the Drum Editor

To open a Drum Editor window, select Windows > Open Drum Edit (or a self-defined Key Command). You will then be able to see the contents of the sequence selected in the Arrange window.
Structure
The structure of the Drum Editor window resembles that of the Arrange window: there is the horizontal bar ruler at the top and the optional Transport panel (currently disabled) in the top left corner. On the left is the optional parameter area, next to it the event name column and to the right of that the editing area which can be likened to the area containing the tracks in the Arrange window. The individual lines in the Drum Editor are functionally similar to the tracks in the Arrange window, in that each line has an event definition which determines the event type displayed in this line. When you select a line in the 286
The Drum Editor

name column, its event definition is shown in the parameter box. The display of the events takes the form of a horizontal row of vertical beams whose height indicates the value of the relevant event. You can directly alter the value by click and holding on the beam slider.
Event Definitions
The event definition of a drum edit line determines which events it displays. This selection usually affects the status byte and the first data byte of the event. The second data byte then contains the adjustable value, which is represented by the height of the beam. For example, in an event definition line, the value of a controller or the velocity value of a note is shown as a beam. Dont worry if this seems a bit confusing at first: when setting up these parameters, midi studio helps you by providing pull-down menus containing written definitions of the status byte and (to the furthest extent possible) the first data byte. There is an even simpler way: you can automatically create event definitions for selected events. Example: In a given drum edit line the Velocity values of a note are displayed as bars. There are many ways of altering the way the beams are displayed, and adjusting them to the particular event types. You can also use a grid to align the display of existing events, and add new events. This grid can be set separately for each event definition. The height of the lines is adjusted using the Drum Edit windows vertical zoom function. Selecting the Event Definition: As with tracks in the Arrange window, you can select an event definition by clicking on the name column. This allows you to view its parameters in the event definition parameter box. Unlike with arrange tracks, however, it is possible to make a multiple selection. Creating an Event Definition: When you choose Drum > Create Event Definition a new event definition is added, at the position of the currently selected event definition. Initially, it has the same parameters. The event definitions beneath it are moved downwards. Automatically Creating Event Definitions: If you select an event in another opened editor window you can automatically create an equivalent event definition by checking the Auto Define checkbox. If an event definition exists which corresponds to the type of the selected event, midi studio 287
The Drum Editor

does not create a superfluous double definition. Instead this event definition is moved to the visible area. Dont forget to switch off Auto Define immediately after completing the input. Deleting an Event Definition: Choose Drum > Delete Event Definition to remove the selected event definition. drum sets: Copying Event Definitions: Select the event definition that you want to copy and choose Drum > Copy Event Definition. Switch to the destination drum set and select Drum > Paste Event Definition. You can paste the event definition as often as you like. These functions are especially helpful to copy event definitions between Songs: To give you an example, say a friend brings over his/her new keyboard to your studio, and youd like to play a few songs through it. On loading your song, you realize that the filter mapping that youve set up in the Drum editor is all wrong. Its great for your synth, but not your friends! Fortunately, you have another friend on the Internet, who just happens to be a midi studio user, and you know that he also owns the same type of keyboard. After a quick email, simply create an empty Song, open the Drum Editor, select all Event Definitions and, via Drum > Copy/Paste Event Definition, copy the e-mailed files definitions back into your Song. Voila! Full filter control. Sorting Event Definitions: To change the vertical order of the various event definitions, just click and hold on the event definition you want to move by its name column, and drag it to the desired position.
Event Definition Parameter Box
The event definition parameter box is where you make the settings for the currently selected event definition line. The most important parameters are Status and -1- (page 290). Opening the event definition parameter box. You can show (or hide) the entire left parameter area by checking (or unchecking) View > Parameters. You can close or open the parameter box by clicking the triangle in the top left corner. Name of the Event Definition: By clicking the name next to the triangle you can determine what appears in the name column. If you define a named MIDI controller via the
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Status and -1- parameters the relevant name will be offered as a preset. Display and Editing Grid: The Grid parameter is set via the typical quantization flip menu. New events can then be added at the set grid positions. The positions of existing events are not affected. If you want to quantize the event positions you can do so using the Event List editor (see page 113). The same quantization templates are available as for the playback parameters. When editing complex drum rhythms, it can be useful to create several definitions for one drum note, each with a different quantization grid. For example, if there are two lines for a snare drum, one with a 1/16 and the other with a 1/96 grid, you can use the pencil to add individual hits in the coarser grid and rolls in the finer grid. Beam Width: You can set the width of the event beams from 116 using the Pen-width parameter. Regardless of the beam width, the exact event position is always marked by the left edge of the beam.
When set to the maximum value (Penwidth = 16) note events are displayed with their actual length. Beam Display: The Style parameter allows you to choose from four different color display variations for the beams. Styles 5 to 8 are the same as 1 to 4, but the selected events flash to highlight them.
Delay: The Delay parameter can be used to delay (with positive values) or advance (negative values) all of the events in an event definition line by an adjustable number of 289
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ticks. The change in position is visible immediately. Even new events are offset from the grid positions by the Delay value. If you click between the word Delay and the parameter value you can use a flip menu to enter note values (e.g. 1/16 etc.) directly. Unlike the sequence playback parameters Delay option, this affects only individual event types or note numbers, which is very useful for drum programming. In general, it is useful to transmit controller data slightly before or after the exact grid positions to improve the timing of the notes lying on the grid positions. Length of Notes to be Added: You can use the Length parameter to set the length of notes to be added, measured in divisions (the left number) and ticks (the right number). To guarantee optimum timing when drum programming, you should ensure that note off events are never transmitted at the same time as note on events. Use note lengths which are not close to straight note values, e.g. 100 ticks (1/48 note = 80 ticks, 1/32 note = 120 ticks). Very small tick values are also unsuitable, because the note off events may sometimes be transmitted at the same time as note on events at the same position. Event Status: If you click and hold on the right side of the Status line a flip menu opens where you can determine the event status for this event definition line. MIDI Channel: Next to Cha there is a checkbox and to the right of this you can set a MIDI channel number. If you check this box, the display is restricted to events on the set channel. If the box is unchecked, the channel parameter is ignored, and matching events on all channels are displayed. First Data Byte: In the bottom line is the -1- parameter where you can determine the first data byte of the displayed event. For example, if Note is set as the event status you can determine here which pitch (note #) should be displayed in this event definition line. As with the MIDI channel, the checkbox determines whether (if checked) only events with the defined first data byte should be displayed, or whether (if unchecked) the setting should be ignored. In the case of note events the velocity values of all notes (regardless of pitch) would be displayed in the relevant event definition line. If Control is set as the event status you can use a pull-down menu to determine the controller type (controller #). With channel aftertouch (status C-Press) or program change events (status Program) the setting of the -1- pa290
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rameter is always ignored, since the first data byte is displayed as a beam height. With pitch bend data (status PitchBd) the setting is also ignored, because both data bytes are used to display the beam height. Making Different Definitions Simultaneously: Like the parameters in several sequences you can set the parameters of several event definitions simultaneously. Select several event definitions in the name column by holding down shift and clicking on them. You can also use Drum > Select All Event Definitions to select all event definitions and then deselect some of them by holding down shift and clicking on them. Any alterations which you make in the event definition parameter box affect all selected event definitions absolutely.
Hi-Hat Mode
In hi-hat mode event definitions can be gathered together in groups within which a only one event from each group can be played at any time position. A typical use is collecting different hi-hat notes (open, closed, pedal ) into a group. To define a hi-hat group, click in any of the lines at the left edge of the name column. Click here once again to switch hi-hat mode off for that line. All lines in a hi-hat group must be vertically adjacent to each other. If you add an event within a hi-hat group all existing events at this time position are deleted. You can create as many hi-hat groups as you want, but they must all be separated by at least one line in which hihat mode is switched off.
Operation
The grid defined by the Grid parameter in the event definition parameter box is very important: During selection all events within a grid section are selected, When you change the values of existing events, all events within a grid section are altered, and New events are added at the grid positions, in accordance with the value set as the Delay parameter
You can use any of the usual selection techniques, as described in the section Selection Techniques from page 107 onwards. However, there are the following differences: To select individual events hold down shift, as you would when selecting several events that are scattered across the screen, and;
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When making a rubber band selection hold down shift (be careful not to click any events). Moving and Copying Events: When moving multiple selected events, you also need to hold down shift. To copy events, use ctrl as usual. With both operations, you can move events to other event definition lines. The events will be automatically converted.
Altering Event Values

You can alter individual values by click and holding on the event beam (with the mouse pointer or pencil). As you change the event value, the current value is shown in the Info Line at the bottom of the screen.
Altering Several Events:
If several events are selected, you can alter all of the values relatively, by click and holding on just one of these event beams. The absolute differences between the event values remain the same. If one of the beams reaches the top or bottom, you will not be able to go any further in that direction. As a tip, if you select several events and keep your mouse button depressed then hold down ctrl as well, you can keep raising or lowering the values of the selected event group, until the event beam which you have clicked and held on reaches the top or bottom.
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Setting up a manual series:
Existing Events: Draw the events with the mouse pointer while holding down the mouse button. Creating New Events: Draw the events with the pencil while holding down the mouse button. The pencil is preset as the second tool (right mouse button). Setting up a linear series:
Select the cross hair tool. Click anywhere in the beam display area and hold down the mouse button. Keep an eye on the display showing the exact position and event value in the top line. Move the mouse to the start point of the line you want. Release the mouse button. Move the mouse to the desired end point of the line (to the right or left). You can also keep an eye on the position and event value in the top line. Click to align the event beams along the line. If there were already events in the area between the start and end points, they are aligned along the line. If there were no events in the region new events are created at the grid positions (in accordance with the Grid parameter). If you definitely want to create new events, hold down ctrl when you click for the last time. This creates one event at every grid value. With very flat slopes, or very fine grids, the individual grid positions always remain unoccupied if the value to be added there is the same as the value of the previous event. This reduces the data-flow along the MIDI bus without reducing the resolution of the controller. When defining the Grid parameter to add successions of controllers use the motto, as coarse as possible and as fine as necessary to keep down the data output. midi stu-
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The Drum Editor

dio can deal with very large amounts of data but unfortunately the same cannot be said of MIDI. Linear Series in Sections: The last time you click (regardless of whether or not you hold down ctrl to add new events) if you also hold down shift you can immediately draw another line from the end point of this line.
Adding Individual Events

Use the pencil to add individual events. You can alter the added value even before you release the mouse button. The pencil is preset as the second tool (right mouse button). Fix Value: If you place a check in the Fix Value checkbox, you can prevent the height of any event beam being altered with the mouse pointer or pencil. When adding events with the pencil, all of the added events are given the value of the previously-selected event. This allows you to draw a succession of events with the same value. By selecting an event with the pencil, you can adopt this value as a preset, because in fix value mode it is impossible to alter the value by clicking on it. When adding events with the cross hair tool, the preset value is always used as the start point of the line.
294
The Matrix Editor The Matrix Editor

This reference chapter will help you to make the most of the Matrix Editor. Many midi studio users find this window to be the most comfortable and easy to use editor for fine-tuning MIDI sequences. You will learn which tools to use, some shortcuts and tricks for selection and note alteration. Dont forget the Quantize button in this window (found under the Toolbox), which can be used on individual notes within the sequence. The Matrix Editor is used to graphically edit note events. Its advantage over the other editors is its ability to provide a more precise display of the length, position and velocity of the notes. The Matrix Editor is designed for fine-tuning the positions and lengths of notes. Opening the Matrix Editor: To open a Matrix Editor window showing the contents of the selected sequence, select Windows > Open Matrix Edit or the default Key Command (ctrl 6).
You can also double-click on a sequence to open the Matrix editor provided that the Options > Settings > Global Preferences window is first accessed. In this window you can use the flip menu towards the bottom of the preference window to select the Matrix window as your Double Click editor of choice. Once this preference is selected, double-clicking on a MIDI sequence in the Arrange window will automatically launch the Matrix editor.
Display
Only notes (plus HyperDraw information, when activated) are shown in the Matrix Editor. The beams (and the way 295
The Matrix Editor

they can be edited) are very similar to the sequences in the Arrange window. Pitch/Note Names: The pitch is indicated by the vertical keyboard on the left side. To help you with positioning there are horizontal lines running across the screen between notes B and C and notes E and F. Remember that you can adapt the octave numbering to Roland/Korg devices (page 353). Position: You can read the position of a note in the bar ruler. The background is marked by vertical lines to assist with positioning: A straight line at every bar, A dashed line at every beat, and A dotted line at every division (you can alter the division value in the Transport window or up on the left in the parameter area). Other Display Options: All other display options are covered in the section Display Functions from page 114 onwards. In the Matrix Editor, you will often want to move the visible section (using the scroll bars), and alter the display zoom (with the zoom bars and magnifying glass). HyperDraw in the Matrix Editor: In the Matrix Editor you can use the View > HyperDraw command to insert a HyperDraw display, which will be visible below the matrix. This allows quick and easy editing of volume and pan position. More information about HyperDraw can be found in the section HyperDraw in the Arrange window from page 154 onwards.
Editing Notes
You can use the same intuitive editing functions as for the sequences in the Arrange window. There are also some editing options which are available in all editor windows. These are covered in the section Edit Functions from page 110 onwards.
Creating Notes
To create a note, click with the pencil at the desired point in the background. Duplicating Notes: To copy an existing note to another position or pitch, first click the original note with the pencil (near the middle). Now, any notes which you create by clicking the background will have exactly the same length and velocity as the original note. 296
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Moving Notes
You can move selected notes by click and holding on them (near the middle) and dragging them. If you move notes vertically they will be transposed, and if you move them horizontally they will be moved in time. While you keep the mouse button held down, the target position and pitch are shown in the Info Line. The Info Line appears at the bottom left of the midi studio program window. We have included the Info Line above the images here to aid you in understanding what will be displayed with each action.
When you move notes horizontally, they snap onto the division positions (you can alter the division setting whenever you want). Remember that you can limit movement to one direction to avoid accidentally transposing notes when moving them vertically (and vice versa). (Options > Settings > Global Preferences : Limit Dragging to one direction in Matrix and Score). Setting a finer Grid: When moving notes in the Matrix window you can make fine adjustments at a high resolution by holding down alt as you drag. The exact resolution you use depends on the current Zoom setting of the window. If you hold down alt shift, you can move the notes in tick steps, completely independently of the Zoom setting and the time grid.
Copying Notes
Hold down ctrl as you move the notes. .Of course you can also copy (Edit > Copy or ctrl c) or move (Edit > Cut or ctrl x) the notes onto the clipboard, and then 297
The Matrix Editor

add them at the current song position with the original pitch (choose Edit > Paste or ctrl v; see page 109).
Altering Lengths
To alter the length of a note, click and hold on its bottom right-hand corner and drag it to the required length. While you are altering the length, the Info Line will keep you informed of the precise length of the note.
Altering the Lengths of Several Notes Simultaneously: You can adjust the lengths of several selected notes at once (e.g. a chord) simply by altering the length of one of them. This will alter the lengths relatively among the selected notes. Making Notes the Same Length: If you want to make several selected notes the same length hold down ctrl shift (as in the Event List, when making several parameters the same value).
What Tools to Use

When altering note lengths, you can use either the mouse pointer or the pencil. However, it is better to use the pointer, because you might accidentally draw new notes with the pencil. With very short or small notes it can sometimes be difficult to click and hold on the bottom right corner. In this case, you should use the index finger tool which allows you to click and hold on notes anywhere, and alter their length.
Altering the Velocity

To alter the velocity value, click on the note with the V tool. The Info Line will indicate the velocity value of the note you have clicked on.
If you hold down the mouse button, you can alter the velocity by vertically moving the mouse. If the MIDI Out function is switched on, the note will be output every time you alter the velocity. 298
The Matrix Editor

Altering the Velocity of Several Notes: All selected notes can be altered simultaneously; the differences in the velocity values will be retained. If the velocity value of one of the selected notes reaches an extreme value (0 or 127) you cant go any further. However, by simultaneously pressing alt you can carry on altering the velocity values until the clicked note reaches an extreme value. To give all of the notes the same velocity value, hold down alt shift as you alter the value.
Deleting
You can delete selected notes by pressing delete, or clicking on them with the eraser.
In addition to the usual selection options you can select all notes of the same pitch throughout the whole sequence by clicking one of the keys on the screen keyboard. If you hold down the mouse button, you can also draw (rubber- band) a pitch range over the screen keyboard and select all of the notes within it. Dont forget the specialized selection options available via the Edit menu (or Key Commands). These are covered on page 109.
Functions
For a description of all of the other functions of the Matrix Editor, such as automatic length correction, and selective deleting /copying, please refer to the section General Functions of the Editors from page 110 onwards.
299
Score Edit Window Score Edit Window

If you like working with crotchets, quavers and staves, then this chapter is for you. If you need to print out notation for other musicians, school or college, then midi studio will delight you. You will learn how to take advantage of the many advanced score layout functions available in the program that can turn what you play into something that other musicians can understand even if they play organic instruments.
This chapter is all about editing your sequences using conventional notation. Although the Event and Matrix Editors have features that are designed for specific tasks (such as velocity and note length editing), if you read music, theres nothing like being able to work directly on the stave.
Opening the Score Editor

The Score Editor is opened choosing Windows > Open Score.
The standard elements in the Score Editor

As a reminder of whats available, here are the elements listed: The buttons Catch, Link, MIDI Out, Zoom A toolbox The bar ruler The operation of these elements should be familiar to you by now. 300
Score Edit Window

The parameter box: The Options menu is where you can hide the parameter box from view. This is useful if you use a small monitor as it gives more room to the staves. When you first open the Score Editor it defaults to the middle zoom level.
Justifying the display

The default display quality is generally quite sufficient when just editing notes, as one is more concerned with efficiency and speed than with wanting to perfect a score for printing. However, it can become necessary to adjust some of the display parameters to better accommodate the musical material being edited. Youll find the display parameters in the display parameter box thats described in detail in the section Layout and Printing from page 303 onwards. Click the little box next to the sequence name to open the display parameter box for that sequence. Style: The Score Styles in midi studio are pre-programmed standard settings for specific instruments. Whether its piano or bass or transposing instruments such as saxophonethe Style contains, amongst other things, the right clef, octave range and transposition. Selecting a Style automatically adjusts the display of the notes in the sequence. Display Quantization: The display quantization is for choosing the correct rhythmic format for the musical material in hand. You should set the Qua value to the smallest note value that appears in the music. If a sequences smallest notes are sixteenths, set it to 116 and nothing smaller, as too fine a display quantize setting can make the music unreadable:
Graphik
The Qua value is too small
Display quantization affects the display only, not the MIDI events represented by the display. Do not confuse this Qua parameter with the one in the Arrange window or the one in the Event List editor. The other display parameter functions are discussed in the section Layout and Printing from page 303 onwards. 301
Score Edit Window

Editing notes
Selecting: Individual notes are selected by clicking as usual. To select a group of notes, such as the notes in a chord, drag a lasso around them. To select notes incongruously, press shift while clicking. The Info Line: The Score Editors Info Line is displayed whenever you are copying or moving an object. The Info Line provides accurate up-to-date information about the events position and, when applicable, length. It is therefore very useful to monitor it during an edit operation.
The Event Parameter Box

This box is located below the display parameter box and provides data on the selected object(s). The actual parameters displayed will vary dependent on the object. When a note or notes are selected, the parameters are Pitch, Velocity and Length. These parameters can be edited and applied to more then one event at a time. The parameters function similarly to the way they do in the Event List editor. If the selected notes values are different from one another, the relevant parameter shows an asterisk. In this case, changing one of the values changes them all by the same amount, relatively. EXAMPLE: if you select a chord the Pitch parameter will show an asterisk. If you click-hold this and move the mouse, all of the chords notes will move. If you hold ctrls while changing the values, the parameter is set to the same value for all selected objects. This can be useful for example when you want to change the lengths of all of the notes in a chord to the same value. You can also transpose the whole sequence or trackdependent on the levelby using Select All from the local Edit menu. Moving and transposing: To move or transpose notes, select them and drag them to the desired position; the Info Line will show the current position of the mouse pointer, both in terms of pitch and time. Time-wise, the resolution of the steps is defined by the Transport windows display format. Copying: To copy notes, select and drag them to the desired position while keeping ctrl pressed. You can also use the local Edit menus Copy and Paste functions. Inserting: Notes can be created using the pen tool. Simply click-hold the pen tool at the desired position. Once the Info Line shows the desired pitch and location, release the 302
Score Edit Window

mouse button and midi studio will create a new note whose length is equivalent to the note value of the note selected in the partbox.
Insert Defaults
If you click in an empty part of the Score area, the event parameter box switches to showing the caption Insert Defaults. The values set when it is in this mode will determine the default values for newly inserted events as follows. Channel This is the MIDI channel the note is assigned to. In the Score Editor the channel is relevant only when you have double staves or polyphonic notation, where midi studio allocates notes to staves according to their channels. Its important to have selected the correct Score Style, such as Piano 1/3 or Organ. Velocity Inserted notes acquire this velocity value. This affects only how they sound, not how they appear in the notation. Lyrics Here you can set whether text which is to be inserted with the Text Tool should be normal text (Off) or Lyrics (On). (Please read also section Text from page 317 onwards).
Diatonic Insert
When Options > Diatonic Insert is active, notes will be entered only at the pitches of the current key signature. Those pitches that dont occur in that key (e.g. chromatic ones) are ignored. Diatonic Insert is very useful for quickly entering conventional notation as its very forgiving as to where you click the mouse on the stave.
Deleting
To delete notes, select them and click them with the eraser, or choose Edit > Clear, or press delete.
Layout and Printing

In this chapter you will learn how to layout and print your Songs (or parts of it) using the layout and display functions of midi studio.
Playback and Visual Appearance

midi studio automatically creates a notation display from the MIDI events that are in the sequences. So far as the interpretation of pitches and positions is concerned, it is always 100% accurate. This does not imply that the display is immediately 100% readable, since the
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Score Edit Window

length of the notes plays a big role in their ultimate display. midi studio allows quite a tolerance in the interpretation of the display which means that additional editing is often required to produce the desired results. The following illustration shows a typical example of how sixteenths can appear on the stave before any additional editing is applied:
Graphik
How MIDI is interpreted in notation form if the wrong display quantization is selected
This display may well be correct, but its unreadable. Why is that? MIDI note events contain very precise information about where a note begins, its length and pitch, and this must be exactly reproduced on playback. The feel of the groove can be altered if the notes are all a little under a sixteenth long. If this were to be accurately displayed in the notation, it would be unreadable, as in the above illustration. Also, pure MIDI events have no way of communicating whether the gap between two notes is a real rest, what the key is, which notes are to be tied and which not, and how the dynamics of the piece should be treated. Thats why the automatic conversion of MIDI to notation is always to a greater or lesser extent different from what is expected. Fortunately, midi studio offers a range of automatic and manually controllable functions that are designed to render a readable score with the minimum fuss. These make a big difference, as you can see from the illustration below, which shows how the above example will look after applying a few of these settings:
Graphik
and how it should look
The layout and scoring functions set out in this chapter optimize the conversion of the MIDI events into notation ready for printing, offer dynamics signs, clefs, slurs and many other symbols to complete the notation, offer text with definable fonts for musical comments, titles, instrument names, and so on, offer a printing preview feature for further WYSIWYG layout and printing. 304
Score Edit Window

Preparing the notation for printing
While one of midi studios goals is to provide a readable score without changing the MIDI performance this is not always realistic. An example of this is where you need to alter note lengths so that the display shows the correct note value or rest; this type of editing would of course affect the playback. For this reason, we generally recommend that you have two versions of your song, one for sequencing and the other for the layout/printing. This allows you to alter the MIDI events while you are preparing the score for printing without worrying about how this will affect playback.
The parameter area

The parameter area that occupies the left-hand side of the Score window has the following elements: The track filter The display parameter box The event parameter box The toolbox The part box in two sections We came across the display and event parameter boxes and the toolbox in the previous chapter. The new elements are primarily used in the configuring of the notation layout, ready for printing.
Switching levels
As in the Event List editor, the Score Editor lets you select between two levels: the sequence and the song levels. The sequence level: When you open the Score Editor it starts by displaying a single sequence.
Graphik
The sequence level
The song level: When youre working on the layout and printing of your score, you may prefer to view the entire track, or all of the songs tracks. In this case, switch from the sequence to the song level. To get from the sequence to the song level, click the Levels button in the Score Editor window. You can also doubleclick in an empty space in the Score area.
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Score Edit Window

Graphik
The song level
Use the song level to view and edit the notation of the different sections of your song as various extracts from the score. This allows you to do things like visually check whether a bass note is in the same place as a kick drum, etc. Notes that occur at the same time are shown directly one above the other. To jump back into the sequence level, double-click the stave of a single track, or, if Link mode is active and youre in an Arrange window or Event List editor thats also open, click the sequence.
The Track Filter

Even if youre on the song level, you can restrict yourself to viewing a single track. Below the Mode buttons theres a flip menu field: on the sequence level it simply says single seq. and cannot be opened. On the song level it says ALL TRACKS. This means that the song level starts by showing all of the available tracks. To view a specific track open the flip menu and select the track. This is how to quickly toggle between the tracks you are editing without changing levels. This option is also important because it allows you to see multiple sequences on a single track as one continuous staff of music. The track filter also affects the printout, allowing you to produce score extracts for specific instruments.
The Display Parameter Box

Its parameters help you optimize the notation for printing. 306
Score Edit Window

Name: The text input field is available here for naming the sequence: click a note before clicking the name. Style: midi studio offers preset Score Styles. These are defaults for the display of notation, and can be compared with the standard paragraph formats that you find in word processing programs such as Microsoft Word. The Style affects the clef, transposition andwith the Piano and Organ Stylesthe number of staves. The advantage is that you dont need to manually set these parameters for standard instruments such as trumpets or cello, but simply select the corresponding Style.
Note Assignment in Multi-Stave Score Styles

midi studio offers multi-stave score styles for piano and organ notation. The assignment of notes to one of the staves is determined by the MIDI channel of the note events. Mouse Input: When you insert notes with the mouse from the Partbox into a multi-staff system, they will automatically get the proper MIDI channel. After insertion, also the channel for these notes can be edited. Please be careful only to use channels 1 or 3. Notes with other channels will not be displayed when using the Piano 1/3 style. If you do accidentally assign a note to a channel other than 1 or 3, you can change the channel back for the note in the Event List. Display: In these multi-stave systems, midi studio only shows the notes carrying the MIDI channel of the Style or the stave, respectively. As an example, in Style Piano 1/3 you would only see an empty stave if all contained notes had MIDI channel 4. Score Style Piano 1/3: In this style the MIDI channel of each note determine s which staff that note will belong to: All notes with channel 1 will be written in the upper staff, all notes with channel 3 in the lower staff/bass clef. However, this does not mean that you need to adjust the MIDI channel of every individual note: When you record a sequence, the notes will initially get channels 1 or 3 according to their pitch. Notes equal to or above middle C will get channel 1, notes below middle C will get channel 3. After the sequence is recorded, the MIDI channel of each note can be edited in order to assign that note to the other staff. To change the MIDI channel of a note, select it and change the channel setting in the Event Parameter Box. This also works for several notes at once (use the rubber 307
Score Edit Window

band method for selecting more than one note). Here is an example:
Graphik
Here you see the same sequence twice, displayed with different Score Styles. On the left side the regular Piano Score Style is used: Notes with pitch B2 (= B below middle C) are displayed in the bass clef staff. However, since those notes clearly belong to the chords played with the right hand, they should be displayed in the upper staff. To achieve this, the Piano 1/3 style has been used in the right example, the MIDI channel of the three notes with pitch B2 has been changed to channel 1. Score Style Organ 1/1/5: This Score Style combines the regular Piano style with an additional pedal staff for organ music. Channel 1 notes go to the upper two staves and are split between treble and bass clef using middle C as a split point (as in the regular Piano Style). Notes with channel 5 will be written on the lowest staff.
Graphik
As with the Piano and Piano 1/3 styles, however, it will be necessary in many musical situations to use the Organ 1/ 3/5 style when writing music for organ. Score Style Organ 1/3/5: This Style is a variation of the Organ 1/1/5 Style: In this case the allocation of notes is solely determined by their MIDI channel: Channel 1 for the top (treble clef) staff, channel 3 for the middle (bass clef) staff and channel 5 for the bottom staff (bass clef for organ pedal). Hiding the Parameter display: If you want to use the whole window for the score display, you can switch off the Parameter area using View > Parameters. 308
Score Edit Window

Display Quantization
The Score Editor has an additional quantization setting which affects the notes behavior in the notation. It has no effect on the MIDI output, only on what you see. For this reason it is referred to as display quantization. The display quantization also offers duple/triplet hybrid resolutions such as 1612 or 1624. Choose these when the passage contains a combination of duple and triplet values, for example, 16th notes as well as 16th note triplets. (1/24th note).
GraphikPassage mit binren und triolischen Werten
A passage containing strict-time and triplet values
The above illustration shows the same passage under sixteenths quantization (top) and 1612 (bottom). Interpretation: This controls the automatic rests and tie-correction algorithm. In a way, it functions like a display only length quantize. When its on, midi studio displays rests and ties in such a way as to make the best possible musical sense; it does not affect the playback. Youll find more details in the section Layout and Printing from page 303 onwards.
Graphik
The same passage without (top) and with Interpretation
Interpretation also applies to notes that are created from the part box with the mouse (see below). Syncopation: This option affects the way syncopated notes are displayed. When it is on, it will generally display syncopations as independent notes instead of as smallvalue tied notes. This can help improve the readability of the score.
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Score Edit Window

Graphik
The same passage without (top) and with Syncopation
Syncopation often only makes sense when used in combination with Interpretation ON. No Overlap:
The same passage without (left) and with No Overlap
This function suppresses the display of ties where notes overlap their neighbors. This often happens when a passage was played legato. Max. Dots: This setting determines the maximum number of dots in the display of dotted notes. When its at 0, midi studio shows no dots at all.
Max. Dots = 3 (top) and 1
In normal use you can leave the value at 1. The number of dots that are shown are also affected by the display quantization and the Interpretation and Syncopation modes.
Inserting symbols from the partbox

A complete score needs more symbols (slurs, dynamic signs, fermata and so on) and other notation signs than the program is able to automatically create from its interpretation of the MIDI events you record. These symbols can all be inserted from the partbox using the mouse. Clefs, time signatures and key signatures can also be dragged in from this partbox. 310
Score Edit Window

The majority of these symbols have no effect on the MIDI playback, only on the display. The symbols are all in the partbox and can be dragged from there onto the staves. If you cannot see the partbox, check that Hide/Show Parameters in the local Options menu is active. Otherwise, make the window taller and/or minimize the Display and Event Parameter boxes. The width of the partbox can be varied by horizontally dragging the vertical dividing line between the parameter area and the Score area. As you can see from the diagram (left), the partbox width adapts itself to the width of the parameter area. This is so you can adjust it to the size of your screen. The partbox comprises two sections: The top section contains buttons that select the overall symbol families. Click a button and the corresponding family moves to the top of the partbox section below. The bottom section contains the symbol fields. The displayed symbols depend on which family of symbols you selected. Inserting symbols: Symbols are inserted the same way as notes: click the pen tool (right mouse button) in the stave. Use the eraser tool to delete them, and the normal arrow tool for moving or copying them (pressing ctrl). You can also drag symbols (including notes) out of the partbox with the mouse arrow. Assigning a symbol to several notes: To assign the same symbol to more than one notesuch as staccato dotsselect the notes, then insert the symbol onto one of the notes. Selecting Symbols:
Here is an overview of the symbol groups. The following groups are available (which will be covered individually below): notes, pedal signs, clefs, dynamics, note heads, articulations, slurs, lines and arrows, keys, time signatures, repeats and section symbols, trills and text mode. Notes: Select the value of note you want to insert with the mouse. midi studio offers all of the binary, triplet and dotted forms of whole notes through to 132 triplets. 311
Score Edit Window

To create chords, it is easier to insert the first note, then to copy (with ctrl) it to create the other notes. Pedal signs: The pedal signs represent the sustain pedal on/off and MIDI Control Change 64 (sustain pedal). When you insert a pedal sign, its corresponding MIDI event is also inserted and therefore affects what you hear. Clefs: midi studio offers three clefs: violin, bass and tenor. midi studio distinguishes between two types of clef: the basic clef, and the clef change. The basic clef is always displayed in the first bar or at the beginning of each stave, and is determined by the Style. A partbox clef is interpreted as a clef change, and can be inserted anywhere, even in the middle of bars. Clefs are deleted by using the eraser tool.
Clef changes can be inserted anywhere
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Dynamics: There is a complete range of dynamic symbols available. The dynamic signs have no effect on the MIDI output. Note-heads: midi studio defaults to giving each note the note-head that corresponds to its value. The partbox noteheads relate to percussion and can be manually assigned to existing notes: select one or more notes and insert the desired note-head onto anyone of them. Articulation signs: These signs are assigned to individual notes. Any change to a note (e.g. transposition) affects its sign as well. midi studio automatically positions the sign relative to the note: select one or more notes and insert the desired note-head onto any one of them. Dim/Cresc, slurs, lines and arrows: These symbols can be placed anywhere in the notation and are freely editable. If you insert a slur or select it on the stave, little grab boxes appear which allow you to change its shape. To move the symbol as a whole, drag it using the spaces between the grab boxes. Key signatures: Keys can be entered where you like in a stave: they then apply to all of the songs staves from that point. If you have defined a Style for a transposing instrument, its transposition relative to the new key is assured. To enter a new key, choose the corresponding letter, and the program will automatically convert that into the necessary flats and sharps. The one at the earliest time position is taken as the basic key signature.
Score Edit Window

Existing key changes can be edited as follows: double-click the signature to open the dialog box in which you can choose a new key signature. You can select between major or minor key signatures. Alternatively you can insert the new key from the partbox by placing it on top of the old one. To delete a key signature, click it with the eraser tool. Time signatures: midi studio distinguishes between the basic time signature and time signature changes. The basic signature is the one that comes first. Time signature changes can be placed where you like in a stave and have no effect on the playback. They apply to all of the staves in the song from that point and are automatically shown in all of the staves. The time signature affects the following parts of midi studio: The display format in the Transport window Any position or length display The bar ruler The metronome click and count-in. Repeats and section symbols: These symbols include start, end and repeat symbols plus a final stroke and a section stroke. You can also add these symbols within a bar. However before you do so there must be notes already there. These symbols are global, i.e. they apply to all sequences. You can delete these symbols by clicking them with the eraser. Trills: This gives you a range of the most common trill symbols which you can position where you want. Text mode: As an alternative to using the Cursor tool, you can add Text and Lyrics by dragging the corresponding symbols from the partbox.
The symbols as seen in the Event List editor

A non-MIDI symbol is shown as a Meta event in the Event List. This type of event is also shown in the Info Line when its inserted in the Score Editor. Theoretically, Meta events are editable in the Event List editor, though its more natural to do this in the Score Editor.
Time and Key Signature Editor

In the Time and Key Signature Editor window it is possible to copy, move and delete time signature changes, key signature changes and global score symbols (repeat signs, special barlines etc.). 313
Score Edit Window

To open this window, select Signature/Key Change List Editor from the Options menu. This editor looks like and works in a similar fashion to the Event List editor, except that new list entries can only be created by copying existing ones. The following score symbols are displayed in this window as list entries, if they are present in the score of the song (note: the initial time and key signature of the song is always displayed here, at the top of the list): Time signature changes Key signatures / key changes, as displayed in the Score Edit window Repeat signs (repeat start, repeat end, repeat end & start) Special barlines: double barlines, final double barlines (end of score). Please note: None of these symbols affect MAGIX midi studio 2005 deLuxes MIDI and audio playback. However, time signatures not only affect the score display, but also the bar position display in all windows and therefore all functions which depend on the chosen time signature and on bar positions. Such functions include; the MIDI metronome click or the functions in the Transform Edit window, if bar positions are used to restrict its chosen function to a certain part of the song. Copying Time and Key Signatures: In this window, time signatures, key changes, repeat signs and special barlines can be copied exactly as in the Event List window: Use the right mouse button on the name of the event with the pencil tool. Select all list entries which you want to copy by clicking on them (shift+click for multiple selection) and use menu Edit > Copy (Key Command Ctrl c) to copy them to the clipboard. Now, insert the copied entries by choosing Edit > Paste (Key Command ctrl+v). The copied list entries will be inserted into the list, and an entry box opens for the bar position of the first inserted list event. Type the desired bar position in the usual way (e.g. 37 1 1 1dont forget the spaces) and close the box by pressing the Return or Enter key. Subsequent list entries are inserted at bar positions that correspond to their original distance in relation to the first copied list entry. Moving and Deleting List Entries: All list entries in this window (Take care not to delete the initial time signa314
Score Edit Window

ture and key indicator at the top of the list!) can be moved or deleted. Again, this corresponds to the way the Event List edit window works: To delete a list entry, select it and press the Backspace key. To move an entry, you can either click on its bar position with the mouse, keep the mouse button pressed and move the mouse up or down; or double-click on the bar position of the list entry and type the desired bar position into the entry box which opens after the double-click. Changing Time and Key Signatures in the List Editor: Existing time signatures and key changes can be altered directly in this list: Their position can be changed as described in the previous section. Time signatures can be changed by positioning the mouse pointer at the nominator or denominator in the list and dragging the mouse up or down to increase or decrease that value. To alter a key signature, either click on the word major or minor to switch between parallel major and minor keys, or click and hold on the root of the key: This opens a pop-up menu with the root notes of all available keys. Select the desired key by moving the mouse to the corresponding note (key) in that pop-up menu.
Manipulating the notation

The following functions serve only to manipulate the notation and do not affect the MIDI playback. Nevertheless, they are vital for creating a score thats readable and ready to print. Enharmonic shifting: midi studio automatically shows accidentals according to the current key signature. There are situations, though, where you need to change the accidental representation for certain notes to improve readability. This is done manually using the following menu operations. To enharmonically shift one or more notes, select them and choose one of the following items from the local Functions menu: enharmonic shift # converts b accidentals into # accidentals enharmonic shift b converts # accidentals into b accidentals. default accidentals restores the note to how it was before.
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Score Edit Window

Graphik
Enharmonic shifting
You can apply these functions more than once to create double flats or sharps. Note stems:
You are able to determine the stem direction of selected notes, thereby overriding midi studios automatic display. Select the notes and choose from one of the following items from the Attributes > Stems > menu (their operation is self-explanatory): Default Up Down Manual beaming: You are able to determine the beamed grouping of selected notes, thereby overriding midi studios automatic display. The following illustration shows automatic beaming (top) after it has been manually edited (bottom).
Graphik
Beaming
To beam a group of notes, select them and select Functions > Beam selected. To remove the beam from a group of notes, select them and choose Functions > Unbeam selected. To restore the beaming to how it was originally, choose Functions > Default beams. These functions apply to selected notes only. To restore a whole sequences worth of alterations to their former situation, select the whole sequence. Moving staves vertically: Each stave can be moved vertically: click-hold in the area of the basic clef in the empty
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Score Edit Window

space between two ledger lines. The larger lines dim and the Info Line says Move Stave. Now simply drag the stave to where you want it. Multi-staves: When you are using a piano or organ multistave Score Style, you can move it as a whole as well as change the distance between the individual staves. To move the entire multi-stave, drag it by the top stave. To alter the distance between the individual staves, drag the lower ones. This will not affect the multi-staves overall position.
Graphik
Expanding a double-stave
Text
MAGIX midi studio 2005 allows you to introduce text into the score for naming staves, giving your song a title, or naming the composer and so on. Text is shown as Meta events in the Event List. Selecting a font: midi studio lets you choose any of the fonts you have installed on your computer for displaying and printing text in your score. midi studio prefers to work with Truetype fonts; these are able to be shown on-screen in any size. You can recognize Truetype fonts by the TT symbol that comes before the font name in the fonts window. To select the font in midi studio choose Font > Score Font and a window opens in which you can choose the font, its style and size. The font applies to all of the text within a song. If you change the score text font after entering text, this reformats the entire songs text, often with undesirable consequences. It therefore makes sense to select the final font before you start work. Inserting text: Choose the text-cursor tool from the toolbox. Click it at the location you want to enter text. This opens a text input field and the Info Line. Type the text and finish by pressing return. The text remains selected and blinks. You can now use the mouse arrow to fine-tune its position. Once you click in an empty space the text is fixed in position. To edit existing text, either click it with the text-cursor tool or left-click it. 317
Score Edit Window

Positioning text: Text can be dragged in the same way as other events, using the mouse arrow. Its also possible to move the text numerically using the event parameter boxs parameters. This method can also be used to assign text to a different stave as follows: Stave This value is relevant only with Piano and Organ Styles and defines the stave number the text belongs to. You can instantly shift text from one stave to the other by simply changing the stave number. If you enter a stave number that exceeds the number of available staves, the text disappears. vert. pos The vertical position of the bottom of the text relative to the top ledger line, in pixels. hor. pos The horizontal position of the left-hand end of the text relative to the earliest position at which a note can be entered on the stave, in pixels. Lyrics: You can enter note-referenced lyrics in the Note Editor. Lyrics have special features compared to normal text (e.g. title or composer): The words are directly assigned to the notes and can be moved together (to do this, you need to select both the note and the corresponding text), and The note spacing adapts to fit the word lengths. To enter lyrics: 1. First select the letter A in the Part box. 2. Click Lyrics and with the mouse button held down drag the mouse pointer below the first note where you want to assign lyrics.
Lyrics.bmp
A flashing text cursor appears along with the Info Line. 3. Enter the text for the first note, 4. Press tab to jump to the next note, 5. To complete the entry press return. Lyrics can be edited, copied or moved just like normal text.
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Score Edit Window

Page Edit
You may have come across the Page Edit concept in word processing or DTP programs. midi studio calculates the contents of a whole side of paper and shows these on the screen as they will appear in print using the WYSIWYG principle. Page Edit and the normal display: You can swap between the two by clicking the Page Edit button thats next to the MIDI Out button. Page Edit is not just for manipulating the score prior to printing (e.g. titles, text), but can be used for editing a long passage of music. Indeed, all of the editing commands weve covered so far apply in Page Edit mode, too. The word-wrapping (or more correctly stave-wrapping) means you can see appreciably more bars on the screen at the same time. Scrolling the Page Edit display: The vertical scroll bar is used to turn the pages of the Page Edit display. The page number is shown at the top left of the score. Page Edit and printers: You must install your printer and have it correctly set up before you start manipulating the layout of your final score. What you see in the Page Edit display depends on the printer installed and its paper format and resolution settings. The advantage is that Page Edit is then exactly able to show how the printout will look. For more information on setting up the printer, see the section below. 319
Score Edit Window

Printing the score
The print parameters are relatively simple to prepare as midi studio mainly uses the standard Windows settings for printers. This means that midi studio is able to function with any printer that youve installed in the Windows Control Panel under Printer. Before you start to print, you must activate your printer and select the correct paper format under File > Page Setup The Score Editor window showing the Page Edit display must be the active window, i. e. must be on top of all others. You start the printout via File > Print. Following this command a print dialogue appears. Dependent on the printer or printer driver, there may be several different options available to youe. g. number of pages, number of copies, etc. The result of the printout always matches exactly what you see in the Page Edit display. However, the following screen elements will not be printed: The green lines marking the top/bottom and left/right page margins The mouse pointer and the Song Position Line (SPL) The coloration of the currently selected sequence and of the margins. Printers used may have a resolution much higher than the monitor you are working on. Therefore, when fine positioning the symbols and the text, you should work in a highly detailed zoom display. Hint: Using the Zoom Tool you can easily switch between normal size and extreme magnification of the corresponding detail.
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The Transform Window The Transform Window

Usage: The Transform window can be used to alter existing events according to definable parameters. These parameters can be saved as transform sets. The Transform Window provides an extremely high degree of flexibility and power, when you need to perform complex edits and transformations of MIDI data. A short time spent mastering its operation will yield substantial rewards during your sequencing sessions. You will find that there is practically no edit operation, or transformation that you cant accomplish here. Opening the Transform Window: The Transform window is opened via the Window > Transform menu.
Effective Range
The Transform window is used to edit events only. The effective range is the same as for other functions, i.e.: All selected events (in one of the editors), All events in selected sequences. You can use the link button in the top left corner to link the effective range with other windows. All selected events on the same display level fall within the effective transform range, as do all the events in the selected arrange objects.
Purpose of the Transform Window

Conditions: This part of a transform function defines which events will be edited. If the Select and Operate or Select only options (see below) are used, the transformer checks to see whether the individual parts of the events (e.g. Position, Status, Channel, etc.) fall within the effective range, as defined in the pull-down menus under Select by Conditions.
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The Transform Window

Operations: This portion of the transform is where you define the edit operations to be carried out. These operations are defined via the pull-down menus under Operations on selected Events.
Actions
Three buttons implement the actions in the Transform window:
Select only: All events in the effective range which fulfill the set Conditions (Operations has no effect). You can use this option to define your own selection criteria. Operate only: All selected events are transformed according to the set Operations (Conditions has no effect). This action is useful if you want to edit events youve already selected by hand. Select and Operate: This is a combination of both the above actions: first, selection according to Conditions, followed by transformation according to Operations. After each action, you can see how many events have been selected and/or transformed in the title bar. After activating Select only, you can alter the selection in an editor, before carrying out the transformation by activating Operate only.
Transformation Mode
You can define the basic operating modes in the pulldown menu above the Conditions box: Apply Operations to selected Events: As described above, the Operations are carried out on the selected events (default setting). Apply Operations & Delete unselected Events: The selected events are edited, but in addition, all non-selected events are deleted. This ensures that the only events remaining after the transform operation are the ones that matched the Conditions. If you set the Operations up neutrally, you can use the Transform window in this mode as a programmable filteronly events which match the Conditions will survive. Delete selected Events: The selected events are deleted. In this mode you can use the Transform window as a programmable erase function. All the events which match the Condition are deleted, and all other events remain unchanged. The Operations setting is irrelevant in this mode. 322

Copy selected Events & Apply Operations: The selected events are retained in their original form, as well as being copied and edited.
Event Parameters
The individual MIDI event parameters have their own columns in the Conditions and Operations fields: Position: Time position of the event, referenced to the start of the sequence. (not of the Song) Status: Type of event. Cha : Recorded MIDI channel of the event. -1- / Pitch: First data byte (note or controller number). -2- / Vel: Second data byte (velocity or controller value). Length: Length of the note. Subposition: Time position of the event, within a bar.
Conditions
The middle area of the window (Conditions) is where you can define the conditions, which in turn determine which events are selected for the edit operation. Each column represents a different MIDI event parameter. The condition is considered to be fulfilled when an event matches the defined effective range of all event parameters. These ranges are defined in the pull-down menus found under each of the event parameter columns. (except the Status column) The possible value conditions are listed below. The All setting in the top box means that all values fulfill the conditions, which makes the other boxes superfluous. Position, Cha, -1- / Pitch, -2- / Vel, Length, Subposition: You can assign one of the following value conditions for each of the parameters (except the status): = The value in the event, and the value in the box below it must be equal if the condition is to be fulfilled. As an example: note #60 (middle C) must be shown in both boxes. This means that ONLY middle C will be selected. Unequal The value in the event, and the value in the box below it must be unequal if the condition is to be fulfilled. As an example: note #60 (middle C) must be shown in one box and not in the other. This means that everything BUT middle C will be selected. < The value in the event must be smaller than the value in the box below it, if the condition is to be fulfilled. As an example: note #60 (middle C) must be 323

shown in the lower box and note # 48 (C below middle C) in the other. This means that everything BELOW middle C will be selected. > The value in the event must be larger than the value in the box below it, if the condition is to be fulfilled. As an example: note #60 (middle C) must be shown in the lower box and note # 72 (C above middle C) in the other. This means that everything ABOVE middle C will be selected Inside The value in the event must be within the value range of both the boxes below it, if the condition is to be fulfilled. As an example: note #60 (middle C) must be shown in the lower box and note # 72 (C above middle C) in the other. This means that everything BETWEEN the Cs will be selected Outside The value in the event must be outside the value range of both the boxes below it, if the condition is to be fulfilled. As an example: note #60 (middle C) must be shown in the lower box and note # 72 (C above middle C) in the other. This means that everything OUTSIDE the Cs will be selected Status: You have a choice of just two settings here, All (means all event types fulfill the condition) and =. Clicking in the box below, opens a pull-down menu where you can choose between note, poly pressure, control change, program change, channel pressure or pitch bend.
Operations
The bottom part of the window (Operations) is where you define the operations, with separate columns for each MIDI event parameter. The Thru setting in the top box means that the relevant event part remains unaltered, which makes the other boxes superfluous. Position, Cha, -1- / Pitch, -2- / Vel, Length, Subposition: For all parameters (except status), the top box determines the type of operation which is carried out using the values in the boxes below (referred to as the set value). The following operations are identical for the channel, and the first or second data byte, but the value ranges in the boxes below are automatically adjusted. Fix The parameter is fixed to the set value. Add value. 324 The value is added to the selected event

Sub event value. The value is subtracted from the selected
Min Parameter values which are smaller (less) than the set value are replaced by it. Larger parameter values remain unaltered. Max Parameter values which exceed the set value are replaced by it. Smaller parameter values remain unaltered. Flip The parameter values are reversed around a set point. Values above this amount are moved to the same distance below it and vice versa. As an example of where this might be useful is with modulations. If a modulation down cycle is where the up cycle should be, flip can be used to reverse the positions around a fixed point. The fixed point would be the center position of the modulation. Mul The parameter value is multiplied by the set value (accurate to 4 decimal places). Div The parameter value is divided by the set value (accurate to 4 decimal places). Scale The parameter value is multiplied by the top value and the bottom value is then added. This is a combination of Mul and Add. Negative values can be used to generate an inversion of the plus/minus sign followed by a subtraction. Range Parameter values outside the set value range are replaced by the values of the limits (combination of Min and Max). Using the modulation example again if the modulation is too wild, you can use the range to determine where its acceptable, and for values which exceed the range, you can define a maximum and minimum value for these events. Random set limits. Random values are generated within the
+Rand. A random value between zero and the set value (positive or negative) is added. Reverse The parameter value is reversed within its value range (no value can be set here). Quantize The parameter value is quantized to a multiple of the set value.
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Qua&Min Like Quantize, but the quantization does not fall below the set value (a combination of the Quantize & Min functions with the same set value). Exponent. The parameter value is scaled according to an exponential function. The extreme values (0 and 127) remain unaltered. The set value determines the shape of the curve. Positive values have an exponential scaling impact (increasing input values remain lower for longer, and then rise faster). Negative values have a logarithmic scaling impact (decreasing input values remain higher for longer, and then drop off faster). Crescendo This only works if the position condition Inside has been selected (crescendos have to have some sort of start and end points.). Crescendo creates a smooth alteration in the current parameters, between the set value boundaries. Rel.Cres This also only works if Inside has been selected as the position condition. The effect is similar to that achieved by Crescendo, but the previous values of the parameters being changed are taken into account when the crescendo is created, preserving the relative feel of the original. In other words, its more subtle. Status: The only two possible settings here are Thru (= the event type remains unaltered) and Fix (= the event type is altered). Clicking in the box below, opens a pull-down menu where you can choose between note, poly pressure, control change, program change, channel pressure or pitch bend.
Display
The Hide unused Parameters checkbox allows you to remove all unused pull-down menus in the conditions and operations boxes. This gives you a better overview of the settings made, and also protects the hidden menus from any accidental alterations.
Transform Parameter Sets

Presets: In the upper left of the Transform window you will find a flip menu, where we have prepared some pretty useful settings for the Transformer. Check out our presets to study the effects of the various parameters on the matching events. Try experimenting by changing these preset values to create custom settings for your specific needs. 326
Tempo Tempo
As music isnt always played at the same speed, midi studio allows you to create accelerandos and ritardandos (thats make it faster or slower) and save them as part of your song. This reference chapter will teach you how to use the Tempo List and Graphic Tempo editors to add life to your tracks.
Tempo Display
If your song has a tempo that stays the same throughout, you can set this constant tempo in the Transport window.
The current tempo will always be displayed here, even if you are using programmed tempo changes or external synchronization.
Tempo Track
Tempo changes are controlled by tempo events, which are stored in a special tempo track. This track is not visible in the Arrange window. The tempo track applies to the whole song. The tempo track also determines the relationship between incoming time code, and the current song position (see page 338).
Overview
Information on changing song tempo: The easiest way to set individual tempo changes is from the Tempo List (see page 328). The Tempo List is a specialized Event List editor for tempo events. Another way is to record tempo changes with the mouse, from the Transport window, or you can do this more accurately using the Graphic Tempo editor (see page 329). The Graphic Tempo editor is a Drum Editor, with a fixed event definition for tempo events, and is really useful for editing existing tempo changes by hand (see page 329). To find out how to lock a particular bar of a song to a particular SMPTE time frame (for all of you out there who are using midi studio to synchronize music to picture), read the section Positioning Bars to Frames from page 338 onwards. 327
Tempo
Tempo List Editor
You can open the Tempo List by clicking and holding on the Transports Sync button with the mouse. A pull-down menu will appear, from which you select Open Tempo List or, you can simply select Options > Tempo > Tempo List Editor
The layout, and way you use the Tempo List are very similar to those of the Event List (see page 275).
Creating Tempo Changes

Set the song position to the required point. Click Create. A tempo event appears showing the current tempo. You can alter the tempo in the tempo column. Or, with the pencil tool selected, click on the word Tempo on an existing tempo event. A new tempo event appears, with an input box for the position. Enter the required bar position and press return. Deleting Tempo Changes: You can delete tempo events by clicking them with the eraser, or pressing delete.
Copying The Tempo Changes from a Passage

Set the locators to the passage containing the correct tempo change. Choose Edit > Select > Select Inside Locators. Copy the tempo events onto the clipboard (ctrl c). Deselect all tempo events (by clicking Start of Eventlist/ End of Eventlist or the background). Paste the tempo events from the clipboard (ctrl v). A position input box appears at the first tempo event, where you can alter the bar position. If the first tempo change is not at the start of the bar in the passage, be sure to alter the number of the bar and leave the fractional values unaltered. Press return. The copied tempo changes are selected, and you can undo the operation if necessary. 328
Tempo
Other Functions
The entries in the tempo list interact with, and affect each other. For details, please refer to the section Positioning Bars to Frames from page 338 onwards. You can also make several synchronization settings here. All other functions are identical to those in the Event List (see page 275).
The Graphic Tempo Editor

The Graphic Tempo editor is a specialized Drum Editor, that only allows you to draw and edit tempo events. To open the Graphic Tempo editor, click and hold on the Sync button in the Transport Bar and select Open Graphic Tempo from the flip menu. Or, select Options > Tempo > Tempo Graphic Editor
Creating Continuous Tempo Changes

Choose the Crosshair tool. Click on the required section in the working area, and hold down the mouse button. Keep an eye on the Info Line at the bottom of the window which tells you the exact position and tempo. Set the start (or end) of the tempo change. Release the mouse button. Now set the end (or start) of the tempo change. If you want to create new tempo events (instead of altering existing events, if any exist) hold down ctrl. Click the mouse button. Remember that the time width of the added tempo events depends on the setting of the Grid parameter. In most cases, the 1/16 note setting is enough to create the impression of a continuous tempo change. Other Functions: The operation of other functions are identical to those of the Drum Editor (see page 287). 329
Tempo
Tempo Functions Recording Tempo Changes
Go to Options > Settings > Recording Options, and activate the Allow Tempo Change Recording checkbox. All tempo alterations which you make during the recording will now be recorded as tempo events on the tempo track. You can then edit them in one of the tempo editors.
Adjusting the Tempo to fit Regions

Adjust Tempo using Object Length and Locators: The MIDI tempo is adjusted so that the length of the selected audio region exactly matches the distance between the locators (cycle region). If you want to use this function to adapt the MIDI tempo to match the tempo of a drum loop, ensure that the drum loop is cycling properly (with the help of the Sample Editor). Also ensure that the length of the region corresponds exactly to a specific musical length of the audio material, such as two bars. Then, set a two-bar cycle region and select Options > Tempo > Adjust Tempo using Object Length & Locators.
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Synchronization Synchronization
If you need or want to connect your midi studio to the outside world of tape machines, video and digital devices such as DAT players, ADATs and digital mixing desks, this chapter is for you.
Synchronization Window
You can open this window from the Arrange window via Options > Settings > Synchronization Settings or via a long click on the Sync button in the Transport window. At the top edge you can switch pages: General, Audio, MIDI.
General
This page of the synchronization window contains the major synchronization parameters for running midi studio as a slave. Sync Mode: This parameter defines the master to which midi studio is to be synchronized: Internal: midi studios internal timer. midi studio is the master. External devices can be synchronized via MIDI Clock or MTC (the relevant settings are made on the MIDI page). MTC: MIDI Time Code. midi studio runs as a slave. The MIDI Time Code can either arrive at a MIDI In port, or be generated by a MIDI interface from translated incoming SMPTE code. MIDI Clock: MIDI Clock and Song Position Pointer. midi studio runs as a slave. Clock and SPP can be received at any MIDI input. Auto Enable external Sync: When this option is activated, midi studio runs as the master (Sync Mode Internal), until it receives a synchronization signaleither in the form of MTC, or Clock/SPP, or from the tempo interpreter. midi studio automatically locks to the first received synchronization signal. Please be sure that different synchronization signals dont arrive simultaneouslybecause there can be only one time code master. External Stop ends Record Mode: This option means that during external synchronization, recording stops whenever the time code ceases. If the option is switched off, midi studio stops, but remains in record mode (Record + Pause). 331
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Frame Rate: This is where you set the frame rate (in fps, frames per second). This frame rate applies to both transmitted and received timecode.
Frame rate 24 25 (30 d) 30 29.97 d 29.97 Typical applications Video Audio (Europe) and PAL Video Unusable (not real-time) Audio (USA) and NTSC Video (s/w) Audio (USA) and NTSC Video (color) Extremely rare (not real-time)
d stands for drop frame. In drop frame formats, certain frames are left out according to a regular pattern. To distinguish between them, formats without drop frame are sometimes referred to as nd or non drop. Auto Detect Format of MTC: With this option the incoming timecode is analyzed and the correct frame rate is set automatically. In general you should leave this option switched on. Please note that it is not possible to automatically distinguish between MTC frame rates 29.97 and 30, because; 1. the MTC standard does not allow a distinction, and 2. a measured rate of 30 fps could also be 29.97 fps timecode running too fast, and vice versa. midi studio automatically interprets frame rates with approx. 30 fps as either 29.97 df or 30 nd, depending on whether or not the drop frame format is used. This interpretation will usually be correct, because only these two formats are actually used as a standard. Auto Detect only switches to 29.97 df or 30 nd if, previously one of the other conventional formats was set. If you want to synchronize midi studio to one of the unconventional frame rates, you need to define the format manually. This setting will not be altered by Auto Detect . SMPTE Offset: This is where you can set the SMPTE offset for the song. Because songs do not always have to start precisely at bar 1 you can select any bar position to be played at the set SMPTE time. The preset is 1/1/1/1 at 1:00:00:00. The SMPTE offset 1:00:00:00 is normally used, because it allows you to prerun some timecode. If you synchronize MAGIX midi studio to external linear recording systems like reel-to-reel or ADAT-Machines, then theres another use for SMPTE Offset. 332
Synchronization
As an example, there are some situations where you do want midi studio to start at bar 1, but at a different tape position. This is ideal for those occasions where the tape may have several different takes, one after the other, of a drum track for example. In this scenario, you could adjust the SMPTE Offset to match the beginning of your song to the beginnings of the different takes, to test out which one works best with your sequenced material.
Audio
This page of the synchronization dialog window contains all of the relevant parameters for synchronizing Audio and MIDI. Nominal Sample Rate: This is where the selected nominal sample rate is shown. You can change the sample rate via Audio > Sample Rate if your hardware supports several different sample rates. You can use your mouse to change rates, or double-click and directly enter the rate via the keyboard. Note that ONLY 44100 and 48000 rates will be accepted. MTC [Hz]: This display shows the deviation between the incoming MTC, and its nominal frame rate. If the deviation is too large, please check that you have set the right frame rate (on the General page of the synchronization window). If in doubt, set the frame rate to 24 fps and switch on Auto Detect format of MTC. If the frame rate is correct, you can use this display to adjust the tape speed of the master machine to the nominal value (i.e. the same speed as used when the time code was recorded). Adjust the varipitch control on the master machine, until the vertical yellow line is exactly in the middle. Sample Rate: This display shows the deviation of the sample rate from its nominal value. Bear in mind that some audio hardware will not allow any variation in the sample rate. Deviation: This display shows the current phase deviation of the word clock from the timecode master, in other words, the deviation between audio and MIDI. With varying timecode you can see in this display how midi studio Audio regulates the sample rate of the hardware in MTC continuous sync mode. Even with large timecode variations, there is no deviation between audio and MIDI. Your audio hardware must be capable of continuously variable sample rate, for this to function. 333
Synchronization
Small deviations between audio and MIDI are unavoidable, because MIDI can (and should) follow the timecode master directly. Sync Mode: This is where you define how the audio hardware should be synchronized to an external timecode master. Dependent on its design, not all audio hardware can work in every sync mode described below. This depends particularly on whether or not the hardwares sample rate can be controlled. MTC Trigger: Audio regions are started in sync, but are then played with a constant sample rate, regardless of any variations in the timecode master. midi studio Audio always uses the set nominal sample rate (44.1 or 48 kHz). This mode is suitable when it is vital to retain the absolute pitch of a recording. If the speed of the timecode master deviates from the nominal value, you need to split long regions into shorter sections. In midi studio, this mode is available with any audio hardware. It allows far better synchronization than with software not capable to synchronize the start points of regions to the external Time Code Master in real time. External/Free: midi studio has no influence on the sample rate. The audio hardware has to ensure that the position and sample rate of the audio regions match.
MIDI
This page is where you monitor all of the settings sent by midi studio via MIDI when the sequencer is running. This enables you to synchronize external devices as slaves to midi studio, which acts as the master. Transmit MIDI Clock: The switch on the right activates transmission of MIDI Clock. In the display next to it you can choose the port (MIDI Out Driver) from which MIDI Clock is sent. Every time you start, Song Position Pointer (SPP) is also sent. Because not all devices can process SPP the real-time message Continue is also sent. The exception to this is when you start at position 1/1/1/1. In this case, the real-time message Start is sent, instead of Continue. MIDI Clock to all Ports (All Ports): Both MIDI Clock and MTC can be sent to all ports simultaneously: select All Ports. MIDI Clock can easily be sent via a bus along with other normal MIDI events (notes, controllers). With multiport MIDI interfaces like Unitor8 MkII, it is better for timing
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reasons to send MIDI Clock via all ports rather than via several individual ports. If MIDI Clock is transmitted via all ports, the events are sent only once from the computer to the interface. If you address individual ports, one event has to be sent for each individual port, which worsens the timing for all ports. Allow Song Position Pointer while playing: According to the MIDI Standard, Song Position Pointer is normally only sent when you start. This option means that SPP can also be sent while the sequencer is running. The advantage is that external devices can also follow midi studio in Cycle mode. If the external devices cannot process SPP, you should switch off this option. This improves the timing when cycling. Transmit MTC (MIDI Time Code): The switch to the right activates transmission of MIDI Time Code. In the display next to it, you can define the port (MIDI Out Driver) to which MTC is transmitted. It is not advisable to send MTC to all ports. Unlike MIDI Clock, if you want to send MTC (which is very data-intensive), use a MIDI port which is not being used for anything else. Transmit MTC Delay: This parameter allows you to delay the transmitted MIDI Time Code. Negative values mean that the MTC is transmitted earlier. This enables you to compensate for any reaction delays in the external MTC slaves. Send MMC (MIDI Machine Control): This is where you can switch on transmission of MIDI Machine Control. These commands are then always sent whenever you operate MAGIX midi studio 2005 deLuxes transport functions (Start, Stop, Rewind, etc.). MMC is normally used in MAGIX midi studio 2005 deLuxe to slave an external master (e.g. ADAT). In this scenario, you can control the external masters transport functions from within MAGIX midi studio 2005 deLuxe. MAGIX midi studio 2005 deLuxe acts as both MMC master, and MTC slave simultaneously. If you want to use the external masters transport functions you dont need to activate MMC. In this case, use MAGIX midi studio 2005 deLuxe as the slave, and it will follow the MTC master. See the section MIDI Machine Control (MMC) from page 337 onwards 335
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Special Functions Switching on external sync
Switching on the sync button on the Transport causes midi studio to synchronize to the sync source youve chosen. You can use the Sync button to turn off the external sync at any time, without changing your selected sync source. This allows you to remove midi studio temporarily from the sync masters time axis. This could prove useful if, for example, you need to quickly edit a sequence while the external sync source (tape machine, VTR etc.) is still running. Recording with external synchronization: When Record is pressed during external sync, midi studio goes into MIDI Record mode, but does not start until it encounters external time code. Incoming MIDI Time Code Display: The flashing dot on the transport windows sync button indicates that midi studio is receiving error-free MIDI time code. If the dot sticks, an error has occurred. Although midi studio is capable of dealing with many MTC errors itself, you should nevertheless check the quality of your SMPTE signal, as well as other potential sources of error. MTC Interpretation: Because the MIDI standard only supports four of the possible six time code formats (the 30 fps and 29.97 fps formats cannot be differentiated), midi studio has to decide which format is intended, when it encounters incoming time code:
incoming MTC format 24 fps 25 fps 30 drop fps 30 fps is interpreted as 24 fps 25 fps 29.97 drop fps 30 fps
In other words, the much more commonly used 29.97 fps and 30 drop fps formats are used in preference to the uncommon 30 fps and the virtually-unheard-of 29.97 drop fps formats. However, you can manually set the format from the Tempo List editor to whatever you like: for example to convert material to 30 fps for black and white TV transmission in the NTSC format.
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Receiving MIDI Clock/SPP: Sync via MIDI Clock/SPP is the most accurate method, if midi studio is being synchronized to a bar-referenced master. MIDI Clock has a resolution of 24 PPQN (pulses per quarter note), while midi studio has an internal resolution of 960 PPQN (some 40 times more accurate!). For this reason, midi studio has to interpolate the 39 steps between two incoming clock impulses itself. If you are bothered by small variations in timing between master and slave, you can improve the relationship when in external sync, by entering the expected tempo changes from the master into midi studios internal tempo list as well. Even if you dont take this step, the sync should hold up fairly well, as long as you avoid large deviations, such as an internal setting of 200 bpm, with an external tempo of 40 bpm. Continue Event: When a MIDI Continue Event is received, midi studio doesnt leap to the last valid position received via MIDI Clock. Instead, playback recommences from the current song position. This allows you to change the song position manually while the sequencer is halted, and restart from the new position, with a MIDI Continue command.
MIDI Machine Control (MMC)

MMC is a set of MIDI commands, which MAGIX midi studio 2005 deLuxe uses to control the transport functions of any MMC-capable tape machine. The recording process can also be controlled and automated from MAGIX midi studio 2005 deLuxe via MMC. The connected tape machine will usually provides a SMPTE signal to which MAGIX midi studio 2005 deLuxe will sync as a slave (see the section General from page 331 onwards). You can control connected devices from MAGIX midi studio 2005 deLuxe via the normal transport functions (including direct positioning and cycle jumps). Dont forget that MAGIX midi studio 2005 deLuxe has to wait for the connected device to finish rewinding or forwarding. Switching on MMC: Activate MIDI Machine Control from the sync buttons pull-down menu. You can also temporarily switch the function off from here to allow you to carry out any necessary quick edits. This option can also be accessed by selecting Options > Settings > Synchronization Settings. You should finish every MMC-controlled recording by pressing STOP. 337
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Positioning Bars to Frames: If you want to arrive at a position in the song at a specific SMPTE time, you need to alter the tempo of the preceding passage. You dont want to do this by trial and error. Open the Tempo List (page 328). Create a tempo event at the relevant bar position (page 328). Set the desired time position for this tempo event in the SMPTE-Position column. The preceding tempo event is automatically adjusted to generate the correct bar and time position for the auxiliary tempo event. You can then delete the auxiliary tempo event if you want to keep the same tempo for the following passage.
Synchronizing Video Files AVI

midi studio lets you open videos in the Video for Windows (.AVI) format. You can run these videos in a midi studio window synchronized to the song. Wherever you move the song position, the video follows. You can write video music, or attach sound effects to individual frames. To ensure smooth playback, you should try to play the Audio files, and the video material from different hard disks, if possible.
Opening a Movie: If you select Options > Video Player , the file selector opens, and you can select an *.AVI video from your hard disk. Setting an Offset: Following the path Options > Video Settings a small window opens. There, just above the entry SMPTE Start, you can set the video start-point. Enable Audio of Video: In the window you open via Options > Video Settings you can choose whether or not you want to hear the audio track of the video.
The Basics Summary

If you want to synchronize midi studio to a second sequencer system (workstation, drum machine) please use MIDI Clock/SPP. For all other situations where you use external synchronization (tape machine, stand-alone hard disk recorder, video recorder) use MTC. To synchronize midi studio to a SMPTE signal you need a synchronizer, which converts 338
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SMPTE into MTC. This can be done by nearly all interfaces with multiple MIDI ports.
Timecode and Clock synchronization

synchronization involves ensuring that several devices run absolutely in time with each other. This doesnt just mean that the devices start at the same point, and run at the same speed. To set exactly the same speed would require infinite precision (even with digital devices). Instead, synchronization means that while the devices are running, every point along the time axis of all of the devices must be linked. This requires that the devices to be constantly connected to each other. This is only possible if one of the devices acts as the master, defining the current position, while the all other devices act as slaves and constantly try to follow this position as closely as possible. There are two different ways of doing this, depending on the type of devices being used: 1. With devices like sequencers or drum machines, the positional information shared is expressed in bar positionsin other words, they use bar-referenced synchronization. 2. Devices like tape machines or hard disk recorders usually use time-referenced synchronizationthe positional information shared by these devices is time information, in the form of time code. Devices that use time-referenced sync include tape machines for video signals, like VTRs (video tape recorders) and VCRs (video cassette recorders). With time-referenced sync, the tape speed or sampling rate is not dependent on the musical tempo of the recorded song. Bar-referenced synchronization is only appropriate if you are using devices from the first category. As far as devices from the second category are concerned, time-referenced sync really ought to be used. A single tape machine could theoretically control several devices from the first category, by playing recorded bar-referenced time code. However, for various reasons, most professionals would work using time-referenced code. For one thing, this is the only way to sync additional machines up to the tape later. A sequencer synchronized to tape has to calculate the bar position from the time position, using its tempo track. Bar-Referenced synchronization: First, a quick trip down memory lane Pulse Clock and FSK (historical): The original method of synchronizing analog sequencers, or drum machines to 339
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each other was by transferring electrical impulses (clock signals) at specific intervals. The norm was 24 ppqn (pulses per quarter note), which is equivalent to a resolution of 1/96 note. However, some companies used 48 (Korg, Linn), 64 (PPG), 96 (Oberheim) or 384 ppqn (Fairlight). By way of comparison, midi studio has a resolution of 960 ppqn). By encoding these impulses as the shift between two pitches (FSK code, frequency shift keying), it was possible to record this kind of code onto tape. It was mainly used to synchronize drum machines to tape machines. There were plenty of disadvantages to it, however FSK code laid down a fixed tempo. It was impossible to program intros/outros later. Both Pulse Clock and FSK had two further disadvantages: If any impulses were lost through signal dropouts, the synchronized devices would run constantly out of sync from that point onwards. Because there was no position indicator, you always had to start the song from the beginning (FSK 2 or Smart FSK overcame this by encoding the song position as well). These disadvantages eventually killed off clock and FSK, neither is now used professionally. MIDI Clock / SPP: With the advent of the MIDI Standard, an equivalent to clock impulses was incorporated into the command protocol: MIDI Clock. MIDI Clock events are transmitted by the master 24 times per quarter note. To avoid having to start songs from the beginning every time, a further MIDI command is also transferred: song position pointer. This transmits 1/16 notes from the beginning of the song. Because two data bytes are available for encoding (14 bit), it is possible to distinguish a maximum of 16384 different 1/16 notes or 1024 bars. The slave recognizes the current song position within this region, and synchronizes to it. Modern devices always use a combination of MIDI Clock and song position pointer. If a sequencing program has a higher timing resolution than 1/96 note, the positions between must be interpolated. The resolution of midi studio is 1/3840 notes. Time-Referenced synchronization: Time-referenced synchronization originates from the field of video synchronization, but nowadays it is also used for audio work. This is why it divides a second not into tenths and hundredths, but into frames. One frame was originally the 340
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time it took for a single frame of video (i.e. one image) to pass through a video camera, or projector. Unfortunately, the number of frames used per second varies according to country, norm and usage. For video, the international norm is 24 frames per second (fps). American black and white television uses 30 fps. With the introduction of color television, the frame rate of the NTSC norm, used in America and Canada had to be reduced to 29.97 fps for technical reasons. In Europe, a lower frame rate of 25 fps was used from the start, and with the introduction of color television this was adopted by the European PAL TV standard, as used in Europe today. The original reason for the differing video rates, incidentally, derives from the different rates of alternating current used on the different continents (USA: 60Hz, Europe: 50 Hz), which corresponds to the number of half-frames of video passing through a camera/projector per second. SMPTE/EBU: It was the American Society of Motion Picture and Television Engineers (SMPTE) which first laid down a norm for encoding the individual frames. This designates exactly 80 bits per frame for encoding the hour (023), minute, second, and frame (frame number within the second). Some of the surplus bits are used to indicate the frame rate, i.e. the number of frames per second. This encoded data stream of 80 bits per frame is known as SMPTE time code. Because the individual bits themselves have a definite time spacing, they are also used as a further subdivision of a frame, called a subframe. This code was adopted without alteration by the European Broadcasting Union (EBU), for use with the European frame rates, and renamed EBU Time Code. In practice this time code is usually referred to as SMPTE time code, or just SMPTE (pronounced: simptee). Drop Frame (df): One technical problem was the frame rate of 29.97 fps. Only whole frames can be counted, but counting up to the 30th frame in every second would cause a deviation between the time code time, and the actual time (a difference of about 5.4 seconds for a typical feature video). So, the following trick was employed: in every minute 2 frames are left out (dropped), except in minutes that can be divided by 10. This may sound complicated, but is actually simpler than one leap-year every 4 years except in years divisible by 100, apart from those also divisible by 400! To describe this method, drop or df is added after the frame rate. Because it is used so often with 30 fps, it is 341
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more common to indicate non-usage by adding non drop, nd or ndf to avoid confusion. The 29.97 nd format is seldom used (just like the pointless 30 df), because the timecode time drifts from real time. Frame Rates: The SMPTE frame rate must be set the same for all connected devices; you cant have different frame rates in one system. The diagram below shows the various frame rates with the respective duration of a frame, or subframe:
Frame Rate [fps] 24 25 29.97 drop 29.97 30 drop 30 Frame [ms] 41.67 40 33.37 33.37 33.33 33.33 Bit [s] 520.8 500 417.1 417.1 416.7 416.7 Source Video PAL NTSC color NTSC S/W
In Europe 25 fps is used both in the audio field and for synchronizing television or video productions. American audio productions use mainly 30 fps, but with video the frame rate is nearly always 29.97 df. International audio productions are recorded with 25 fps, and 30 fps on different tracks. LTC / VITC: The 80 bits per frame of the SMPTE time code can be stored in two different forms: As a sound signal on a sound track. This is called longitudinal time code (LTC). As a signal in the scanning gap of the video picture. (The complete picture information is transferred slightly quicker than the duration of a frame. There is a short gap, while the electronic beam of the cathode ray tube travels from the end of the bottom line, back to the beginning of the top line. Because the beam is temporarily switched off, time code transferred during this gap does not interfere with the picture.) This is called vertical interval time code (VITC). LTC is used for all audio productions, and often for video synchronization as well. Tape duplication plants can record LTC onto one of the audio tracks, usually track 2. The SMPTE time can also be written onto the picture. Because of the almost universal use of LTC for audio work, the term SMPTE is used synonymously with it. With video synchronization LTC can only be output during playback at normal speed. VITC (pronounced vitzi) has the advantage that it can be output while fast-forward342
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ing, or rewinding. This is very useful when creating frame-synchronized sound effects, or musical phrases. Some professional Multi-Port MIDI Interfaces like the Unitor 8 by Emagic can read and write both LTC and VITC. MIDI Time Code (MTC): MTC is a translation of the SMPTE bits into the MIDI Standard, and contains the time and frame rate information. This requires one status byte and eight data bytes. MTC defines only 24, 25, 30 df and 30 ndf. Synchronizers: A professional synchronizer is a device which can write and read SMPTE signals. It is connected to a master, and one or more slave tape machines, and can also control their transport functions. In computer MIDI interfaces, built-in synchronizers generally have just a SMPTE input and output. SMPTE signals arriving at the input are automatically passed on to the computer by the interface, in the form of MTC. Which device should be the Master, and which the Slave? As a general rule, the slowest machine should be used as the master, to reduce waiting times for the slaves when rewinding or forwarding. Since a sequencer naturally winds much faster than even the quickest tape machine, it always acts as the slave. Synchronization Procedure: The following steps apply to external equipment, rather than midi studio. Recording SMPTE: If you want to synchronize a computerbased sequencer to a tape machine, the first thing to do is record a SMPTE signal onto one of the outside tracks (the outside tracks on analog tape machines are of a marginally lower quality, because of the (very slight) fluttering of the tape, but they are perfectly adequate for time code). Connect the SMPTE out of the interface with the input of the tape machine (or the input of the mixing desk, if you want to route the time code, and set a level). It is customary to use the track with the highest number. Set the level of the time code to 10 VU. Avoid recording stationary time code by starting the time code generator before the recording. For several reasonsfor example to avoid drop-outs which can lead to gaps or jumps in the time code, and to give you the option of extending a song later,it is a good idea to record the time code throughout the whole tape (this is known as striping the tape). It is also customary to set a SMPTE code start time of just under one hour (01:00:00:00). The first song on a tape then always begins at exactly one hour. Other tapes of the same 343
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project can be given SMPTE times with consecutive hours, which means the SMPTE time can be used to clearly identify a tape, if the tape boxes get mixed up. Synchronizing Sequencers to Tape: Connect the output of the time code track to the SMPTE input of the computer. To minimize crosstalk, it is better to make a direct connection rather than routing the signal via the mixing desk. The computer does not have to begin bar 1 at a SMPTE time of 0 hours, 0 minutes, 0 seconds and 0 frames (00:00:00:00), you can set an offset, to make the sequencer wait for the correct SMPTE position, before it starts the song. If the second song on tape begins at (say) 01:04:50:00, you need to set the SMPTE offset to match. Make a note of the SMPTE offset on the track sheet for the song, or next to the song title on the tape box. The bar position which is reached at a specific SMPTE time position depends on the tempo of the sequencer. If you have begun to record onto tape, you wont be able to alter the tempo without disrupting the synchronization. You should, therefore, also make a note of the precise tempo on the track sheet. The SMPTE offset and tempo settings are saved with the song, but it is not unheard of for the song file and the tape to be separated. Synchronizing Several Sequencers: If you want to synchronize several sequencer programs with a tape machine acting as the master, you should try at all costs to synchronize just one sequencer via SMPTE or MTC. You can then synchronize the other sequencers to this one, via MIDI Clock/SPP. When synchronizing several sequencers (with no tape machine) you should only use MIDI clock/SPP. This avoids deviations in the bar position, since otherwise, each sequencer has to calculate this independently, from the time information using its own tempo track. Click Track: It is common practice to record a click track, i.e. a metronome sound, to run throughout any song at the correct tempo, in addition to the time code. This is partly due to possible deviations in the positional calculation of different sequencers from the recorded SMPTE code. It also allows overdubs in studios without MIDI equipment, although nowadays, such studios are few and far between. When recording a click track or other signal onto the track next to the SMPTE code, it is better to set a fairly low record level. Crosstalk from a high-level signal onto the SMPTE track can corrupt the SMPTE track, and interfere with smooth synchronization. 344
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If you have Sync Problems
you may find some useful advice here Faulty Digital synchronization: If midi studio is synchronized to an external wordclock (Audio Sync Mode: External /free), you must ensure that a valid digital signal is always available. If you are getting error messages like Sample Rate 13,x kHz recognized it may be that the DAT recorder (or whatever clock source you have connected to your audio hardwares digital input) does not transmit wordclock in stop or pause mode (or has switched itself off). Faulty synchronization to an External Tape Machine: Create a new song, make a new recording and see if that does the trick. Why? If an old recording on tape was not properly synchronized to timecode you will not be able to use it. One basic rule: the playback situation must be identical to the recording situation. If everything is working fine with the new recording, this means the present setup is o.k. Next, check whether anything has changed in your global setup. Has the frame rate changed? Has the tape speed changed? If you have changed a 30 fps setting, try variations such as 30 drop or 29.97. If MIDI and Audio are not synchronized: Go to the Audio page of the synchronization dialog window and under Audio Sync Mode, select MTC Trigger. If your audio hardware does not support this operating mode, you should cut extremely long regions into shorter sections. If MIDI and SMPTE are not synchronized: Check all of the frame rate settings. The frame rate of all connected devices must be identical, including the timecode on the tape machine, the synchronizer, and in midi studio itself. Some synchronizers encode the wrong frame rate in MTC. In this case open the Tempo Editor, switch off the Detect option, and set the correct frame rate manually. Note for America: try out the different kinds of 30 fps (30 drop, 29.97 fps). In Europe, a frame rate of 25 fps is almost always used.
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Song Settings and Preferences Song Settings and Preferences

A number of global settings and preferences can be set so that midi studio operates in a particular way. These settings can affect the MIDI and audio performance of the program and can also affect the way the program responds to your input. As one example, you can set up a preference to have MAGIX midi studio open the Matrix editor, rather than the Score editor when a sequence is double-clicked. These preferences can be adjusted at any time to suit your preferred way of working. Please read this chapter thoroughly as you may discover a number of features which suit you better or may improve your systems performance. Another great reason to read this section is for those occasions when MAGIX midi studio is behaving strangely. Quite often, the strange behavior is actually due to a preference you inadvertently selected, and this should be one of the first places you look when troubleshooting. Both the Song Settings and the Preferences can be reached via Options > Settings > Both consist of a dialog box which allows you to access various different subpages. Some of these pages can also be reached directly from midi studios menus (for example in the Score window), or from the transport buttons, via pop-up menus. The Song Settings and Preferences are where you can define some of midi studios basic operating parameters. This section explains each of these windows menu items individually. Unless indicated otherwise, the descriptions of the various options are the ones that apply when the checkbox next to the option is crossed (in other words, when its active).
Song Settings
Song settings are saved independently with each song, which means that different songs can have different song settings. You can save all of your standard settings in a template song. This way, you can start each midi studio session with your preferred working setup.
Recording Options
This page can be reached in various ways: by Key Command (Recording Options ), via Options > Settings > Recording Options , or via Recording Options in the metronome switch pull-down menu on the Transport bar. The settings here determine how midi studio responds in record mode. In this page, you can enable/disable any of
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Song Settings and Preferences

the checkboxes by clicking in them once with your mouse to enable, and a second time to disable the setting. When enabled, the checkbox will be crossed. Merge New Recording With Selected Sequences: After each recording, all newly-recorded data is merged with all of the selected sequences on the recorded track, to form one sequence. At the same time, the following function is automatically activated (see below). Merge only New Sequences in Cycle Record (n): When recording with Cycle Mode enabled, this function merges all data recorded during later cycles to the sequence recorded during the first cycle. It can be used independently of Merge New Recording With Selected Sequences. Auto Mute in Cycle Record (m): If recording with Cycle Mode enabled, this function creates a new sequence for every cycle during which there is any data input. All sequences made during previous cycles are automatically muted. If the Auto Create Tracks in Cycle Record function (described next) is not active, all of the sequences are layered onto one track. This function deactivates both the merge functions. Auto Create Tracks in Cycle Record: While recording with Cycle Mode enabled, this option creates a new track with each new cycle, when there is data input. The recorded sequences from earlier cycles are pushed down to the tracks below, so the oldest tracks end up at the bottom. This function deactivates both the merge functions. This function is useful when, for example, you are doing multiple takes of a solo, while cycling a section of music. Recordings made during each repetition of the cycle will appear on their own track, making it easy to sort through them when you have finished recording. Allow Tempo Change Recording: All tempo changes made in record mode are recorded. For details on how to edit these tempo recordings, please see the section Tempo from page 327 onwards. MIDI Data Reduction: Controller events are thinned out during the recording, to lessen the data load on the MIDI bus during playback. This improves the timing of dense arrangements on interfaces with fewer MIDI ports. The function actually reduces the duration of controller events, using an intelligent algorithm which retains the value at the end of a succession of controller data. Click while recording: The metronome click is automatically switched on for recording. This is the same as activating the metronome switch in the Transport Bar during the recording. 347

Click while playing (p): The metronome click is automatically switched on for playback. This is the same as activating the metronome button in the Transport Bar during playback. Polyphonic Clicks: The MIDI metronome sends all notes defined and activated for bars, beats and divisions. For example, at the beginning of each measure, two or three notes may be sent simultaneously. If the option box is not checked, then the metronome only ever transmits one note at a time. Speaker Click: This sends the metronome click to the computer loudspeaker. MIDI Click: The metronome click is sent out as a MIDI note. Bank Select: If your sound module accepts Bank Select (please refer to the manual of your sound module), with this message you can switch to any bank of 128 sounds each (maximum). For this function to work correctly, via this flip menu you must tell midi studio which kind of Bank Select message your instrument will expect. Please refer to section Program Change Events from page 281 onwards) on how to actually select the Bank. Count-In: This pull-down menu is where you set the count-in that precedes a recording. Wait for Note midi studio keeps running in a symmetrical loop of one beat, centered around the start point of the recording, until MIDI events are input. Since the loop starts half a beat before the start point, you are allowed upbeat notes of up to half the value of the bar denominator (e.g. with n/4 time, a maximum of 1/8 notes). No count-in the recording begins with no count-in. 1 bar of count-in up to 9/4 bars count1-9/4 Bar count-in in.
Click only during Count In (Record): When this option is active, the record click sounds only during the count in and is then switched off. Send Used Instrument MIDI Settings After Loading: When this option is switched on, all currently used instrument parameters will be transmitted, whenever a new song is loaded.
MIDI Options
This page can be reached from the Arrange window by selecting Options > Settings > MIDI Options These settings determine how the MIDI inputs and outputs behave. Input Filter: The input filter switches are for filtering out certain event types at the input of the sequencer. The sym-
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bols correspond to those in the Event List. When a switch is dark grey, it will filter out the corresponding events. Note Events Program Change Events Pitch Bend Events Controller Events Aftertouch or Channel Pressure Events Polyphonic Key Pressure Events System Exclusive Events Sysex with MIDI Thru function: SysEx messages are passed through the computer along with other MIDI thru data. This is particularly important when using hardware programmers as only then will you be able monitor the changes to the sound immediately. If you just want to record SysEx dumps dont select the checkbox. It hardly ever makes sense to divert dumps through the computer, unless you want to record a dump, and simultaneously transmit it to a second device of the same make.
Chase Events
This page is for making settings relating to the Chase Events function described on page 132. You can reach this page following the path Options > Settings > Chase Events Message Type Switches: These switches are used to select the event types for which event chasing applies. The symbols are the same as the ones in the Event List Editor. If a button is gray, it means chase events is deactivated for that event type. Notes: When this button is switched off, the following three options are not available. Chase sustained Notes: This checkbox is used to search around the current play-start point for any notes which should still be playing, because of a held-down sustain pedal. Chase Notes in No Seq Trp Instruments: This means that even notes are searched, that are played by drum tracks (whose check box No Seq Trp in the track parameter box of the Waveplayer window is checked). Chase Notes on Cycle Jump: When activated, the chase function will also chase notes, if a cycle jump occurs. This parameter is only available when Chase on Cycle Jump is active.
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Program Change: The last program change command before the current play-start point is sent. Keep in mind that a sound module will usually take a short while to respond. Pitch Bend Events: Pitch bend data are searched for. Controller Events: If this switch is active, you can switch three controller groups on and off individually: Chase Control 015: Controller numbers 015 are searched. These include the following controllers: modulation wheel, breath, foot, volume, pan, portamento time, balance and expression, plus the MSB for data entry and bank select. Chase Control 6471: Switch controllers 6471 are searched. These include sustain, sostenuto, hold 2, soft pedal and portamento. Chase all other Controls: All other controller numbers are searched. Aftertouch or Channel Pressure Events: Aftertouch data generated by the pressure sensor under the whole keyboard is searched for. Aftertouch is also known as Channel Pressure. Polyphonic Key Pressure Events: Polyphonic Aftertouch data, generated by pressure sensors under the individual keys of is searched for. System Exclusive Events: The last SysEx messages in the sequences before the current play-start point are transmitted. If the sequence contains the recorded data of a SysEx fader, the fader will be set to its correct state at the start point. Please keep in mind that chase events cannot always fully restore the correct state of SysEx data at the start-play point. To do so would involve not just searching for, but also analyzing all SysEx messages in the whole song, both before and after the play-start point. Because of the nonstandardized data structure of SysEx messages, this is completely impossible. If even a couple of sound parameters have been recorded, each with separate SysEx faders, at differing settings before the play-start point, there will be deviations in the sound. To get around this, try recording controller data to remote-control the SysEx faders during playback instead. Since chase events searches all of the different controller numbers separately, the SysEx settings for the sound parameters will all be correct at the play-start point. Another advantage to this method is that controller events can be
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edited graphically in the Drum Editor, or using HyperDraw. Chase sep. channels in All Cha instruments: This option affects tracks whose Cha parameter is set to All (i.e. which play events with their recorded MIDI channel). All defined event types in sequences started part-way through are then searched separately for each MIDI channel. Chase on Cycle Jump: Switches on the Chase Events function for cycle jumps. When this function is activated, in the check box below you may exclude notes from the Chase Events function. Send full MIDI Reset before Chasing: Before chasing events, corresponding to the settings in the Preferences a MIDI Reset will be sent (see section Reset Messages from page 353 onwards).
Preferences
The Preferences are saved together with the Key Command assignments as a separate file called MAGIX midi studio 2004.PRF in the Windows directory. These settings are valid for the whole Song. Key Commands accelerate your work, and we strongly recommend that you customize your copy of midi studio with your own set of shortcuts. For further info, please take a look at the section Key Commands from page 114 onwards. Opening The Preferences: This Preferences window can be reached from the menu by selecting Options > Settings > Global [resp. Display, Score, Reset] Preferences Although the settings you make in the Preferences affect the way midi studio deals with all of the songs it opens, you still need to open a song before you can alter the Preferences. You cant open the MAGIX midi studio 2004.PRF file directly. Initializing The Preferences If you erase (intentionally or accidentally) the MAGIX midi studio 2004.PRF file in your PCs Windows folder, midi studio will create a new Preferences file the next time it is launched. All parameters will then be reset to their default values. When you erase the Preferences file, you also lose all of your custom Key Commands.
Global
This page contains the global presets. 351

When Opening a song, ask to Close current Song(s)?: Whenever you load a new song before closing the old one, midi studio will ask whether the current song should be closed. Add Last Edit Function to sequence name: After performing any edit operation (e.g. cutting), the description of the edit operation is added to the name of the arrange object (or resulting objects). Disable safety alert for Undo: This means that no safety alert appears when you select the undo function. Enable Catch when sequencer starts: Every time you start the sequencer (start or pause), the catch function is automatically switched on, in all windows (see page 105). Enable Catch when moving song position: The Enable Catch when moving SPL option means that whenever you move the SPL, the Catch function (screen view follows SPL) is switched on. Allow Content Catch by Position if Catch and Link enabled: If the catch and content catch functions are active, the contents of the sequence at the current song position are what is shown. If there is no check in the box, the window view still follows the song position within the displayed sequence, but does not update to show the contents of subsequent sequences when they become the current sequence (see page 105). Limit Dragging to one direction in Matrix and Score: In the Matrix or Score Editors, you can only move notes in one direction, per operation. This means that a note may be either transposed or moved in time, but not both at once. This prevents accidental alteration of the other parameter. Limit dragging to one direction in Arrange: This restricts the direction you can move sequences in the Arrange window, in a similar way to, and for the same reasons, as the option above. Hide Windows of inactive Songs: If this check box is checked, the display looks much better when several Songs are open at the same time. Export MIDI File saves single sequences as Format 0: If only one sequence is selected when you choose File > Export Selection as MIDI File the contents of the sequence are saved in MIDI file format 0.This file format is guaranteed to be compatible with every MIDI file player (more on this on page 356). Double Click Sequence to open In this flip menu you can determine, which Editor opens when double-clicking a sequence in the Arrange window. 352

Automatic Backup: In this flip menu the automatic backup facility can be set and switched on or off.
Display
This page contains two display options and your preferred language setting. Wide Song Position Line: A thicker Song Position Line is used. Display Middle C as C3 (Yamaha): This option affects the description of notes in the editors.Bottom C on a five-octave keyboard (note # 36) is labeled C1 and middle C (#60 or c) is labeled C3. According to this standard, the lowest MIDI note (# 0) is called C-2. This is the official standard and is used by most manufacturers. If there is no check in the checkbox, bottom C on a five-octave keyboard is labeled C2 and middle C is labeled C4. Using this standard, the lowest MIDI note is C-1. Language selection: In this flip menu you may set your preferred language. This setting will be active after the next program launch.
Score
This page of the Preferences can also be reached via the Score windows menu by selecting Options > Score Preferences Dashed Song Position Line: The song position line in the Score Editor is dashed. If the box is not checked, the line is solid. Show sequence selection colored: If you switch on this option, in the Score window on Song level the selected sequence will be displayed in blue color. Fast (Lower Resolution) Curves on Screen: The screen redraw rate is accelerated by using a slightly coarser display of braces and slurs.
Reset Messages
This is where you define which controllers are sent as a reset message. A MIDI Reset is transmitted when: the sequencer is halted by pressing Stop twice, in quick succession; you click on the MIDI Out display in the Transport window; or automatically when a new Song is opened or activated (regardless of the chase settingssee the section Chase Events from page 349 onwards). Smart Reset: The reset has been optimized for use with the following controllers, to minimize data congestion at cycle jumps, or when the sequencer is stopped:
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1. Pitch Bend 2. Channel Pressure 3. Modulation wheel (Control 1) 4. Sustain Pedal (Control 64) MAGIX midi studio 2005 handles these messages separately for each track. As soon as midi studio is halted, or its position altered, the above MIDI messages will be transmitted to the relevant tracks, and no others. Send Used Instrument Settings On Reset: When this option is switched on, all currently used instrument parameters will be transmitted, whenever a MIDI Reset occurs.
Audio
This page of the Preferences can also be reached via the Audio > Audio Preferences menu. Warning before closing Sample Edit: If you have executed a destructive edit command in the Sample Editor, e.g. Normalize or Fade Out etc., when you close the window you will be asked if you want to Undo this edit. Of course, once you are used to editing audio data in the Sample Edit window, you may begin to find this alert box irritating, so this is where you can get rid of the warning. Warning before process Function in Sample Edit (Key): Before you carry out a destructive edit in the Sample Editor using a Key Command, a warning appears giving you the opportunity to cancel it, before altering the data. You can define Key Commands for all of the destructive edit commands in midi studio, which will then be valid only if the Sample Edit window is active (active title bar). Dependent on the Key Commands and window combinations used, there is a danger of executing edit commands accidentally. Thus, midi studio is preset so that an alert box appears first. If you feel confident that you wont accidentally process a file, you can switch off the alert here. Warning before process Function in Sample Edit (Menu): This option is functionally almost identical to the previous one, the only difference being that the warning appears whenever you use a menu to execute a destructive command in the Sample Edit window. Once you are more experienced, you may not need this alert box when you select an edit command via a menu, so you can switch it off here. Ask for complete Backup before process in Sample Edit: This is where you can switch off the alert box in the Sample Editor which asks you whether you want to make a safety copy of the audio file, before you destructively edit a sample. (See the section on the Sample Editor). 354

Create Undo file for Normalize: Storing the Undo files for destructive edits of audio data can take up a lot of time and memory, dependent on the length of the audio data. Normalize is generally a safe, and usually beneficial type of data edit. Switch this option off, if you want to remove the Undo option for the normalize function. Display Color in Audio Window: If audio regions in the Arrange window are very brightly colored, it can sometimes be difficult to make out the waveform display in the Audio window. You can, therefore revert to a black and white display here. Release Audio in Background if Stopped: When you switch on this option, midi studio releases the audio hardware whenever playback stops. This allows you to switch to another program, like MAGIX audio studio, which also needs to use the audio hardware, without having to quit midi studio first. Prepare Audio Playback when Stopped: Normally at the start of a recordingor playbackall audio files at the song position are prepared for playback. Dependent on the number of tracks, and type of system, this can take anywhere from a fraction of a second, to over a second. In some situations, you might prefer to bypass this preparation of all of the playback tracks, to allow you to start recording immediately. In such a case, you should switch on this option. Recording (and MIDI playback) can then begin straight away, although the audio tracks will not start playing until a few seconds later. Create overview after recording: Creating the overviews is time-consuming. If you dont want to waste time directly after recording, you can deactivate this check box. Global Instrument Tune: With this parameter you can tune all Audio Instruments plug-ins at once. Unit is cent, which is 1/100 of a semitone, and the range is 50 cents.
Audio Drivers
On the Audio Driver and Audio Driver 2 tabs, you can activate and deactivate the audio engine of midi studio. Uncheck the boxes left of each driver to effectively turn MAGIX midi studio into a MIDI only application which can run on computers with less RAM. Remember that any alterations made will not become valid until the program is shut down and relaunched.
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Standard MIDI Files Standard MIDI Files

Here, you will learn about Standard MIDI Files, which will let you share your work with other computer-based musicians even if they dont own midi studio. In fact, almost anyone with a computer and a soundcard can listen to your midifiles.
Basics
Standard MIDI Files are not specific to a particular sequencer program or type of computer. They contain the following information: MIDI events with their time positions and channel assignments, Names of the individual tracks, Tempo changes. midi studio supports the importing and exporting of Standard MIDI File formats 0 and 1: Format 0 can contain one track, Format 1 can contain multiple tracks. Neither format recognizes any division of a track (e.g. into several sequences).
Loading Standard MIDI Files

To load a Standard MIDI File, select File > Open. In the file selector, select MIDI File in the Files of Type box. Bank Select: When you open Standard MIDI Files, program change and controller events occurring at the same position are moved by one tick, so that they will remain in their intended order. This prevents midi studio from reversing the transmission order of the events. The reason for this is that certain MIDI devices will not respond properly to program change and bank select events that do not occur in the correct order. This guarantees that there will be no timing problems, because the transmission of a MIDI event always lasts longer than 1 tick. Via Drag and Drop: MIDI files may also be opened via Drag and Drop. Being in a window of the Windows Explorer or the desktop, just drag the MIDI file onto an open Arrange windows of midi studio.
Saving Standard MIDI Files

If you want to play a midi studio song on another sequencer, you can do so by saving the selection as a Standard MIDI File. Consult the other sequencers instruction manual to see which Standard MIDI File formats it can 356
Standard MIDI Files

read. All sequencers should be able to interpret at least the type 0 file format. Preparing the Song: Because of the limitations of the Standard MIDI File format, you should make the following preparations to your midi studio song: Neutralize all playback parameters with the normalize function (select them all by pressing ctrl a, then select Functions > Sequence Parameter > Normalize Sequence Parameters), Convert all playback quantization with the fix quantize function (ctrl a, Functions > Sequence Parameter > Fix Quantize, Convert all loops into real copies (ctrl a, Functions > Sequence Parameter > Turn Loops to Real Copies), Convert all sequences on each track into a continuous sequence: Click on a track, so that all objects of this track are selected. Select the glue tool from the tool box and click on one of the trackss objects. Now all sequences of the track have been merged into a single sequence. Repeat this procedure for all of your Songs MIDI tracks containing sequences. Additional preparations for file format 0: Since Standard MIDI File type 0 format files can only save one sequence, you must also merge all sequences into one (press ctrl a, take the glue tool and click a sequence). Saving a Song as a Standard MIDI File: Select all of the required sequences and choose File > Save Selection as MIDI File You can now enter the destination directory. In File Format 0: See whether under Options > Settings > Global Preferences the parameter Export MIDI File save single Sequences as File Format 0 is checked. If it is, choosing File > Export MIDI File when only one sequence is selected means that file format 0 will be automatically used.
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Glossary Glossary
So, youve come across a term or two that made no sense? Youve come to the right place. Here youll find a quick description of virtually all of the technical terms discussed in the manual. ADAT: Abbreviation for Alesis Digital Audio Tape. The ADAT (supported by Alesis, Studer, and Fostex) is a digital multitrack cassette recorder with eight audio tracks using a S-VHS video tape, with 16 or 20 Bit quantization. The optical port allows the parallel transmission of all eight audio channels. Aftertouch: Also known as pressure. MIDI data-type generated by pressure on keys after they have been played. There are two types; channel aftertouch, whose value is measured by a sensor stretching along the whole keyboard and whose data apply to the whole MIDI channel, and polyphonic aftertouch (rare) which is individually measured and transmitted for every key. AIFF: Abbreviation for Audio Interchange File Format. Data format for audio files in the Macintosh operating system. Autodrop, Auto Punch: Automatic drop-in recording with adjustable drop-in/out positions. Bar ruler: Ruler at the top edge of the screen, divided into bar units. BBS: Abbreviation for Bulletin Board System. An electronic mailbox. Catch: Function for making the section of the song currently displayed in the window reflect the current song position. Cha: Abbreviation for channel or MIDI channel Check box: A small box. Placing a check in it (by clicking on it) activates an option. Click: Metronome, or metronome sound. Clock: Electrical synchronization impulse, transmitted every 1/96 note. Was used in older drum machines before the advent of MIDI. (i.e. MIDI Clock). Controller, control change: MIDI data type, e.g. for sliders, pedals, switches or standard parameters like volume and panning. The type of command is encoded in the first databyte, the value in the second databyte. Count-in: Beats which sound prior to the start of a recording. C-Press: Channel pressure or aftertouch. Cueing: Monitoring while fast-forwarding or rewinding. 358
Glossary
Cycle: Function which constantly repeats the passage between the locator positions. Data bytes: These define the content of a MIDI message. The first data byte represents the note, or controller number; and the second the velocity, or controller value. Default, default value: The preset parameter value. Delay: An object that can create a series of repeats. In the Arrange window, a playback parameter which can delay or advance a selected Track by a given number of milliseconds. Dialog, Dialog box: A window containing a query or message. It must be cancelled or replied to before it will disappear and allow you to continue. DIMM: Abbreviation for Double Inline Memory Module. Type of RAM chip. Display Format Value: Adjustable note value for the grid used in displays and operations. Third number in the position indicator. Drag & Drop: Click and holding objects with the mouse, moving them, and releasing them. Driver: In midi studio: specialized support for audio hardware. The part of midi studio which allows you to address and use this hardware. Drop, drop-in, drop-out (Punch in/out): Going into and out of record to record over a section of an existing recording. Edit: Menu with clipboard functions. Editor: Window for editing MIDI Events. Envelope, Envelope Generator: This term comes from the analog synthesizer technique. Produces a change of voltage over time after triggering (e. g. by hitting a key on the keyboard). EQ, Equalizer: Used to boost or cut frequencies within a sound spectrum. There are several types available in MAGIX midi studio 2005 deLuxe. Erase: Delete Event definition: Parameter for defining the display of a line in the Drum Editor. File: In midi studio the two most important types of file are: 1. Song files containing all of the MIDI events and parameter settings in a song (including mixer automation data) plus information about which audio files are to be played; 2. Audio files containing the actual recordings of guitar, vocals, etc. (not actually stored in the song files). Flip menu: See Pull-down menu. Float window: Window with special status which always floats on the surface above all of the other windows, but can only be operated with the mouse. 359
Glossary
Font: Character printing style. Frame: Unit of time. A second in the SMPTE standard is divided into frames, corresponding to the frames in a movie or video. GM (General MIDI): Standard for MIDI sound modules, including standardized instrument sounds on the 128 program numbers, a standardized key assignment for drum and percussion sounds on MIDI channel 10, 16-part multi-timbral and at least 24-voice polyphony. Grab (an object): Placing the mouse pointer on the object, pressing the mouse button and keeping it held down. GS: Extended GM standard developed by Roland Inc. Hierarchical menus: Structured menus where highlighting an individual entry opens yet another menu. Icon: Small graphic symbol. In midi studio an icon may be assigned to the tracks in the Arrange window. Info Line: Display at the bottom of the window which tells you the position of objects when using the mouse tools. Insert: Point on a mixer where you can patch in an effect (Plug In). The effect objects on midi studios track and audio mixers have inserts for effects. Key command: Function which can be executed by pressing a specific key. Legato: Method of musical performance that smoothly connects one note to the next. Local menu: Menu in a window containing functions which are relevant to only that particular window. Local Off: Operating mode on a MIDI synthesizer with a keyboard where the keyboard (local) does not directly play its own integrated sound generator. This is useful when using it as a master keyboard in a MIDI setup with a sequencer. Locators (left and right): Two programmable song positions which set the cycle limits in the Transport window. The Locators also can be used to define the area to be edited for certain functions. Loop: Constant repetition of an object, up to the next object in the same track, or to the end of the song (whichever comes first). Merge: Mix, combine together. Meta event: Type of event in the Event List. Contains nonMIDI events that can control special midi studio features, like text or screenset configurations. MIDI (Musical Instrument Digital Interface): Standardized, synchronized, serial and event-oriented interface for electronic musical instruments. 360
Glossary
MIDI Clock: Short MIDI message for clock signals. See also: SPP. MIDI Event: Individual MIDI command, such as a note on command. Continuous controller movements (e.g. modulation wheel) produce a quick succession of individual events with absolute values. MIDI Message: A message transmitted via MIDI consisting of 1 status byte and none, one, two or (with system exclusive commands) many data bytes. See MIDI Event. MIDI Multi Mode: Multi-timbral operating mode on a MIDI sound module in which different sounds can be controlled polyphonically on different MIDI channels. A multi mode sound module behaves like several polyphonic sound modules. General MIDI prescribes a 16part multimode, (i.e. the ability to control 16 different parts individually). Most modern sound generators support multi mode. In midi studio, multi mode sound modules are addressed via multi instruments. MIDI System Exclusive Message: Also SysEx. System exclusive data forms the top tier in the hierarchy of MIDI commands. These messages are tagged with an identification number for each manufacturer (the Sys Ex Manufacturers ID number). The actual contents of these MIDI commands is up to the manufacturer. They are used for transferring whole sound programs and/or system settings, and for addressing individual parameters used in sound generation or signal processing. Editor software transmits and receives MIDI system exclusive messages from MIDI devices, allowing you to program these MIDI devices on your computer. Modifier (Special keys): Computer keyboard keys used together with normal keys to change their function: shift ctrl alt. Modulation: Generally, a slight, continuously varying pitch change. The MIDI standard is controller no. 1, transmitted on keyboards by the non-centered control wheel (or by moving the joystick vertically). Moving: Click and holding an object, moving it with the mouse button held down and releasing it at the target position. MTC (MIDI Time Code): Translation of a SMPTE signal into the MIDI Standard. Mute: Switch off (a sound or track). Normalize: 1) This function applies the settings of the current playback parameters to the selected events (by altering the actual events themselves), and clears the playback parameter settings. 361
Glossary
2) (Audio): This function raises the volume of a recorded audio file to the maximum digital level without altering the dynamic content. Note number (Note #): Pitch of a MIDI note, controlled by the first data byte of a MIDI note event. Object: General term for sequences, Events or a Mixers channel. Option: Alternative function, often in the form of a checkbox, sometimes also as a menu entry to be ticked. Parameter box: Field on the left side of the screen where you can adjust the parameters of the selected object. Paste: Add. The command ctrl v adds the contents of the clipboardi.e. whatever you copied with ctrl c or cut with ctrl xto the position of the cursor, or song position line. Pitch Bend Message: MIDI message transmitted by a keyboards pitch bend wheel. Pitch Bend Wheel: Hand wheel for generating pitch bend messages. Pixel: One matrix dot on the computer screen. Short for picture element. Play parameters: The parameters for quantization, transposition, velocity, compression and delay which do not alter the stored data but merely affect how the events are played back. Position indicator: Units: bars, beats, sub-divisions (often written simply as divisions in this manual) and ticks. Post Fader: Positioned after the fader in the signal flow, i.e. the level of a signal routed post fader to an auxiliary changes when the fader is moved. Post fader aux sends are normally used for effects (such as reverb) so that the reverb level changes with the channel level, and the ratio of original and effect signal remains constant P-Press: Polyphonic key pressure, also known as polyphonic aftertouch. Rare and very data-intensive type of command, measuring the pressure exerted on each individual key. Very few keyboards have sensors for poly pressure. Pre Fader: Positioned before the fader in the signal flow, i.e. the level of a signal routed pre fader to an auxiliary does not change when the fader is moved. Pre fader aux sends are normally used for monitor mixes, so that the mix on stage or in the studio headphones does not change when the levels are altered in the control room. Preferences: Storable settings for a program. Pull-down menu: Selection menu which opens when you click and hold on the parameter input box. Occasionally referred to in this manual as a flip menu. 362
Glossary
Punch, punch-in, punch-out (Drop in/out): Going into and out of record to record over a section of an existing recording. Quantization: Time-correction of note positions by moving them to the nearest point on a selectable grid. Region: Chosen area of an audio file which is registered in the Audio window for use in the song and, can be placed in the Arrange window on the audio tracks, just like a sequence can be placed on the MIDI tracks. The region could be the whole length of the audio file, or any portion thereof. A region is created automatically after every audio recording. Replace: Operating mode where a new recording deletes the previous one (like a tape machine). Rubber band: Technique for selecting items by click-holding the mouse, and lassoing it over a group of adjacent items. Scroll bars and scroll box: Gray beam at the edge of a window with a movable box inside it for adjusting the section of a song displayed in the window. Screenset: Storage location for the layout of the various midi studio windows. Each midi studio song may store up to 90 Screensets. Scrubbing: On tape machines: manually moving the tape across the tape head. In a sequencer: manually moving the song position line through the song, triggering playback of the MIDI events. Selecting: Choosing. Selected objects are displayed in inverted colors. Sends: Abbreviation for auxiliary sends (used for effect or monitor sends). Sequence: A collection of MIDI events which is shown in the Arrange window as a horizontal beam with a name on it. SMPTE: Standard for time coding in a specialized sound signal used for synchronizing different devices. There are six formats. Acronym for the Society of Motion Picture and Television Engineers. Specifies the counter position of a SMPTE clock. Composed of hours, minutes, seconds and frames. The MIDI variation of SMPTE is MIDI Time Code (MTC). Song Position Line: Vertical line in the Arrange, Matrix and Score windows which indicates the current song position. It can be grabbed with the mouse and moved (see scrubbing). Sound source: General term for MIDI-controllable synthesizer, sampler, drum machine, digital piano, etc. 363
Glossary
SPP, song position pointer: A specific type of MIDI message which gives the distance from the song start in 1/16 notes, and is transmitted along with MIDI clock. SMF (Standard MIDI File): Standard file format for exchanging songs between different sequencers or MIDI file players. Status byte: First byte in a MIDI message, which determines the type of message. Subframe: A sub-division of a SMPTE frame, corresponding to the individual bits of a SMPTE frame. One frame consists of 80 bits. Swing: Parameter which alters the rigid timing of a quantization grid by delaying every other note of a specified sub-division by a definable amount. Synchronization: Method for keeping several recording/ playback devices locked together timing-wise. Synchronizer: Unit for centrally controlling the synchronization of several devices. Tick, plural = ticks: The smallest unit of timing resolution in a sequencer. In midi studio this is 1/3840 note. Timing: Measure of the ability to play notes at the right time. Toggle: Switches backwards and forwards between two states (windows, parameter values, etc.) Track column: Situated to the left of the working area of the Arrange window. Displays the instruments assigned to various tracks. Undo: Function which reverses the previous operation. Update: 1. New revised and improved version of a program. 2. Mixer automation mode in midi studio, where the old automation data is replaced by new recordings of existing controllers. VCA: This term has its roots in the analog synthesizer technique. The abbreviation stands for Voltage Controlled Amplifier. The level of a signal passing through a VCA will be controlled by a voltage. Usually, this voltage is been taken from an envelope generator. VCF: This term has its roots in the analog synthesizer technique. The abbreviation stands for Voltage Controlled Filter. The frequency content of a signal passing through a VCF will be controlled by a voltage. Usually, this voltage is been taken from a filter envelope generator. Velocity: Force with which a MIDI note is struck; controlled by the second data byte of a note event. View: Menu with display options.
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Glossary
Virtual memory: Area of the hard disk which can be used by the PC as an extension of the RAM memory. The disadvantage in using it is its very slow access time. WAV File: Audio file format in the Windows operating system. Uses the file extension, .WAV. Window class: Status of the window as a float window or a normal window. Float windows are not hidden by normal windows in the same program. Work area: The area of a window in which you edit objects (sequences or events). WYSIWYG: What You See Is What You Get. The ability of a program to accurately display the forthcoming printout on the screen, e.g. Page View mode in midi studios Score window. XG: Extended General MIDI standard from Yamaha, compatible with Roland GS. Zero Crossing: A point in an audio file where the waveform crosses the zero amplitude axis. If you cut an audio file at a zero crossing there will be no click at the cut point. Zoom function: Shrinking or enlarging the display in midi studio windows.
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Glossary
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Part 3
Tutorial
audio
studio
15
Introduction
What is MAGIX audio studio?
MAGIX audio studio is a multi-track recording and editing program for audio material of every kind. The editing options are infinite and operation is simple. It entails three steps:
1. Download and record

You can download CD tracks, MP3 songs, WAV files, video soundtracks or sounds & samples from the hard disk, the CD ROM drive, or downloaded from the internet. You can even make your own recordings from a stereo system or with a microphone. Everything that you download or record is displayed as an object on the Arranger tracks.
2. Arrange and Edit

Basically, everything stacked on top of each other in the tracks will be played simultaneously, and everything that follows linearly will be played in the subsequent order. It is, however, possible for the objects or tracks on which they are stacked to be made silent (muted). Every object that is, every sound, every song can be cut up or have effects added. For example, if you want to shorten a song, move the object with your mouse to the length at which you would like the song to be done!. Want to freshen up your sound? Then open the equaliser and either select a preset that fits, or modify your sound by hand. Arranging and editing is fundamentally all about cutting, blending, adding and mixing effects, and placing audio material into the right positions and onto the right tracks. But its also about play and experimentation. If it fits, throw it in! Without experimentation, there is no innovation. Audio studio allows you to experiment, and experiment wildly. Theres no risk of your audio material being damaged. All editing functions are non-destructive.
3. Export and Use

As is with any kind of experimentation, something worthwhile should come out of it. When youre happy with what you have played, the audio studio file menu offers all the important options. They include: Songs in WAV format, for example those that are to be burnt onto CD with a CD burner program. Audio CDs can be burnt onto CD directly via mouse click! An MP3 song collection, e.g. as material for the MP3 player.
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Introduction
Your own compositions, e.g. for the MAGIX web publishing area, the online forum for creative musicians, be they beginners or professionals (linked directly via mouse click). Sample sets, e.g. to play with the midi studio sampler or to remix with the MAGIX Media Mix. And much more. The export principle in a nutshell: Everything exported will sound exactly the same in its new environment as it did in the arrangement within MAGIX audio studio! Tip: should you have elementary questions regarding digital audio editing on computer, please consult the introductory chapter to midi studio.
What is new in MAGIX audio studio 2005 ? New Enhanced Object Editor
The object editor has been enhanced with FFT filter realtime effects and a range of functions for object manipulation. Its also now possible to exchange wave projects with objects. The object editor is now organized on three tabs for a greater operational overview.
Improved Vocoder
The input signal of the refreshed Vocoder can now be selected from a wave project or extract the signal from another track.
Audio Metronome
An indispensable aid for recording your own sounds is the metronome, which can be played back either via MIDI or a free audio channel.
New: Vocalizer Effect MAGIX music maker Instruments

The CopperSynth, SilverSynth Pro, Ambient and Beatbox virtual instruments from music maker can now be used in audio studio.
Improved CD ripping
Audio CD track importing has been improved, and now you can even pre-listen to CDs directly from the dialog.
MAGIX sound cloner

Copy great CD sounds onto your own recordings 369
Introduction
MAGIX Robota
The Robota is a virtual analog drum computer for unique sounds & grooves and comes with integrated step sequencer
Track Freezing
Entire tracks (including all track and object effects) can be frozen meaning that tracks can be bounced and replace by an object in the VIP, freeing up valuable computing power. If a track needs some extra work, un-freezing is a breeze.
Batch processing.
Convert entire sample libraries, create pre-listen mp3s from enormous music collections, or clean-up all your session recordings in one go automatically.
Plus many more detailed improvements and new functions

variable track depth in the arranger, simply enlarge the most important tracks and reduce the rest and all with the mouse MP3 CDs burn straight from the arrangement on-thefly OGG Vorbis record, import and export Enhanced video sound export Burn 90 minute audio CDs
New Features of 2004

The following is an introduction to the new features contained in audio studio version 2004.
MAGIX AmpSimulation
The Ampsimulator is a newly-developed real-time effect that simulates tube amp sound properties. It is especially suitable for guitar sounds, but also for the organ or recordings of vocals.
MAGIX tuner
MAGIX tuner is a tuner for guitars and other string instruments. Deviations from the standard pitch are graphically displayed.
MAGIX metronome
MAGIX audio studio 2005 offers a MIDI metronome for recordings synchronized perfectly in time with the beat.
370
Introduction
MAGIX multiMAX
MAGIX multiMAX works on volume ratios with a multivolume compressor. The frequency spectrum is divided into three frequency bands and compressed separately, just like professional studio devices. In this way, deep and uniform bass lines can be produced from different sources of sound for compilations.
ASIO driver support

With the help of ASIO driver support, you can also use MAGIX audio studio as an external effects device. The signal is pushed through the real-time effects section by MAGIX audio studio and then re-issued. All real-time effects from the mixer can be used directly: MAGIX AmpSimulation , MAGIX multiMAX, reverb, echo, compressor, 4 band equalizer and vocoder. Requirements: You need an ASIO driver for your soundcard.
Vocoder
The Vocoder principal: A carrier sample (such as a synth chord) can be altered by a modulator (e.g. speech or vocals) so that one gains the impression that the surface sound is about to speek or sing. This is done via the transmission of the frequency characteristics of the modulator (language) on the carrier (chord).
User-friendlier
The whole MAGIX audio studio user interface has been designed with presets to integrate smoothly with a variety of specific applications. There are, for example, presets for CD mastering, wave editing, multitrack recording and power user. These beginner-friendly presets offer clear and concise menus and toolbars in audio studio that help realise those first projects.
More DSP power

MAGIX audio studio now contains high-performance audio effects for each object in real-time. Every audio object can therefore have its own compressor, FFT filter, dehisser/ denoiser, echo/hall or stereo enhancer ideal for mastering and creative sound design.
Improved mixer
MAGIX audio studio comes with a newer, more flexible mixer with busses, AUX channels, in-built effects such as 4 band EQ, dynamics, delay and hall, as well as DirectX Plug Ins. Input and output allocation is made easier by the presets.
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Tutorial
Youre in the right chapter if you want to start with a new music project without first going through the extensive guidelines. Here you will get a concise, on-the-fly description of the program. Start MAGIX audio studio from the start menu in the MAGIX directory.
The first recording

We will record two stereo tracks for our initial test. Lets assume that you are using an audio source like a microphone or a musical instrument. Connect this with the help of the appropriate cable to the soundcard input.
Preliminary settings
First create a 4-track multi-track project. After the program start you will see a dialogue in which you can select the creation of a multi-track project. (If not, select the option New multi-track project (VIP) in the file menu.) This will open the dialogue window Setup for a new VIP. Now please enter the following settings: 4 tracks (you can use the menu Track at any time to extend the number of tracks in your arrangement) Sample rate: 44.1 kHz (for a CD quality recording). Click the advanced button >>, in order to display the whole dialogue field, then activate the Auto Crossfade Mode. Enter the measurements in SMPTE and press OK!
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MAGIX audio studio opens a new, empty project with four stereo tracks. The Project window can be enlarged to screen size by pressing the enter key.
Tutorial
The first track in your VIP (Virtual Project) is activated for recording. This is made visible by the red REC button for the first track. Select recording (bottom left on your screen) in order to arrange the interface for audio recording. This hides all the options that are unnecessary for the screen is cleared at the same time.
The first track

1. Activate the record button on the transport console (which is itself normally activated) with a right mouse click.
Record
In it you can make several selections as far as your recording settings are concerned. For the time being we are not concerning ourselves with any settings and leave the default settings in place. 2. Activate the Monitor button. This option allows you to preview the audio prior to actually recording it. Start the audio source to monitor the
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strength of the audio signal. You might need to adjust the volume with either an external mixing console or by using the sound cards audio utilities to adjust the input volume. If the levels are at the desired volume you can move on to the next step. The LED peak meters will show you whether your audio is coming in too loud as well. If you see a Clip indicator, please reduce the volume of the audio signal. 3. Restart the audio again and click on the Record button in the Record Parameter dialog or press R on the keyboard. MAGIX audio studio will now start recording your audio and will indicate the length and progress of the recording in the Record Time field. During the recording the monitor LED peak meters might actually react a little bit sluggish depending on the computer speed of your system. This is because MAGIX audio studio monitors the audio signal that is recorded from the buffers, which are lagging behind to ensure that the recording process takes top priority. 4. At the desired length click the Stop button. MAGIX audio studio stops the recording and display a dialogue that basically asks you to confirm the recording. You have a choice to redo your recording at this point. If you click on the Delete button, you return to the Record Parameter window and you can redo your recording all over. If you click on the OK button, MAGIX audio studio will insert a new object at the beginning of the first track.
The second track

Now that we have successfully recorded the first track, we can move on to record the second track. Depending on whether you have one of the sound cards that allow for simultaneous playback and record, you will be able to monitor the first track while you record the second track. To record the second track: 1. Click on the REC button on the second track. 2. Click the small box at the top right of the record button in the transport console The Record Parameter dialogue appears on the screen and allows you to make further choices. Since we want to monitor the already existing track, we will need to enable the option Playback while Recording. Note: This requires that you have a sound card that is capable of simultaneously recording and playing back audio. If you do
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not have such a card and your system, MAGIX audio studio will generate an error display indicating that there is some problem with your sound card. This is normal as MAGIX audio studio is not able to address the card for the simultaneous playback and record functionality, also referred to as full duplex. 4. Activate (if nessesary) the Monitor button. 5. Start the audio for the second track or sing into the microphone. If the levels need to be adjusted again, please do so now. 6. Click on the Record button or press the R key. MAGIX audio studio now starts recording the second audio track and at the same time will playback the contents of the first track. 7. Click the Stop button at the desired location. The confirmation dialogue appears on the screen. If you click on OK, MAGIX audio studio inserts another object into the second track. If you decide to delete the audio, you have another chance to record the audio over again.
Note: You can add additional tracks at this point by repeating the above steps. Depending on the system configuration and power of your computer system, you may be able to record a number of additional tracks. However, if MAGIX audio studio starts to skip the audio playback during the recording process, it is time to reduce the number of playback tracks. The skipping of the audio is an indication that either your buffer settings are too low or your computer system cannot carry the entire load. If you run into problems while recording additional tracks, please see the chapter on Problems and Solutions.
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The first arrangement
Every recording produces an object that can be processed and arranged on the tracks in various ways. In order to move or delete objects on the track, click the lower half of the object with the mouse button. By keeping the mouse button depressed you can now move the object to any position and track you select. The Del button deletes the object from the track.
VIPs and Waves

A so-called wave project is set up for every object that you can see in the arranger. You can work essentially with two different project types: arrangements (VIPs) i.e. multitrack projects with different objects or wave projects i.e. the audio material used in the VIPs. When you delete an object in an arrangement, the audio material and corresponding wave project remain in tact. Change to a wave project, e.g. your own recording! Now click on the applicable object in VIP and choose the edit wave project option in the object menu. When you open the HDP you will see a wave presentation of the audio materials in large format. The acoustic properties will be displayed in wave form. This means that whenever there is something to see, there is also something to hear. Taller waves indicate a greater volume. In wave projects you can edit your material directly. You can cut it, lay effects etc. The audio material will only be affected if the destructive edit option has been activated. The wave editing option allows you to work virtually positioning, cutting and many effects can be implemented in real-time without the original material being changed. Working virtually is to be recommended, both because it is quicker and guarantees the security of your data. The audio material in this case will not be affected. Now switch back to your VIP! Here you always work virtually, hence the name VIP (virtual project). You can therefore set up different tracks for drums, bass and guitar, for example. When you record or download, these tracks will then contain virtual objects of the new material.
Download audio material

Audio material can be downloaded from various sources and in various file formats. You can use audio CDs, MP3 files from the Internet, sample CDs (like the MAGIX 376
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soundpool series) or other audio files. You can use all supported formats on any track within a project. There are several ways to download material. The Open option in the file menu offers all supported data formats. Audio CD tracks must first be copied separately to the hard disk (grabbed). To do this, select the appropriate option in the file menu (or in the CD menu). Then select the Load audio CD tracks option in the CD menu. The simplest method is to download audio material directly from the Windows Explorer. Just open the Windows Explorer, organize the Explorer and audio studio windows in such a way that both are accessible, access the directory in Explorer that contains the audio material and pull the desired files across to your audio studio with the simple drag & drop function.
Mouse modes
Files are displayed as objects in the arranger and can be moved and arranged on tracks. In the tools column there is a special bar of buttons for mouse modes. If theyre not visible, you can call them up from the menu via window > mouse mode bar. In any case, to use the mouse modes, you will have to switch to another working area (bottom left on your screen).In the power user work area, you will enjoy the full functionality of audio studio, including the mouse mode bar. You will see how the arranger tracks are separated by a thin line when you switch to the universal mode. The mouses function depends on where the play-cursor is positioned. In order to move an object, you must click the lower half of the track. When the mouse key is held down, you can move the object. The splitting of the tracks and the many possibilities offered by the universal mode can feel somewhat unfamiliar. Should this be the case, switch to the objects and curves mode Objects can now be moved in the tracks and fields will be highlighted above the first track in the beat line.
Universal mode
Position objects
All files are displayed as objects in the arranger and can be moved to any track and arranged. The tool bar contains a separate bar with buttons for various mouse modes. If this is not visible, you can activate it via the menu Window>Mouse Mode Bar. Normally, you will work in universal mode, which makes very comprehensive possibilities available to you. To move an object in universal
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mode, click the lower half of the object. If you keep the mouse button depressed, you can move the object. If you click the upper half of the object, you expand various areas (ranges) that are displayed in inverted format. These areas can be played separately and edited (e.g. enhanced with effects).
Handles (Tabs)
Volume handles Fade handles All objects in VIP can be shortened or looped, simply lead the mouse to one of the lower corners of the object until the mouse pointer becomes a stretch symbol. Now the object can be compressed. If the option Create looped object is activated in the Object menu, the object can be stretched via the lower right tab. This allows you to create entire rhythm tracks from short drum samples simply by stretching! At the two upper corners there are two fade tabs, which are pulled towards the inside in order to fade the object in or out. The upper middle tab adjusts the volume of the object.
Length handles
Processing
All objects can be cut into several objects. To do this, select the option Cut object in the Edit menu or the cut mouse mode. The mouse pointer in cut mode becomes a scissors and you can cut the objects into as many smaller objects as you like. Multiple objects can be consolidated as a group, e.g. to prevent inadvertent movement within the group. The first step here is to mark individual objects. Single objects can be marked simply by clicking the lower half with the mouse button in standard mouse mode. The three upper object tabs of a marked object become gray to indicate their selection. Multiple objects can be marked by keeping the Shift key depressed. If you click with the mouse next to an object on the lower half of track, you can draw a rectangle with the depressed mouse button. All objects within the rectangle are then marked (rubber band selection). Many modifications to objects require that the object is highlighted. Some objects are highlighted with a mouse click. The three grips on a highlighted object are grey in order to indicate the selection. Multiple objects can be highlighted by holding down the shift key. When you click the track to the left of an object, hold down the mouse key to draw a rectangle. Everything encompassed by the rectangle will thus become highlighted.
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Several objects can be grouped together in order, for example, to avoid accidentally shifting one track above or below the other. To achieve this, the individual objects must be highlighted before activating the applicable group buttons. The object editor, which opens when you double click an object, includes all the important object editing options. It can always be opened, and adjusts itself to the object currently highlighted.
Finally, you should take a look at the effects available for objects. They can be activated in the effects menu or in the context menu (via a right mouse click on an object). To get to know them, its best to experiment a little if you then still have questions regarding effects, refer to the reference section of the PDF manual.
Tracks: Controlling volume and panorama

All the essentials for the tracks are to be found in the track menu (e.g the track name or with the respective input and output multi I/O cards). Tracks can be selected with a mouse click, in the same way that objects can. They can be minimised, cut out, or inserted for example. By activating the Vol and Pan buttons to the left of the tracks, you can view the yellow volume curve and the light blue panorama curve. These curves control both the volume and the progression of the stereo panorama for the whole track. By double clicking on the curve, you will create an anchor The anchors allow you to formulate precise changes to the curves for the volume as well as the panorama. In the volume drawing mode and the panorama drawing mode, the mouse mode bar allows you to plot the curves freehand. Your mouse becomes, in effect, a small pen with which to draw the curve you require. Afterwards, deactivate the respective button and edit the curve. The volume curve for the tracks can also be used to control effects. But the track must be connected to an AUX track ( Click Track > Define track properties in the menu.). 379
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An AUX track normally doesnt contain an object, and therefore no audio material. Instead, it combines the audio material from other tracks so that it can be remixed with effects. To understand the functionality of the AUX track, its worth taking a look at mixer.
Mixer: Track effects, master effects and AUX busses.

The mixer can be opened either by using the shortcut M or by activating the mixer button in the navigation bar. The mixer is divided into different channels with knobs and slide bars (faders) that allow volume, panorama and effects settings for each track (and including the AUX tracks) to be made.
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To change the settings for the whole sound, there is a master section on the right hand side. All mixer effects can be modified precisely in an editor when one right mouse clicks the respective knob or slide bar.
Tutorial
AUX tracks in the VIP have a blue (rather than a yellow) track number, and are to be found in the mixer as AUX channels (which have blue volume faders) An AUX channel can be used to initiate effects in other tracks with the following: In the AUX Bus Sends field at the top of the mixer, you must define how high the signal rate sent to the AUX track should be for a normal track. If the slide bar is to the left, nothing will be sent. If its on the right, the whole signal will be sent to the AUX track. In the AUX channel, the signal can now be edited with effects, or the whole sound can be mixed. The volume setting of the AUX channels (AUX return) determines (along with the AUX Send value) the effects rate in the normal track. For dynamic effects control, you require: 1. An empty AUX track and another track with an object in the VIP. 2. Now open the mixer and select an effect for the AUX channel (e.g. delay). 3. Finally, set the AUX Send rate for the mixer channel that is to have an effect added. 4. Now you can set the effects rate with the AUX track volume fader. By drawing the fader upwards, the effects rate of the other tracks increases. The fader thus assumes the function of an AUX Return regulator. 5. This means that you can also control the effects rate with the volume curve of the AUX track in VIP. For example, you can blend an echo into a part of a song or out of a song, so long as you draw the tip of a curve at the appropriate position in the AUX track.
Export
The destination for all arrangements and processes is normally an audio file. There are a number of different export formats, which can be selected via the File menu. The arrangement can be directly burned onto an audio CD. The arrangement can be burned directly onto an audio CD. All export calculations are independent of the play performance . If the computer experiences replay difficulties due to an excessive number of objects and effects, the export file will nevertheless calculate correctly. In the event of computer overload, it is recommendable here to move already completed passages of complex arrangements by export or mix-down function into a single file. 381
Tips & Tricks

A few tricks that help make working with MAGIX audio studio easy:
Working in Projects
The a key will select the complete sample as a range. With the keys Home and End you can set the play cursor to the beginning or end; all selected ranges will disappear. A range can be selected from one exact marker position to the next by clicking on the marker above the waveform. Next, hold the Shift key and click on the second marker. Using the Shift + mouse click a range can be moved horizontally. Shift + Ctrl + Cursor keys will flip a range to the right or left. This is a great way of testing a loop at a different position. Objects in Virtual projects can be displayed in two different modes. By pressing the Tab key you alternate between the modes. Pressing Shift + Tab will open a dialog window in which you can set the parameters of the display modes. Using Ctrl + mouse click on an object copies the object. Double-clicking the mouse button on the volume curve you can create and delete volume handles. Activate the volume automation curve with the V-button in each track of the VIP! Change the function of the mouse buttons in VIPs with the menu Preferences>Mouse Mode or use one of the Mouse Mode buttons in the Mouse Mode toolbar! The function Lock Objects allows you to lock objects to prevent for example accidental movement. This is especially useful for multi track recording when the individual tracks need to stay in sync with each other. To determine the tempo of a selected range (BPM), open the Snap Definition dialog (Shift + r) and select the number of beats the selected range represents (for example: 4) in the Section Free Bar Snap. Next, click on the button Get Range in the section Free Bar Snap to retrieve the length of the selected range. The BPM display in the Fixed Bar Snap section now displays the BPM of the audio section. Try the right mouse button on various components of the VIP window! A context sensitive pop-up menu is displayed, which features useful functions depending
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on the window component you clicked on. Among them are objects, Record and Mute buttons, and the scrollbars. The Delete key deletes markers when the Play Cursor (real-time cursor) is located exactly on the marker. The same key deletes any selected objects and deletes ranges that are selected. The key t separates a selected object at the position of the Play Cursor. If a range is selected within the object, the object is separated on the range borders, which results in three objects. If the Auto Crossfade mode is active while the separation takes place, MAGIX audio studio adds smooth crossfades at the separation points. These crossfades can later be edited for further refinement. Use the Crossfade Editor to change the crossfade aspects. Multiple zoom levels can be saved to the four Z buttons in the lower left-hand corner of the Virtual project window. Use the Shift + left mouse click to store a zoom level to a specific preset button. When clicking on a previously assigned preset button, the zoom level is recalled. The S preset buttons can be used with the Shift + left mouse click to store a complete window configuration set. This includes the scroll position of the window and the Mute/Solo assignments for the tracks. This offers four Mute/Solo groups that can be quickly recalled. Multiple objects can be selected by holding the Ctrl key and individually clicking on the desired object. Holding the Shift key and clicking the mouse button behind the last object you want to select can select objects between two points. WAV, HDP, and RAP Projects, as well as stored objects can be opened with the Windows Explorer by dragging them from the Explorer window to the MAGIX audio studio window. A special menu option is available to open the Explorer from within MAGIX audio studio with Tools> Explore the HDP Directory. The default folder opened in Explorer is the same as the HD-Project setting in the System dialog (Shortcut: y). Shift + Tab can be used to display the VIP Display Mode dialog. This dialog allows you to change the VIP Display aspects such as the VIP window behavior when an object or range is moved toward the confines of the currently displayed window borders (VIP Border Scroll). When pressing the Return key, all open windows are tiled on the MAGIX audio studio screen. This is a good starting point when using drag & drop functionality to 383
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move ranges and objects between individual project windows. Use the menu option Edit>Edit Tracks to manipulate complete tracks. This includes adding new tracks, inserting tracks and rearranging tracks.
Mixer
Clicking the right mouse button on a Mixer effect control knob or element opens the associated effect dialog. A double click on the middle of a control knob or element returns it to the passive default setting. Another double click resets the element to the previous position. Clicking on the left or right outer limits of a control knob changes the setting in individual increments. In the Mixer window, multiple channels can be soloed simultaneously. When holding the Shift key and clicking on a Solo button, all previously soloed channels are un-soloed and the single channel is soloed. The Master Normalization function in the Mixer window can be used to instantaneously adjust the output level to 0 dB, no matter how loud or soft the master output signal is.
Performance
It often helps to run two copies of MAGIX audio studio at the same time (simply start it twice from the Desktop). This allows you to work on an extensive effect processing, a longer recording, the creation of a CD, or any other unattended procedure, while working on another aspect of a second VIP or project. When working on dual processor systems in Windows NT, both instances use the full capacity of one of the processors. Even under Windows 95 this technique can be used to work more effectively. Make sure you disable the option Check Space Bar for Playback in the System dialog (Shortcut: y) to prevent the program in the background to stop any process. After installation, the VIP Buffer size is set to 16,000 Stereo samples (System Dialog Shortcut: y). This setting enables all effects in the Master section of the Mixer window with an optimum hard disk performance. If you only work with a small number of VIP tracks and do not use the FFT Filter in the Master section of the Mixer, you may reduce the buffer size up to the minimum of 2,000 Stereo samples. The Start/Stop responds much faster and the Scrubbing (using the keypad 0 key) works much smoother. 384
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Recording/Playback
The Recording window can be displayed by pressing the shortcut key r. The recording can be started with the key r and stopped with the key s when the Recording window is displayed and active. The playback can be started and stopped with the Spacebar. When stopping, the Play Cursor returns to the original position. If the playback is stopped with the 0 key on the numeric keypad, the cursor will stop at the current playback position. Continuing to hold the 0 key, while moving the mouse (Scrubbing) can alter the exact position.
Effects Offline effects in the Effects Menu

The effects menu is object-oriented, meaning that an object must first be selected before an effect is to be applied to it. Menu effects are not real-time effects and do not affect playing performance. They are calculated into the material. A copy of the original material is created, so that the raw material remains unchanged. Among other things, the menu offers: a graphic 10 band equalizer, within which you can regulate the treble, midtones and bass of your audio material in 10 frequency bands. a compressor, for adjusting the volume control. Compressors are used, for example, with vocal or bass recordings in order to avoid inadvertent volume fluctuation. Compression makes the sound tighter and more powerful. Reverb, delay and distortion: which belong to the most important and well-known effects. Noise reduction effects: Declipping cleans up poorly cut loops. The denoiser reduces unwanted background noise. Timestretching, resampling und pitchshifting: With timestretching and pitchshifting, you can alter the length or pitch of your samples. Resampling alters both pitch and length in much the same fashion as a tape player. For more about offline effects, please read the Effects Menu chapter.
Real-time effects in the Object Editor

The effects in the object editor are also object-oriented. However, contrary to menu effects, they are real-time effects that are calculated in real-time while playing. Meaning: The more effects there are to be used in the object editor, the greater the workload for the computer CPU.
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Every object on the tracks can be furnished with an individual effect configuration. Click on the object with the right mouse button and select Object Editor from the context menu. On offer are: Cleaning FX: Two virtual effects devices for cleaning up audio material: Dehisser and denoiser. Sound-FX: A complete effects rack with equalizer, compressor, AmpSimulator and delay/reverb FFT Filter Vocoder
Mixer real-time effects

There are additional real-time effects on offer in the mixer window. These effects can either be applied for each separate track or globally for the entire sound. Track effects in the mixer channels Sound-FX Delay / Reverb Dynamics (compressor / expander / gate): The compressor looks after the assimilation of the volume controls. Compression makes the sound tighter and more powerful.. The expander, on the other hand, broadens the dynamic range between high volume levels and quiet passages. The gate is applied to completely suppress the signal beyond a defined threshold value. Parametric 4 band equalizer Effects in the Mixmaster FFT-Filter Sound-FX Stereo-Enhancer MultiMax (Multi-band compressor) Limiter Parametric 4 band equalizer
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Shortcuts
Below are the default MAGIX audio studio shortcuts for the program. You may change the shortcuts at any time with Options>Program Preferences>Edit Keyboard Shortcuts.
General
A Range all Ctrl-A Redo B Splitrange into 3 views Shift-B Display gets 1 view C or Ctrl-C Copy range Shift-C Copy As Alt-C Copy and Clear (VIP) E New VIP F Fade In/Out G Synchronization H Close all Windows I Project Information Ctrl-I Import Sample L Load RAM-project Shift-l Load HD-project M Open Mixer N Normalize (virtual) Shift-N Normalize (destructive) O Load Virtual project P Play parameter R Record Dialog Ctrl-Shift-R Grid on/off Shift-R Grid definition Q switch Grid off S Save project Shift-S Save project with new name T Split objects Ctrl-T Trim objects V Insert Clipboard Alt-V Overwrite with Clip (VIP) W Load wave X Cut range Y System preferences Ctrl-Z Undo Tab Toggle object draw mode Tab + Shift Define object draw mode Space Playback on/off Enter Arrange windows 387
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Esc Del Del + Ctrl Backspace Insert + Ctrl + Shift Numeric 0 Numeric , # Switch Range Cursor left or 4 on numeric pad: + Ctrl + Alt + Shift + Ctrl Cursor right or 6 on numeric pad: + Ctrl + Alt + Shift + Ctrl Home + Shift End + Shift PgUp + Shift PgDn + Shift Cursor up + Ctrl Cursor down + Ctrl / * - + Keys on numeric pad: Abort playback, recording & physical sample manipulations Delete range Delete selected objects Restart Playback Overwrite with Clip Copy into Clip Insert Clip Scrubbing 2 Views Grid on/off
Scrolling left Zoom In Play Cursor to beginning of the range Flip range left Scrolling right Zoom Out Play Cursor to end of range Flip range right Play Cursor to beginning of project range to beginning of project Play Cursor to end of project Range to end of project Range starts to next zero crossing Range starts to previous zero crossing Range ends to next zero crossing Range ends to previous zero crossing Scroll up Zoom in vertically in VIPs Scroll down Zoom out vertically in VIPs Move range borders dependent on zoom level
Function keys
2-10 Get range 2-10 + Shift Store range 2-10 + Shift + Ctrl Get range length F11 Store range with new name Keypad 0-9 (not numeric block!): Get Marker 1...10 + Shift Store Marker 1...10 + Alt Store Marker while playback
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? Store Marker with new name
Mouse
For a full description of the mouse shortcuts, please see the section on Details about the Individual Mouse Modes
Microsoft Intellimouse
Middle mouse click: Wheel: + Ctrl + Shift + Ctrl + Shift Playback Start/Stop Scroll horizontally Zoom In/Out horizontally Zoom In/Out vertically Scroll vertically in VIPs
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Reference
audio
studio
Terminology
The following lists some specific terms that where defined to describe components ofMAGIX audio studio 2005 deLuxe that are mentioned frequently throughout the documentation. Even if you were somewhat familiar with some of the particulars, we would like to encourage you to read the definitions for the individual terms. The terms are specific context related and are not further covered in the rest of the documentation. PC typical terms such as button, window, and file requester are not explained here. Please refer to a PC or Windows manual for further details on those terms.
Overview
1. Your recordings will be saved as individual Wave projects. You can edit those projects as a unit or only parts of it (ranges). 2. Multiple Wave projects or different ranges of Wave projects can be arranged as Virtual projects (VIPs). 3. In virtual multi-track projects, audio tracks will be positioned and displayed as objects. Within those objects you can select ranges, edit them and switch between the different views. 4. Important working functions for audio are the Clip and the VirtClip that function as a temporary saving space for Wave projects and Virtual projects. 5. Important graphical tools are the handles, marker, section and the play cursor. With the use of the handles and markers you can change and position the objects. In the section you can edit different ranges of the project. The play cursor shows and marks the playback position.
Clip Clip for Audio Data (Wave Projects)

The Clip is a storage place for samples from Wave projects, which are copied from a Wave project window and can be inserted in the same Wave project or a different one. In addition, the content of the Clip can also be mixed with that of another Wave project window. The Clip always takes on the attributes of the originating project (Bit Rate, Sample Rate, Mono, L&R, or Stereo Mode). The Clip is represented on the screen with a window that contains the word Clip in its title bar. Otherwise, the Clip is like any other project that can be played back, edited and saved with a different name. 392
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VirtClip for Virtual Projects
While the Clip is responsible for transferring material from and to Wave project windows, the VirtClip does this with data from Virtual projects. Likewise, the window is not initially opened and displayed.
Destructive and non-destructive editing

In MAGIX audio studio 2005 deLuxe, audio material can be recorded to the main memory (HDP) or in the RAM memory (RAP). Editing can therefore be done in a destructive or non-destructive (virtual) fashion. When cuts, blends, effects etc. are to be a permanent part of a recording, we speak of destructive editing. With non-destructive editing, they can be added to a recording without the original audio material being altered. The MAGIX audio studio VIP window uses objects that are coupled with wave projects. These objects can now be edited. Because it deals solely with couplings, the wave projects are not altered themselves. Non-destructive editing can even be performed during replays. Destructive editing can be performed in the wave project window so long as the Destructive Editing field has been activated.
Handle
Handles are the five little rectangles that appear on the outline of a selected object. Length Handle: Lower right and left-hand handles. These can be used to change the object length. Fade Handle: Upper right and left-hand handles. These handles change the fade in and fade out of an object. Volume Handle: Upper middle handle. This handle sets the volume for the selected object or object group. The level is displayed in the upper left-hand corner of the VIP window.
Object handles
Marker
Markers are used to store specific time locations. They are indicated on the upper edge of the sample display by small triangles and show any assigned name or number. These markers can be moved with the left mouse button. Any project can have an unlimited number of markers. Up to 10 of these markers can be accessed through the number keys. A marker that has been assigned to one of the number
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keys carries the name 1 through 10. The menu option Range>Store Marker>Other can be used to store markers with specific names. These names are displayed next to the marker in the project window. If you click the right mouse button in the area where the markers are displayed, a context sensitive pop-up menu is displayed, which contains additional commands to manipulate markers. Use the Marker Manager (Menu Tools or Marker Context menu) to manage and rename markers. To select a range between two markers, click on the triangle of the first marker to activate it, followed by holding the Shift key and clicking on the second marker.
Objects
Audio data is displayed in Virtual projects via rectangles, which are located in multiple tracks. These are the so-called Objects. An object is a representation of sample material from an audio file. In other words: An object references or links to audio data contained in a Wave project. Additional information about objects is available in the definition list for Virtual Projects.
Play-Cursor
The Play Cursor or the Position Line is the vertical moving line during playback and shows the current playback position. The start position of the Play Cursor (playback start) is set by clicking the left mouse button into the project window. (Click next to an object for virtual objects.) This deselects any previous range.
Range
If you edit sound and multi-tracks inMAGIX audio studio, youll mostly work with different ranges in your Wave- and Virtual projects. 1. Ranges are used to specify the sections that you want to edit (cut, paste, normalize, fade in/out, volume controls, effects and delete). 2. Ranges define the loops considered in the playback of the projects. 3. Ranges define the outlines (edge) of the section of the graphical display of the object (rectangle). Especially the upper and lower edges may be analyzed during editing, which is not the case with some of the function groups! A range can be selected with the mouse. Ranges can be played back with the Spacebar. It is defined
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by the beginning and end (horizontal) and by the upper and lower limits (vertical). To highlight an range, left mouse click the lower part of the beat line. (In the Universal mouse mode, you can also highlight areas in the upper part of the tracks.) Move the cursor with the mouse. You will see that there is an inverted rectangle between the starting point and the mouse position. Every project can have an unlimited number of ranges defined. Up to 10 ranges can be accessed directly through the function keys. Additional ranges can be accessed with the Range Manager. The vertical range borders can be locked with the function Fix Vertically (Menu View). This will set the height of the range to a maximum value, which is the default setting for Virtual projects.
Section
MAGIX audio studio 2005 deLuxe offers the possibility of displaying any project window in up to three sections. This enables you to show the complete sample in one section while displaying smaller sections in one or two other sections. Each section can be accessed and edited in separately.
Active Section when using Zoom Levels

If Zoom commands are used on one of the display sections, such as the buttons on the Position bar, it is important to designate the section that is to be zoomed. Click on the left or right scrollbar of a section to activate it.
Virtual Projects (VIPs)

Virtual projects are the centerpiece ofMAGIX audio studio! In Virtual projects you can arrange objects taken from multiple Wave projects and arrange complex audio projects. All cut operations, volume level changes, fades, and more are completely virtual, meaning that the audio material is not destroyed! This allows you to select the proper cut position, cut length, volume level, effect setting, etc. by experimenting without loosing audio material or alter it. Detailed information about working with Virtual projects can be found in the electronic Reference Manual. Even if the present audio hardware can only play back up to 2 channels of audio (Stereo), multiple tracks beyond a stereo pair can be played back in a Virtual project. The display of the Virtual project can be switched between two definitions. The Tab key allows you to switch between the two modes. The key combination Shift + Tab displays the Editor dialog for the Virtual project display preferences. Attributes such as displaying only a single graphic form
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Components of the VIP window

Title bar: The title bar is at the top of the window, and contains the names of the application and the project. To relocate the window, move the title bar. You can also relocate dialogue boxes in the same manner. S-Button: Opens the track settings dialogue. Solo-Button: Silences all tracks other than the current one. Mute-Button: Silences the track. A right mouse click on this button allows you to select the output device for the track. REC (Active recording): Activates a track for recording. A right mouse click on this button allows you to select the output device. Control display: Both LED chains show the input and output signals for the track. Volume button: Turns on the volume curve in order to affect changes in the track volume. Panorama button: Turns on the panorama automation. 396
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Automation curves: For volume control and panorama modifications in the track. Individual curve anchors can be relocated or erased in order to change the course of a curve. Setup/Zoom buttons: The 8 buttons in the bottom left corner of a virtual project can save 4 Setups (S1...S4 incl. Zoom-Level, Display-Position and Display-Mode) and 4 Zoom Levels (Z1...Z4). To save, the button must be clicked while holding down the shift key. It allows you to zoom in and out of positions quickly and without manual zooming. Pos./Len./End: A maximum of 5 display fields at the bottom of a VIP can be individually configured.: Position/field start, field length, field end, mouse position (not editable) and the edited mixer value (also not editable). The size and number of fields can also be set. For more details, see menu window > time display. Scroll bar: Can be seen beneath and to the right of the project window. It allows you to move into the VIP and to enlarge or reduce the section horizontally or vertically. Status display: The status display is in the lower part of the MAGIX audio studio interface. With longer operations and calculations, a bar will be displayed whose width shows the current state ot the operation. There are also handling instructions and explanations. To conceal the status display, use the menu window > status display. Workspace: In the bottom left of the VIP you can select a number of different working areas. Working areas reduce the amount of buttons and VIP components available to a more suitable degree. You can switch between destructive and non-destructive editing while working on wave projects.
Working with Objects Integrating an audio file as a VIP Object

Method 1: Loading a File into a VIP Mark a range in the VIP and load the WAV file with File>Open Project>Audio File. The file is inserted at the beginning of the selected range as an object. The range also denotes the track into which the WAV file is inserted. Method 2: Drag & Drop from Windows Explorer Open Windows-Explorer and arrange the Explorer and MAGIX audio studio windows so that both are at hand. Access the audio file in Explorer that you would like to use,
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and then simply drag it over into MAGIX audio studio while holding down the mouse button.
Integrating a WAV File Range as a VIP Object

Open a Wave Project. Mark a range, which is to be incorporated into a Virtual project (Complete Range: key a). Create a new Virtual project with File>New Multi Track Project (Shortcut: e) or with the corresponding button in the toolbar. Tile the open windows by pressing the Enter key. Drag the selected range in the Wave project into the Virtual project by clicking the left mouse button into the range and dragging the range into a VIP track. A new object is created in the VIP at the position the mouse button was released.
Accessing Audio Material in an Object

Select any object. In the menu Object, select Destructive Editing. (The same menu option is available from the context sensitive menu when clicking the right mouse button on the object.) This opens the corresponding Wave project window. The marked range represents the audio material that is used in the VIP object.
Selecting an Object with the Mouse

Clicking the left mouse button selects the desired object. Prerequisite for this is the selection of the correct Mouse Mode: Object Mode, Object & Curve Mode, and Universal Tool Mode all offer this functionality. In the Universal Tool Mode, the object is selected by clicking on the lower half of the object. The five handles on the outline of the objects identify any selection of objects. While the mouse button is held clicked, the outline of the object is also displayed. Clicking the mouse button outside of the object confines deselects any object selection.
Selecting Multiple Objects with the Mouse

If the Shift or Ctrl key is pressed in addition to a mouse click, additional objects are selected without undoing any previous object selection. Prerequisite for this is the selection of the correct Mouse Mode: Object Mode, Object & Curve Mode, and Universal Tool Mode all offer this functionality. In the Universal Tool Mode, the object is selected by clicking on the lower half of the object. Another method of selecting multiple objects is the use of the Object Lasso. Simply click the left mouse button at an empty VIP track pane location to the left of the desired
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objects and drag a marquee (Object Lasso) around the object you would like to select. Once the mouse button is released, the object covered by the Object Lasso will be selected.
Moving and Duplicating Objects

Any object selection can be moved (dragged) along the horizontal time line or vertically into different tracks by clicking and holding the left mouse button on one of the selected objects. After releasing the mouse button, the objects appear at the new location. If multiple objects situated in independent tracks are selected, the complete group can only be moved within the confines of the VIP track pane. In other words, all objects need to stay within the vertical and horizontal track borders. If the Shift key is pressed while moving the object selection, the horizontal time position is maintained. The object selection can only be moved vertically (to different tracks). If the Ctrl key is pressed while moving the object selection, a copy of the object selection is created. In this case, the copy of the original object selection is placed at the destination. The original objects maintain their position. Prerequisite for this is the selection of the correct Mouse Mode: Object Mode, Object & Curve Mode, and Universal Tool Mode all offer this functionality. In the Universal Tool Mode, the object is selected by clicking on the lower half of the object.
Changing Object Borders in Virtual Projects

The lower object handles of a selected object can be used to alter the object borders. The mouse can be used to change the object beginning or end. The object length can only be changed within the confines of the physical Wave project window. This means that the beginning of the object can not be extended beyond the beginning or end of the corresponding Wave project. Conversely, the end of the object can not be extended beyond the beginning or end of the corresponding Wave project. Prerequisite for this is the selection of the correct Mouse Mode: Object Mode, Object & Curve Mode, and Universal Tool Mode all offer this functionality. In the Universal Tool Mode, the object is selected by clicking on the lower half of the object.
Fade-In / Fade-Out and Object Volume

The object handle in the upper middle can be used to set the object volume. The exact volume level in dB during the 399
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change is visible in the pop up window at the object. The upper left and right-hand handles of the object change the fade-in and fade-out settings of the object. Since these changes are applied in real-time, during playback of the project, the original audio material is left intact. This allows easy set up of fades and volume levels without having to fear data loss. Prerequisite for this is the selection of the correct Mouse Mode: Object Mode, Object & Curve Mode, and Universal Tool Mode all offer this functionality. In the Universal Tool Mode, the object is selected by clicking on the lower half of the object.
Overlapping Objects
A track (channel) can only play back one object at a time. If one object is moved over another object, the previous object is partially or completely taken out of the playback list much like one sheet of paper covers another partially or completely. The invisible part of a covered object will not be audible. By moving the covering object out of the way, the covered section or the complete object can be made audible again. To create a crossfade between two objects that are intersecting each other, the Crossfade Editor in the menu Edit can be used.
Object-Editor
The object editor is a very practical tool for editing the most important settings for objects. To open the object editor, double click the bottom half of an object.
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Important settings such as length, position and volume can be edited numerically in the object editor. To adjust the pitch tone or the playing tempo, there is a Pitchshift/ Timestrech effect. Click on OK to save the settings. This closes the object editor. The settings will now only affect the object when it is being played. Of course, you can also edit the EQ in the mixer. There are an infinite amount of effects combinations to utilise.
Editing Concepts
Theres no need to close the new version of the object editor. You can jump between different objects in the VIP the open object editor will automatically adjust to the currently selected object.
Working with Ranges Selecting the Correct Mouse Mode

Initially, the correct mouse mode needs to be selected, since the mouse is the center point of any range manipulation. In Virtual projects, the Range mode and the Universal Tool mode (upper track pane) are available. In Wave projects, the Range mode can be used to select and manipulate ranges.
Selecting a Range
A range can be selected from any position to the next by clicking with the left mouse button into the waveform. To highlight a field or area, left mouse click the bottom half of the beat line. Move the mouse-cursor with the mouse. You will see that there is an inverted rectangle between the starting point and the mouse position Let go of the left mouse key. In the text line beneath the project window title bar, the horizontal borders of the selected field or area is displayed. If you want to select a different range, just click into the area next to the inverse rectangle, but still within the waveform. The previous range will disappear and you are able to select a new range.
Adjusting a Range
Click into the inverse rectangle if you want to extend or shorten the size of the selected range. Move the cursor (hold the mouse key down) into the direction in which you want to extend to. As soon as you slide over the edge of the rectangle, the selected range will follow your mouse movements. When you are done with the adjustments, release the left mouse button. In this way you can move one edge only to the desired position while maintaining the correct limits. If the entire waveform is already selected and you still want to adjust only one edge of the rectangle then you have two possibilities: Either you have another area that is not within the selected range and you can click in there. The previously selected range disappears and a very small range will appear. Now you can define a new area within the previously selected range. 401
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Another way is to press the key 7 (Home) or 1 (End) on the numeric key block on your keyboard. Those are the shortcut commands to place the marker to the start and end of a range. The previously selected range disappears and you can select a new one. You can also find those functions in the menu Range. In addition to that you can use key 4 (cursor left) and key 6 (cursor right) to scroll the range to the left or right.
De-Selecting a Range
If you want to select a different range or want to deactivate the current range selection, click the mouse button once into the project window. The previous range disappears and the window can be used to select a new range.
Changing a Range
If you want to change an already selected range outline (beginning, end, upper, and lower border), simply click the left mouse button into the range and while holding the button, move the mouse in the direction you want to extend or shorten the range. As soon as the mouse pointer crosses over the current range border, the program picks up the border and snaps it to the mouse pointer. You now can move the range border to the new point and release the mouse button.
Moving a Range Horizontally

Hold the Ctrl or Shift key while clicking inside a range. Next, hold the left mouse button clicked and move the range to the new position. Release the mouse button to place the range at the new location.
Saving Ranges and Special Range Commands

Ranges and markers can be saved with the help of menu functions or keyboard shortcuts. MAGIX audio studio 2005 deLuxe can store an unlimited number of ranges and markers. These and other special functions to define, change, and use ranges can be found in the menu Ranges. To manage saved ranges, use the Range Manager (Menu Tools).
Moving of Ranges in Small Increments (Keyboard Shortcuts)

By holding the Shift key and using the cursor keys, ranges can be moved in small increments. An overview of all keyboard shortcuts can be found in the Shortcuts section. 402
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Changing Range Ends in Increments Using the Mouse
This is most often needed when searching for optimized loop borders in Wave projects. The sections can be split with a keyboard shortcut (Shortcut: b) or with Range>Split Range. All range borders are displayed with a high-resolution zoom level. Using Shift + b returns the display to a single section.
Playback of a range
A range can be played and then stopped by pressing the space bar on your keyboard. If no range is selected, the VIP will start playing from the position of the play-cursor, which itself can be positioned with a mouse click in the beat line. There are different types of play modes available in the playback menu as well as in the play parameters (the p key): Play once plays the field one time only Repeat play plays the field in loops endlessly. Play into area plays from the play-cursor position into a highlighted field or area. (especially important when testing loops. When you adjust the range (while playback) it will play the new range immediately. If only a marker is set but not a range, it will only play from the start of the marker to the end of the sample. When you set a marker within a range, it will play a loop from the marker to the end of the range. You can stop the playback with the space key. The All bit resolutions can be reflected immediately. Conversion of the data works in real-time meaning while playback. That means also a high CPU activity, and sometimes the CPU is overloaded or not able to process the request at once and the system stops and/or doesnt react to any regular stop and play commands. In this case, you can press ESC to interrupt the conversion process.
Shortcuts for range editing

Cursor left, right: The active range scrolls to the left or right Cursor left + shift: The edge or the active range will be moved smoothly to the left. Cursor right + shift: The edge or the active range will be moved smoothly to the right. Cursor left + Ctrl: Zoom into the active range Cursor right + Crtl: Zoom out of the active range Cursor left + shift + Ctrl: The selected range will be doubled to the left. This function is very handy when
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you search for Drum loops: When you have selected a bar in a Rhythm sample, you can use this function to select the previous bar. This will also easier the use of the Virtual projects. Page Up: The beginning of the range will be adjusted to the next smaller volume level (to avoid glitch/disturbing noises). Page Up + shift
Working in wave projects

A wave project contains the audio files. Objects in VIP refer to these audio files. Access to the wave project is through the respective wave window. When a VIP is open, you cant normally see the wave window. In order to view it as an icon, activate the wave project as icon option in the menu window. To hide it again, select Hide wave project.
In the title bar of the wave window is the name of the wave project, the bit resolution, the length of the sample and the subsequent memory required. To activate a wave project, the appropriate window must be clicked with the mouse. MAGIX audio studio can administer many wave projects on screen simultaneously.
Virtual wave editing

MAGIX audio studio now offers real non-destructive (virtual) wave editing. Basically, wave project edits are saved in a virtual domain as long as editing is being processed. This saves an enormous amount of time when editing waves! In order to start non-destructive wave editing, deactivate the settings in the Options > project properties > Destructive wave editing mode.
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When you select Wave Editing, the wave project will by default be set to non-destructive editing mode. Selecting Destructive Edit confines the wave project to destructive wave editing mode One can always see in the title bar of the wave window what wave editing mode (destructive or non-destructive) one is currently working in. The wave project in the image above is thus in destructive mode.
Volume
The volume levels of objects and tracks/channels can be changed at various stages. Here is an overview of the different possibilities:
Wave Project Level

The volume level changes are applied to the audio material with Effects>Normalize>Normalize File or with Fade In/ Out. The audio data is changed. The computer usage is not affected during playback.
Object Level
Every object can have an independent setting for its volume level. This can be performed by changing the upper handles of the object or with Effects>Amplitude/ Normalize>Normalize Object. The audio data is not changed. The calculations are performed in real-time during playback.
Track Level
The volume of every track can be changed dynamically with the volume automation curve and the volume fader in the Mixer or the VIP. The audio data is not changed. The calculations are performed in real-time during playback.
Output Mode
You can setup the output mode in the Playback parameter dialog (key P). With the sample rate option you can choose a different sample rate as playback. With Device you can select the desired playback device (if you have more then one active soundcard). Please note that some soundcards are not be able to playback all sample rates. Note: Different recording and replay devices for individual tracks can be selected in the Track information dialogue rather than
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the Play parameter window. Track information opens a click on the track number.
Record
This chapter describes the transfer of analogue or digital material over the sound card.
Hard drive Recording

The device used to digitize audio signals is already included on the sound card and is called an Analogue Digital Converter (A-to-D, ATD or A/D). In order to record, the A/D Converter gathers, in determined time lapses, samples of the signal that has to be digitized, measuring its frequency. The rate is called sample rate and normally lies in the kHz ranges. KHz means a vibrating frequency of several thousand times per second. The higher the rate, the more samples are taken by the A/D Converter and the more natural the digital transformation of the sound will be. The precision with which the A/D Converter measures the analogue signal is determined by the sample resolution. Here, too, the finer the resolution, the better the digital transformation. CD-quality audio recordings are recorded with a sample rate of 44.1 kHz and a 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 soundcard modifier can record them. Most soundcards have separate microphone inputs that pre-amplify signals, but the results are rarely of a 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 linein input of the soundcard. stereo system: The stereo systems amplifier usually has separate line-out. If instead, you see Aux-out-Sockets, you should use these. Connect them with the Input of the Sound card (usually shown in red). Normally, a hi-fidelity (hi-fi) amplifier has chinch sockets, and the Sound card ministereo catch sockets. You must have the corresponding cable to connect these properly.
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If the amplifier doesnt have separate outputs (other than the loud speakers), you can use the phones 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 Tape-Decks Line-Out. Often with record transfers you have no other choice. Never connect a record players outputs directly to the Sound card, because the phono signal must be preamplified first. If you dont 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 Dialogue with the Record Button and start the recording source. You can check the control on the LED displays in the Recording Dialogue. If the level is too high, reduce the incoming signal. If the recording source is connected through the amplifier or tape decks Line-Out connectors, you can reduce the incoming signal only by using the Sound cards Mixer Window. This is located in the Recording Dialogue under the Level Control tab. If you reduce the input sensibility with the Sliding Regulator (fader), you also reduce, in many sound cards, the precision of the resolution with which the analogue signal is digitized. This is why these controls should be kept at the loudest possible setting! The standard for optimal adjusting is naturally the loudest section of the material. This should be turned to the maximum setting.
Digital Transfer
With the Recording Function, digital audio data can be transferred to the hard drive through a digital interface (e.g. S/PDIF or ADAT). ADAT or DAT Recorders normally produce data with a sampling rate of 48 kHz. For a CD Project with 44.1 kHz you must convert the sampling rate. This is carried out in real time by MAGIX audio studio 2005 deLuxe. The digital signal is read at 48 kHz but is automatically converted and inserted into the project as an audio file at 44.1 kHz. 407
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For this to occur correctly, you must first set the sample rate of the incoming signal in the Recording Dialogue. Click on the Dev. Button in the Recording Dialogue. In the following Dialogue, Sound card Characteristics, set the audio recording formats supported by the Sound card. Now, connect the digital output of your recorder to the digital input of your Sound card and start recording!
24 bit audio support

Audio files in MAGIX audio studio 2005 deLuxe can not only be recorded in 16 bit quality, but also in far superior 24 bit resolution. Simply click the device button in the recording dialogue, and select the 24 bit option under soundcard properties. 24 bit recordings require a high quality audiocard with 20 or 24 bit converters, as well as a 24 bit-compatible NME drive. 24 bit audio material can also be transmitted via audiocards with SPDIF digital interfaces. We have had positive experiences with the 24 bit audiocards produced by Marian, RME, SEKD and Terratec. The high resolution audio files are stored and edited in the 32 bit floating point file format by MAGIX audio studio 2005 deLuxe. This ensures the full 24 bit quality independent of the gauge. The dynamics may increase to over 140 dB, while the recordings jamming transmission sinks, according to the type of audiocard, to 110 dB and more. Thanks to floating point processing, there is no need to worry about internal editing being distorted. Floating point processing only starts to distort at around 1,500 dB above zero in contrast to a 16 bit signal that distorts immediately once the zero dB line has been traversed. Even in cases whereby audio material is intended for burning onto a 16 bit CD, it is worth selecting 24 bit recording because all effects calculations are made in a higher quality and therefore no rounding mistakes can be detected in the audible 16 bit range. 24 bit recordings (via storage as 32 bit float files) take up twice as much storage space on the harddisk as 16 bit recordings. But with current harddisk storage capacities, it works out as a good compromise when one considers the increase in quality. High resolution audio files can be imported and exported as 24 bit WAV files, enabling trouble-free file exchange with other high quality audio systems, such as MAGIX audio studio 2005 deLuxe.
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Further Recording Dialog possibilities
The recording dialog also offers a string instrument tuner for creating the best sound possible before recording. Deviations from the standard pitch are graphically displayed. the option of laying track markers (either manually or automatically) while recording a CD. the possibility of directly incorporating a variety of audio formats e.g. to save fixed-disk space. Please read the Recording Options section of the Playback Menu chapter to learn about all of the Recording dialog options.
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Effects
This section covers detailed information about the signal path and combination of effects inMAGIX audio studio. MAGIX audio studio includes a selection of infinitely variable high-end effects. With some effect combinations, controlled volume or panorama fades, Cross-fading or the external DirectX-plug-ins you are able to adjust and fine-tune the sound to every desired result.
Offline effects in the Effects Menu

The effects menu is object-oriented, meaning that an object must first be selected before an effect is to be applied to it. Menu effects are not real-time effects and do not affect playing performance. They are calculated into the material. A copy of the original material is created, so that the raw material remains unchanged. Among other things, the menu offers: a graphic 10 band equalizer, within which you can regulate the treble, midtones and bass of your audio material in 10 frequency bands. a compressor, for adjusting the volume control. Compressors are used, for example, with vocal or bass recordings in order to avoid inadvertent volume fluctuation. Compression makes the sound tighter and more powerful. Reverb, delay and distortion: which belong to the most important and well-known effects. Noise reduction effects: Declipping cleans up poorly cut loops. The denoiser reduces unwanted background noise. Timestretching, resampling und pitchshifting: With timestretching and pitchshifting, you can alter the length or pitch of your samples. Resampling alters both pitch and length in much the same fashion as a tape player. For more about offline effects, please read the Effects Menu chapter.
Real-time effects in the Object Editor

The effects in the object editor are also object-oriented. However, contrary to menu effects, they are real-time effects that are calculated in real-time while playing. Meaning: The more effects there are to be used in the object editor, the greater the workload for the computer CPU. Every object on the tracks can be furnished with an individual effect configuration. Click on the object with the right
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mouse button and select Object Editor from the context menu. On offer are: Cleaning FX: Two virtual effects devices for cleaning up audio material: Dehisser and denoiser. Sound-FX: A complete effects rack with equalizer, compressor, AmpSimulator and delay/reverb FFT Filter Vocoder
Mixer real-time effects

There are additional real-time effects on offer in the mixer window. These effects can either be applied for each separate track or globally for the entire sound.
Track effects in the mixer channels

Sound-FX Delay / Reverb Dynamics (compressor / expander / gate): The compressor looks after the assimilation of the volume controls. Compression makes the sound tighter and more powerful.. The expander, on the other hand, broadens the dynamic range between high volume levels and quiet passages. The gate is applied to completely suppress the signal beyond a defined threshold value. Parametric 4 band equalizer
Effects in the Mixmaster

FFT-Filter Sound-FX Stereo-Enhancer MultiMax (Multi-band compressor) Limiter Parametric 4 band equalizer
Cleaning FX (object editor) Denoiser

The denoiser is especially useful for eliminating long-lasting disturbing noises, such as: a humming in the main connection; hissing; noises from sound cards, disturbance noise from ground circuits; interference from audio equipment with high microphone outputs (record-player); impact noise; or the rumbling of records. The denoiser requires a sample of the pure disturbance noise. Some of the typical sounds are at your disposal. Another possibility is to create a noise sample yourself. You need a short sequence of the music, where only the disturbance noise can be heard.
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Noise Level: Here you can precisely adjust the entry threshold of the disturbance noises clearing function. If the values are too low, it will result in insufficient noise reduction and it will contain artefacts, such as disturbing sounds or chipping. If the values are too high, the result will be too flat. We suggest that you take some time to experiment and obtain the best adjustment. Noise Reduction: Here you can adjust the balance between the original signal and the cleared signal. Draw the disturbing signal about 3-6 decibels in order to preserve the natural sound of the material. In the case of humming, we recommend complete clearing. Removed Noise: To test whether or not a noise has been removed satisfactorily, you can play back the part of the music cleared by or filtered by the Denoiser. (This is for test purposes only.) Bypass: The Denoiser includes a Bypass Button that avoids the Denoiser effect. With the Bypass Button, you can compare the neutral, untreated sound of the audio object with the chosen effects adjustment.
Noise Sample Section

Here, a Noise Print is generated. A short sample from the actual play position is taken as a noise sample. The noise sample should not contain any music or other parts of the desired signal - just the pure disturbance signal. The play position can be shifted with the transport bar to search for a suitable position while the sample section is open. When the play position is situated between two objects, no noise print can be generated. A failure message appears. Play: You can listen to the noise sample to test it. Auto: When this switch is activated, the duration of the noise sample is automatically adjusted. 412
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Length: The duration can be adjusted in milliseconds when the Auto switch is turned off. Save: Store the created noise sample in the Noise Print Sample Directory. Then it will be available as a new noise sample in the noise sample preset selection list. Noise Sample Presets: Choose a noise sample from the Noise Print Sample Directory. When the noise sample has been created by the Pick function, the item Noise Print appears in the directory. Play (Preset): You can listen to the chosen noise sample.
Artefacts on Cleaning Effects

If you adjust the Denoiser too high, it can result in a metallic chipping sound, or an artefact sound. Due to its synthetic character, this will have quite an impact on your ears. Usually, this happens only in especially difficult cases. To obtain the best results, follow these suggestions and instructions: First choose a Preset from the Selection Menu. There you will find several types of disturbance noises. Be careful with the dosage of the effectless is more. Adjust it until you cannot hear any of the disturbing noises, otherwise artefacts can appear. Clean the material before applying cleaning effects. Select the disturbing objects and choose Remove DC-offset from the Edit Menu.
Dehisser
The Dehisser eliminates regular white noise, typically produced by analogue tape recordings, microphones, preamplifiers, or converters.
Noise Level: Set the Dehissers input threshold as precisely as possible. Low settings result in incomplete deletion of the hissing. An incomplete deletion of the hissing produces artefacts and should be avoided. High settings produce dull results. Useful signals (e.g. the blow of a wind instrument) that are similar to hissing are also filtered away. If the level of the hissing is low, the setting is no problem. 413
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Noise Reduction: Here you can set the attenuation of the hissing in decibels. Often it makes sense to reduce the hissing by only 3 to 6 dB in order to keep the audio material sounding natural. Removed Hiss: To test your results, you can listen to the filtered-away part of the music prior to downloading or burning onto a CD. (Remember this is for test purposes only.)
Sound FX (object editor, mixer channels, mixmaster)
Equalizer
The 10-track equalizer divides the frequency spectrum into 10 areas (tracks) and supplies them with separated volume controls, which allows you to achieve many impressive effects, from the simple rising of the bass, to total sound transformation. If you raise the low frequencies too much throughout the whole level, it can cause distortions. In this case, lower the master volume using the master volume control on the main screen. Thumb controls: All of the 10 frequency areas can be raised or decreased separately by the 10 volume controls. Link Bands: Using this switch you can match the frequency areas in a flexible way to avoid the overemphasizing of single frequency areas that sound artificial. A/B: If you have selected a preset for the effect and later you change it manually, you can compare the original-preset-sound with the new adjustments using the A/B-switch.
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Reset: Reset inserts the sound effect into the neutral starting position where no processing power is used and where no effect is calculated in the sound. Touch-screen (right EQ-Section): This is the sensorfield of the EQ: Use your mouse to draw a curve that will be transferred immediately into the corresponding EQ control adjustment.
Compressor (only Object FX)

The compressor is essentially an automated dynamic volume control. Tune dynamics are limited, loud passages stay loud, low passages become louder. Compression is often used to make the material more powerful. The degree of compression is adjusted by the ratio control, and the Threshold determines the entry threshold. Rise and decrease of time can be influenced by Attack and Release. The processing is realized in advance as occurs in highquality studio equipment. This means that there wont be any overdriven peaks or other artefacts, as the algorithm can never be surprised by the peak levels. Sensor-Field: The sensor-field of the compressor can be intuitively altered with movement of the mouse., Ratio: The parameter controls compression intensity. Threshold: Here you can adjust the entry threshold, under the compression. Attack: Here you can adjust the time in which the algorithm responds on the rising level. Short attack times can produce a pumping sound, as the volume is reduced or raised. Release: Here you can adjust the time in which the algorithm responds to decreasing levels. A/B: If you have selected a preset for the effect and later you change it manually, you can compare the original-preset-sound with the new adjustments using the A/B-switch. Reset: Reset places the sound effect into the neutral starting position where no processing power is used and where no effect is calculated in the sound. Load/Save: Here you can store the current adjustments as an effect file in order to use them for other projects.
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Effects
AmpSimulator
The Ampsimulator is a newly-developed real-time effect that simulates tube amp sound properties. It is especially suitable for guitar sounds, but also for the organ or recordings of vocals. Amp Model: Here you can select from a range of amplifiers whose sound can be simulated. Speaker Model: Here you can select from a range of speakers whose sound can be simulated. EQ-Section: A 3 band equalizer for setting the bass, midtones and treble. Bright: The Bright button is for a particularly sharp sound display, that can be jarring when used with the following automatic controllers: Distortion: Creates distortion in typical analog amplifier fashion. Volume: Controls the entire volume of the amplifier module.
Reverb / Echo
Reverb Reverb supplies a high-quality reverberation which can be defined more closely with room size, time and colour and mixed into the original sound with mix. Room size: This control button controls a room simulator which calculates the reverb effect in dependency on the room size. If the control is turned completely to the left, it sounds as if the audio object has been recorded in a tiny room, turned completely to the right, one can listen to the object as if it had been recorded in a cathedral. Time: Here the length of the reverb trail is determined, i.e. the fading phase of the sound. Colour: Here it is possible to control the type of reverb rather dull than high-pitched or vice versa. Mix: This control determines the mixing ratio between the unedited original sound (dry signal) and the reverb portion (wet signal).
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Echo Echo: The echo effect is defined more closely with delay and feedback and calculated into the original sound by means of mix. Delay: Here the period of time between the individual echos can be determined; the more you turn the control to the left, the faster will the echos follow each other. Feedback: Here the number of echos can be adjusted. Turned completely to the left, there is no echo at all, turned completely to the right there are virtually endless repetitions.
Delay / Reverb (mixer channels)
Echo
The echo effect is defined more closely with delay and feedback and calculated into the original sound by means of mix.
Delay
Here the period of time between the individual echos can be determined; the more you turn the control to the left, the faster will the echos follow each other.
Feedback
Here the number of echos can be adjusted. Turned completely to the left, there is no echo at all, turned completely to the right there are virtually endless repetitions. Echo/Delay: This section will determine the length of the echo delay.
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BPM: You can specify a particular BPM speed if the echo needs to run in sync with the audio material. For example, if a music piece is set at 110 BPM you could specify the same setting here and have the delay appear with the exact beats of the music. Millisec: Specify a setting in milliseconds for the delay. 1000 ms: This will select a preset of 1000 ms for the delay. 500 ms: This will select a preset of 500 ms for the delay. 200 ms: This will select a preset of 200 ms for the delay. Delay ms: This button indicates the delay in ms between the single echoes or the original sound and the first echo. The preset value is 500 ms, or half a second if you prefer. Note that the delay depends on the sampling rate, therefore any changes in the sampling rate after introducing the echoes will produce changes in the echo delays. Decay %: This button adjusts the dumping values (percentage) between the individual echoes. A value close to 100 % produces slowly decaying echoes, whereas a value below 40% produces echoes that disappear rapidly. 1 Delay: This just adds a delay to the original. Feedback: This option produces an echo with feedback. Multi-Tap: The Multi-Tap produces a series of echoes of different intensities and delays. Wet-/ Dry Balance %: Adjust the damping between the individual echoes. A percentage close to 100 % produces slowly decaying echoes, whereas a percentage below 40% produces rapidly disappearing echoes. Resonance: In this option you can adjust the size of the virtual resonance room and the color of the resonance by typing in values or using the scroll bars.
Parametric Equalizer (mixer channels, mixmaster)

This dialogue contains a 4-Band parametric equalizer. You can adjust the sound of your sample activating filters on three independent frequency bands. This allows you to raise the bass and treble in a broad spectrum as well as making very specific corrections in the dynamic frequency spectrum. 418
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However, you will first have to highlight an area of the current project or the entire project with the a-key (waveprojects). Dont forget that the mixer (m-key) also includes one equalizer per channel that works in real time and does not modify the saved audio-material! (Non-destructive manipulation process).
Frequency: Adjust the middle frequencies of the different filters between 10 Hz and 24 kHz using these switches. As your choice is completely unrestricted, you can also set various filters to the same frequencies in order to obtain more pronounced effects. Spectrum: Here you can set the frequency-spectrum of each filter between 10 Hz and 10 kHz. Decibel: These switches control the activity and intensity of each filter. If the switch is set to 0, the filter will be inactivated, saving system resources. Volume: This button controls the general volume should the filters produce an extreme increase or decrease of the individual levels. Test: This button activates the real time demo-function. If the demo-function cant be stopped using this button (due to work-overload) you can stop playback using the spacebar. Maybe you should then choose a bigger real time buffersize in the Setup > System-menu! The effect of the equalizers can be enhanced by using it repeatedly on the same sample. This enables you to make 419
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any manipulation you want on the dynamic frequency spectrum!
Limiter (mixmaster)
With this Editor you can work on the dynamics of a sample. Processing is carried out in the same way as on high-quality studio equipment previewing, i.e. there is no peak overriding, or other artifacts, as the algorithm can never be surprised by peak levels.
Mode
Limiter: The limiter harmonizes levels so that, for example, too high a level is automatically reduced, and quiet passages remain unaffected. Compressor/Expander: The dynamics of a work are restricted, loud passages stay loud, quiet passages become louder. Compression is often used to give material more power and assertiveness. The compression level is set with the Ratio Control, the application level is determined by the Threshold. Build-up and fade-out times can be influenced by Attack and Release. An Expander is the functional opposite to the compressor: the differences between the peak levels and quiet passages become greater. Gate: Very quiet passages (under the Threshold Level) are suppressed or drawn down to zero. This effectively enables the noise level even in the pauses between individual takes to be suppressed, but even at high compressions levels (Ratio > 5) the Gate function is useful, to avoid overraising of the quietest passages and thereby the background noise. 420
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Parameters
Ratio: This parameter controls the strength of the given effects, 1.0 means no effect. Threshold: Here the application threshold can be set, above or below that of the given effect. Attack: Here the time can be set in which the algorithm reacts to increasing levels. Release: Here the time can be set in which the algorithm reacts to decreasing levels.
Effect Calculations and Signal Manipulations

When working withMAGIX audio studio, audio material manipulation can be performed on five levels. The signal flows through these five levels in sequence: 1. Wave Editing (Destructive Editing), 2. Manipulations on the object level in Virtual projects (Real-time Processing), 3. Volume and panorama automation, including track volume fader in the Mixer or VIP (Real-time Processing), 4. Real-time effects in the Mixer tracks (Real-time Processing), 5. Real-time effects in the Mix Master section (Real-time Processing).
Significance of the Effect Processing and Signal Manipulation Order

The sequence of the effect processing and other manipulations (volume and panorama automation) often affects the result. Some effects depend on the input signal level. When working with volume, panorama, and filter manipulations, the sequence is not important. For example, it is of no significance whether you first apply a filter function and then change the volume or vice versa. Even when working with a multiple of effects, the input signal level is unimportant. Among them are the Reverb, the Delay (Echo), Resampling and Timestretching, or Pitch Shifting. However, all Dynamics functions and those that remove or reduce noise (De-hisser and Noise Reduction) are dependent on the input signal level and in some cases on the frequency response of the input signal. If you have found an optimal setting for the parameters, you should not apply other changes to effect blocks that precede these types of effects. 421
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Real-Time Effects in the Mixer Tracks
The following effects can be applied to individual tracks. They are processed in the following order: 1. Track Volume and Panorama (linked to the volume and panorama automation curves in the VIP), 2. DirectX Plug-Ins, 3. Equalizer, 4. Echo (Delay).
Real-Time Effects in the Mix Master Section

The Master section effects can be used for special mastering tasks. The effects are processed in the following order: 1. FFT-Filter, 2. DirectX Plug-Ins, 3. Volume, 4. Equalizer.
MAGIX audio studio as an external effects device

With the help of ASIO driver support, you can also use MAGIX audio studio as an external effects device. The signal is pushed through the real-time effects section by MAGIX audio studio and then re-issued. All real-time effects from the mixer can be used directly: MAGIX AmpSimulation , MAGIX multiMAX, reverb, echo, compressor, 4 band equalizer and vocoder. Requirements: You need an ASIO driver for your soundcard. Heres how it works: In the system dialog (Y key), select the ASIO Software Monitoring with Track Effects option from the Record options card. Connect your instrument (e.g a guitar amp) to the soundcard. Select one or more real-time effects for the track activated for recording. Play it. The sound now has the selected effects added to it.
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The Channel Strips Volume Fader

To adjust the Volume of Track 1, click and drag its Fader either up (louder) or down (quieter). A numeric display ToolTip will (temporarily) show the amount of volume increase or decrease in dB units. Note that the Volume Curve and Waveform display in the VIP window adjusts accordingly. Fine adjustments can be made by using the mouse wheel. Note: Double click on the Fader to return it to default (0dB) position. 423
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Pan Fader
To adjust the Pan position of Track 1, click on its horizontal Pan fader and drag the mouse left or right. The ToolTip text Pan (beside the Pan Knob) will temporarily turn into a numeric display and show the Tracks Pan position in dB units. Note that the Pan Fader and Pan Curve in the VIP Window adjust accordingly. Fine adjustments can be made by using the mouse wheel. Note: Double click on the Pan knob to return it to center default position.
EQ Knobs
These Knobs control the tracks four-band fully Parametric EQ. The EQ can be adjusted while audio is playing (just like youd experience with a real console), but MAGIX audio studios EQ goes one step further. Each of the four bands can overlap the others, allowing maximum EQ flexibility. Click on the EQ knob and drag the mouse left to Cut or right to Increase. The ToolTip text EQ Low will show the amount of Low EQ decrease or increase in dB units. Note: Double click on the knob to quickly return it to center default (off) position. Fine adjustments to any EQ knob can be made by using the Mouse Wheel. Right clicking any of the EQ knobs will invoke the full 4 Band Parametric EQ window. Use this window to make changes to settings such as frequency selection, filter type, etc. Refer to Mixer Effect Dialogs > Parametric EQ help) for more details.
Dyn Knob (Dynamics)

This knob controls the tracks real-time Dynamics Processor (Compressor, Limiter, Gate, etc.). The Dynamics Processor can be adjusted while audio is playing (just like youd experience with a real outboard Compressor). Click on the Dyn knob and drag the mouse right to increase or left to decrease Dynamics Processing (Compression). ToolTip text shows the tracks Compression Ratio (if the display shows 4.0, the Compression Ratio is 4.0 to 1). Right Clicking on the Comp Limit knob will invoke the full Dynamics Processor window. Use this window to make changes to settings such as Mode, Threshold, Attack etc. 424
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Note: To quickly disable a Compressor, double click on the Comp Limit knob. Fine adjustments can be made by using the mouse wheel.
Delay/Reverb Knob
This knob controls the tracks real-time Delay/Reverb Effect. The Delay/Reverb Effect can be adjusted while audio is playing (just like youd experience with a real outboard Delay Processor). Click on the Delay/Reverb knob and drag the mouse right to increase or left to decrease the level of the Delay Effect. The ToolTip text shows the level of the Delay Effect as a percentage (i.e. the percentage of wet effect). Right Clicking on the Delay/Reverb knob will invoke the full Delay/Reverb window. Use this window to make changes to settings such as Mode, Reverb / Delay times, room size etc. Notes: Double click on the Delay knob to disable the Delay Effect. Fine adjustments can be made by using the mouse wheel.
Aux Bus Sends

Here you can adjust the AUX bus send values.
DirX Buttons (DirectX Plugins)

The DirX button above the fader on each channel enables DirectX compatible Plug-Ins to be used as real-time Channel-Insert effects. The Plug-Ins can be manipulated while audio is playing (just like youd experience with a real Console and Outboard gear). Right click on the button to open the DirectX dialog. Once you have adjusted your chosen plugin parameters you can close the dialog (the settings will still remain active). You can also close the plugin interface or leave the plugin interface open if you want. The DirX button will be colored gold when a plugin is activated. To mute the plugin section, click the gold DirX button (it will reset to the gray off color).
LED Peak-Meters
The pair of LED Peak-Meters (very close together) reflect the tracks peak level during playback. A Peak Hold function is also employed which allows you to quickly see the highest peak that was reached during playback. For stereo tracks, the left LED Peak-Meter represents the left channel
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and the right LED Peak-Meter represents the right channel. For mono tracks, both LED Peak-Meters function together as a single unit. The metering ranges from -70db to +6db. The meters show 3 colors (green, gold, red) and are functionally identical to the VIP track meters. Green indicates the signal level is less than -6db, gold indicates the signal is greater than 6db but less than 0db, red indicates the signal is 0db or higher. Each channels peak meter can be reset by clicking directly on the meter display.
Mute button
Click on this button to mute the track. The button will appear gold and the track will be muted. Click on the button again to unmute the track. Multiple tracks and/or busses can be muted.
Solo button
As previously shown, click on this button to Solo the track. The button will appear green and the track will be soloed (all other tracks will be silent). Click on the button again to un-Solo the track. Multiple tracks can be Solod (simultaneously) by clicking on each tracks SOLO button. Note : Soloing of SubMix busses is slightly different. If a track is routed to a SubMix buss, selecting SOLO on the track channel will also set the SubMix buss to SOLO. If you select SOLO on the SubMix buss (instead of the track), all tracks routed to the SubMix buss will also be set to SOLO. It makes sense if you think about it!
Link button
Click on this button to Link two adjacent (odd, even) Mixer Channels. The button will appear light green indicating that the two channels are currently Linked. At this point, either Channel can be used to control both simultaneously. If you move Channel 1s (track 1) Volume Fader, Channel 2s (track 2) Volume Fader will follow.
Name box
To enter the channel name, click on the track name box to invoke the Track Info dialog (which contains the name field.) Names can contain more characters than fit in the Mixer name box - the full name is shown in a ToolTip when hovering the mouse cursor over the name box. 426
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Auto button (On)
This button enables the tracks real-time Volume and Pan Automation. The Automation causes the Panning and Volume faders to follow an existing Curve in the associated track. When Auto is set to ON, it is also possible to create a new real time Pan or Volume Automation Curve by moving the Pan Fader or Volume Fader in the Mixer while the VIP project is playing back.
Output box
As previously shown, clicking on this box opens a menu which allows you to select which device will play back the output from the channel. If a channel is to be routed to a SubMix buss, this is the dialog you invoke to set the routing. The SubMix busses are shown at the bottom of the menu in a separate section. Colored letters are shown on the left of each Output box to indicate the type of output device. A red M indicates Master Output, a green O indicates non-master output (i.e. multi channel output) and a blue B indicates the channel is output to a SubMix buss.
Track Properties button

This is the numbered gold button at the bottom of each channel, where x corresponds to the number of the Track. For busses the button is colored light blue. Click on this button and the Track Info window will open, enabling various track related data to be observed or adjusted.
The Master Sektion

The Master Section of the Mixer window controls the combined (mixed) output of all Channel-Strips. The Master section generally functions as a typical stereo Master Output buss, but also offers a variety of Mastering orientated signal processors.
Master Volume Faders

To adjust the Master Volume (combined Stereo Output of all Channel Strips), click and drag the Left or Right Master Volume Fader either up (louder) or down (softer). A numeric display at the bottom of the Fader will show the amount of volume increase or decrease in dB units. Notice that the Left and Right Master Volume Faders are Linked by default (when one is adjusted, the other follows). The Master Volume Faders can be adjusted while audio is playing.
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Note: Double click on a Master Volume Fader to quickly return it to detent (0dB) position. Since the (Non-Destructive) Normalization is accomplished by automatically adjusting the Master Volume Faders, you can undo the Normalization by simply double clicking on one of the Master Volume Faders.
Master EQ Knobs
These Knobs control the Master Sections real-time fourband fully Parametric EQ. The EQ can be adjusted while audio is playing, but MAGIX audio studios Master EQ (like the Channel EQ) goes one step further each of the four bands can overlap the others, allowing maximum EQ flexibility. Like the channel EQs, the first and fourth Master EQ knob can be configured as shelving or pass filters. The Master EQ section goes a step further than the channel EQs by including frequency selection knobs in the Mixer. The EQ processors can be inserted or bypassed by clicking on the ON button on the upper right corner of the EQ section. When the processors are inserted the button is green. Click on the LF (Low Frequency) EQ Gain knob and drag the mouse left to Cut or right to Increase. The text Lo (right of the Low EQ Gain Knob) will turn into a numeric display and show the amount of Low EQ decrease or increase in dB units. To select the frequency to be cut/ boosted, click on the LF Freq knob and adjust in the same manner. Note : When you left click on the knobs, a ToolTip will appear while you hold down the mouse button. The ToolTip shows the full name of the knob and a more accurate (3 decimal places) gain readout. Double click on a knob to quickly return it to center detent (off) position. Right click on any of the Master EQ knobs and the Four Band Parametric Filter window will open, allowing complete control of parameters for the Master Sections Parametric EQ. This window is identical in form and function to the Four Band Parametric Filter window used to manipulate a Channels Parametric EQ (outlined previously).
Master FX section
Three native MAGIX audio studio Processors can be activated in this section - FFT Filtering, Dynamics and Stereo Enhancer . Each processor is activated (inserted into the signal path) by clicking on the relevant ON button in the Master FX
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section. To bypass the processor, click the ON button again to switch it off. Click on the EDT (Edit) button to open the selected processor for adjustment of parameter settings. The parameters can be adjusted in real time while the audio is playing. Note : The Master FX are modal in operation - when the processor dialog is open, you can adjust the processor parameters, but you cannot adjust the Mixer or VIP. Once the parameters are decided, the selected processor is closed and normal editing can continue. You can adjust the parameters at any time by reopening the relevant processor. The function of the different master effects are described in the effects chapter:
Real Time FFT Filter

This controls the Master Sections real-time FFT-Filter. This tool provides very effective phase coherent frequency filtering (a form of EQ). The processor uses advanced FFT Filtering algorithms based on extensive DSP research, yet very little CPU is consumed. To open the processor, right click on the ON button or click on the EDT button.
Dyn/Limiter
This controls another Master Section real-time Dynamics Processor (Compressor / Expander / Noise Gate / Limiter ). To use the Dynamics/Limiter, right click on the ON button or click on the EDT button. This is a simple but powerful compressor which functions very well as a buss limiter when mastering.
Stereo Enhancer
Located in a block section immediately below the Master Channel EQ, the Stereo Enhancer can be adjusted while audio is playing. Click on the blue horizontal Stereo Enh fader, and drag the mouse right to Expand or left to Collapse the Stereo Image o. A ToolTip will appear while the mouse button is held down, showing the full processor title and a 3 decimal point Stereo Enhancement (in %) display. A numeric display will temporarily show the amount of Expansion (settings above 100) or Collapse (settings under 100). Notice that the Activate/Bypass ON button (just right of the fader) now appears green to indicate that the Multi-Band Stereo Enhancer is active. 429
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DirX(DirectX) button and DirectX Plugin Chainer
Using DirectX Plugins in the Master Channel is very similar to using plugins in the mixer channels, except that a six slot DirectX Chainer section is located at the top of the Master Channel. A single button (DirX) is located just above the master faders. Right click on the DirX button to open the DirectX Plugin dialog. Once a plugin/s has been activated, clicking on the dialog toggles bypass/activation of all plugins as a group. The six slot DirectX Chainer allows easy adjustment and visual tracking of the activated plugins. Once loaded, each plugin can be bypassed/reactivated or opened for editing by one mouse click. You can directly load a plugin into an empty chainer slot by clicking the ON button in the slot. This action opens the DirectX Plugin dialog, just as if you right clicked on the DirX button. Once a plugin is loaded into a slot, click on the slots ON button to toggle bypass/activation of that plugin only. Right click on the slots ON button to open the plugin interface (GUI) and adjust the plugin parameters. Once the Plugin Chainer is full, additional plugins can only be loaded by right clicking the DirX button.
Normal (Master Normalize) button

Located immediately above the Master Faders, this button can be used to quickly Normalize the Master Stereo Output during real time playback. When the button is clicked, the volume Faders are adjusted so that the loudest sections in the signal represent 0 dB. For this function to be effective, you must locate the loudest section in the VIP and play it back. The maximum level is displayed during the playback. When the Normal button is clicked on, the program adjusts the Master level to reference the signal at that exact location to 0 dB. To display the maximum values after other changes in the Effects are made, use the Reset>Peaks button to clear the peak meters (upper right side of Mixer).
Master Link button

Located between the two Master Faders, click on this button to Link the two Faders. The button will appear light green, indicating that the two Faders are currently Linked. At this point, either Channel can be used to control both simultaneously. For example, if you move the Left Master Volume Fader, the Right Master Volume Fader will follow.
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Mono button
Located below the Master Channel faders, this button converts the stereo output of the Mixer to mono.
Master Output Device

Located below the Mono button, this slot is used to set and display the output device for the Master Channel output. Click on the slot to select the device from the menu of available devices.
Mixdown button
Located below the Output Device slot, this button opens the Track Bouncing dialog and provides a variety of offline mixdown options. From this window, you can Bounce Down a Multi-Track Virtual Project (VIP) to a single Stereo audio file which can be automatically opened in a VIP or saved as an HD Wave file. All Tracks and ALL real-time processing (Fades, Effects, Volume and Pan Automation, Object Effects, etc.) will be included in the Bounce. Please refer to the Tools>Track Bouncing section of the Menu reference chapter for specific details regarding Track Bouncing configuration.
Output To File button

Click on the Output To File ON button to write the Mixers Master Stereo Output (in real-time) to a file. What you hear during playback is written directly to hard disk during playback. This allows you to adjust faders, parameters or even (in low latency systems) add overdubs in real-time during the mixdown.
Input Attenuation section

This adjusts the amplitude for the sound card input signal. When working with extremely hot audio signals in individual channels, sometimes it is necessary to limit the output to the sound card to prevent digital clipping on the sound card. Use this option if you work with hot tracks and digital clipping seems to be added at the sound card level. When combining many Tracks of audio with peaks at or near 0dB, it is very easy for the combined Master Output Level to exceed 0dB. If MAGIX audio studio is set at an internal precision of 32Bit (Float), this isn t a problem. However, if MAGIX audio studio is set to use an internal precision of 16Bit (Integer), this is most definitely going to cause clipping! The Input Attenuation pa-
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rameter provides a quick way to scale back the Master Output Level, so as to avoid exceeding 0dB. You can select from four different amounts of attenuation by clicking on (selecting) one of the following radio buttons : 0 dB: This option provides no Input Attenuation and can be considered the Off setting. -6dB: This option provides 6dB of Input Attenuation. -12dB: This option provides 12dB of Input Attenuation. -18dB: This option provides 18dB of Input Attenuation.
Reset buttons
These four buttons allow you to reset sections of the Mixer configuration to maximize workflow efficiency. The buttons are complimented by similar functionality within the Mixer Setup dialog (see later this chapter) (Reset) Mono: Click on this button to quickly reset the Mixers Pan faders so that adjacent (odd/even) Channels are Panned Hard Left and Hard Right and are linked. This button is useful for resetting the Pan Position of Mono Tracks intended to be used as stereo pairs. The Mixer can be configured very quickly to set it up for primary mono Track or stereo Track work. The Reset Mono and Reset Stereo buttons reconfigure the Mixer so that the individual channels match the type of Track you want to work with. For example, if you mainly transfer Tracks from ADATs to MAGIX audio studio for post processing, each of the channels used in the VIP is a true mono Track. In many cases, pairs of Tracks are used as stereo pairs and the Mixer would need to be set up accordingly. By clicking on the Reset Mono button, the Mixer is quickly reconfigured so that each channel represents a mono channel/Track. Channels are also linked by default. You can use the Link button to unlink separate mono Tracks. Note : When using Multi-IO mode with a sound card mixer such as the Yamaha DSP Factory or Creamware Pulsar, you will usually have the Mixer channels panned hard left/right to ensure correct patching to the sound card. Reset) Stereo: Click on this button to quickly reset the Mixers Pan faders so that each Channel is Panned to center position. This button is useful for resetting the Pan Position of Stereo Tracks. (Reset) FX: Click on this button to quickly Reset (disable) all real-time Effects (including DirectX). 432
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(Reset) Peaks : Click on this button to reset the Peak-Meters (LED and Numeric) to their off position.
Snapshots
This section provides total recall of all mixer control settings. A click on a snapshot button saves (if empty gray) or recalls ( if filled yellow) a snapshot. Overwrite a snapshot with shift+click. Right click to delete a Snapshot. You can rename a snapshot by double clicking in the name field. With the load/save buttons below you can save/load a bank of 8 snapshots into a .mix file in the project directory. Note : This is a great way of creating multiple mixes for your project. You can also open a snapshot from one project and apply it to another.
Bypass buttons
These three buttons toggle bypass of all activated Solo, Mute or Effects parameters.
Show buttons
These six buttons allow you to selectively how or hide various Mixer components. The components are still active when hidden. Click the relevant ON button to toggle activation of the components. Note : This section can be used in conjunction with the Screen Setups buttons to switch between Mixer views.
Automation Recording
This LED will glow during the recording of Automation Curves for the Volume and Pan Faders. Note : Only Volume and Pan Faders can be Automated from the Mixer. If Pan or Volume Faders are members of a Group which includes non-automatable parameters (such as EQ), changes to the Automation Curves will only affect the Volume and Pan Faders. However, the other Grouped parameters will follow the changes when set and will remain in the new position! For this reason, we recommend that you pay careful attention to Grouping of parameters when using Automation Curves. To keep your Projects easily managed, you may find it most appropriate to avoid Grouping Volume and Pan Faders with other parameters when using Automation.
Volume Fader Automation

1. If the Tutor01.vip is not loaded, please open it and display the Mixer window by pressing the M key. 433
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2. Check the Auto button of Channel 1 and move the Volume Fader up and down. As seen in a previous exercise, note that the Volume Curve in the first track in the VIP also moves with the Fader movement. This is useful if you simply want to change the overall volume of the track and have the Fader move the position of the Volume Automation Curve. 3. Next, start the playback of the VIP project by clicking on the Play/Stop button in the Mixer window. 4. As the project is playing back, move the Volume Fader of the first track up and down. As you are moving the fader, Volume Curve Handles are created. However, they will not be displayed until the Fader is released. 5. Stop the playback of the project by clicking on the Play/ Stop button in the Mixer window. As you release the mouse button, MAGIX audio studio creates the Volume Curve Handles. The next time you commence playback, the Fader of Channel 1 will move with the events in the Automation Curve of track 1. 6. Start the playback again and watch the volume fader move along the volume curve outline! Note: The Mixer Automation for a Channel can be turned off by unchecking the Auto button for the Channel.
Panning Automation
1. Make sure the Auto button for Channel 1 is checked. 2. Start the playback of the VIP project by clicking the Play/ Stop button in the Mixer window. 3. As the VIP is playing back, click on the Pan fader of Channel 1, and drag it to the left and right with a slow motion. As the fader is moved, Panning Curve Handles are created. As with the Volume Curve Automation, the changes to the Curve are displayed when the mouse button is released. 4. Stop playback. 5. Start the playback again and watch the Pan fader of Channel 1 follow the Curve settings. This can be repeated for any of the tracks in the VIP window. Automation of busses was examined earlier in this chapter.
Mixer Setup
This is a newMAGIX audio studio section which allows you to easily configure the Mixer for most routing options. Configurations can be saved as presets - a number of built in presets can be activated by clicking on the slot.
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Right click on the slot to open the Mixer Setup window . For details on the dialog, read The Mixer Setup dialog chapter.
Screen Setups
These four buttons allow you to save screen setups (i.e. scroll bar position, hidden components etc) Shift+click on a gray (empty) setup button to saves a setup. Click on a yellow button (saved) to recall the relevant setup. (i.e. scroll bar position and which mixer sections are shown. Right click on a button to delete the saved setup.
Tips and Tricks (Mixer)

Clicking the right mouse button on any of the effect control knobs opens the corresponding effect dialog. Double clicking on the middle position of a Mixer control knob returns the knob to the default setting. Another double click resets the knob to the original active position. Control knob values can be changed in small increments by clicking on the left and right outer limits of the knob without the fear of invoking a double click. The Mixer window allows you to solo multiple channels simultaneously. When multiple channels are soloed, holding the Shift key while clicking on a Solo button of a channel deselects the previous solo assignments and solos the single channel. The Master Section in the Mixer window contains a convenient feature, the Normalizing function. The master output level can be quickly set to 0 dB by clicking on the Norm. button. If the Limiter in the Master section is active, the signal is also monitored to prevent any exceeding signal level.
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Burning of CDs
This chapter introduces you into the basics of burning audio CDs, and the functionality of the burning functions ofMAGIX audio studio 2005 deLuxe.
RedBook
To standardize the data structure of CDs and to make them compatible with the CD drives, Sony and Philips laid down individual standards for the various types of CDs. The names simply arose from the color of the books in which these standards were recorded. Besides of the RedBook for audio CDs, e.g. there is one YellowBook for CD-ROMs or one WhiteBook for video CDs with MPEG format. Among others, a sampling rate of 44.1 kHz and 16 bit resolution were laid down, and these are supported by CD players as well as by audio CDs. The audio CDs, furthermore, must consist of 1-99 tracks that can be directly jumped to by CD players. Information on number and length of tracks and pauses are copied from the CD to the player via special sub channels. Thanks toMAGIX audio studio you may directly master and burn audio CDs from any multi track and any wave project in RedBook standard. Besides the actual tracks, all required sub channels and data information is created on the CD blank as well.
Data Transfer
Burning CDs means making special demands on the data transfer from the hard disk to the CD recorder. The data must stream continuously to the recorder. If, at any time during writing, the temporary memory of the recorder should be left without data, a so called buffer under run error will occur that will render the CD unserviceable. This necessitates the use of a fast SCSI or IDE hard disk. The mean access time should be 15 ms or better, and the permanent data transfer rate should not be less than 800 Kbytes per second.
Burning CDs in MAGIX audio studio 2005 deLuxe

Some years ago, there was but a small number of select studios in a position to carry out CD mastering. Today, writing of audio CDs is nothing exceptional any longer, and permanently dropping prices for CD-R burners and media are within everyones reach. 436
Burning of CDs
On the CD the audio material is stored digitally, and these data are read by the CD player and transformed back to the analog plane. While in action, track indexes show the CD player which song starts at what position. MAGIX audio studio can write an audio CD directly out from the program too. Before the write process starts, the track indexes are directly set in the VIP window. Then MAGIX audio studio converts stereo sum and indexes into a data stream that is fed to the CD burner. The CD-R drive modifies an assigned layer of the medium by means of a laser such that an audio CD player can read this information as digital audio data later on. 1. In order to write an audio CD the VIP window must at first contain audio material. You may either record it new or import existing wave files into the virtual project. In theory, multiple-track projects might be written in any number of tracks onto the CD in real-time. Reality sets a limit that is determined by the capacity of the computer. If the computer produces intermittent faults this may be an indication that the writing process onto the CD wont function in real-time any longer too. In this case create a single stereo file by track bouncing first, import it into a new VIP window, and there you set the track indexes now. 2. Mix your recordings by means of the real-time functions of the VIP window and the mixer window. The CD will later sound exactly like you will hear the playback via a stereo sound card. All settings for the playback will be audible on the CD too. You may arrange the individual tracks or objects by the equalizer, compressor or delay, and upgrade the stereo sum with master effects such as the stereo enhancer. You may, furthermore, adjust sound conditions by means of the automation curves. 3. Set the track indexes to mark the starting position of each song. The track indexes show the CD player, which sing starts at what position. Since the track indexes are a special kind of markers they can be edited like them. As an example, they may be moved afterwards. If the VIP window contains but one stereo track in which each song is created as separate object, you may cause MAGIX audio studio to create indexes by means of the button automatic indexes. This will cause an index to be
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positioned at the beginning of each object. Tracks and indexes may be arranged in MAGIX audio studio at discretion. Thus pause intervals may be continuously adjusted, and indexes may be set without any pause either. MAGIX audio studio is one of the few audio programs permitting this. One click on the button track marker on the toolbar will set a track index at the current playback position. Place, by a mouse click, the position line at the position where you want the track index be positioned, and then click onto the button. According to the RedBook standard the minimum pitch between two track indexes is 4 seconds. Due to the fact that track indexes mark the beginning of a song as a rule, there wont be problems by that in practice. However, if you try nevertheless to create track indexes with a lesser pitch then you will receive an error message. 4. With the indexes set the CD may be written. This requires a CD-R drive supported by MAGIX audio studio to be connected to the computer, and an empty CD-R in the drive. Now click onto the button create CD in the toolbar or select CD > create CD in the menu. This dialog offers two options: Write on the fly. In this mode, all effects are calculated in real-time. Create complete new files. MAGIX audio studio creates a new stereo file that contains all information on the multiple-track project. The first option would be a much more simple and convenient method to burn a CD. One click onto the button OK starts the writing process, and MAGIX audio studio starts searching for available CDR drives. If several drives are connected to the system you will be asked to select the drive desired. Before burning, the writing process can be simulated. You may check by that whether the capacity of the computer is sufficient for the writing process. Once started it cannot be stopped no more.
DSP Display
During the writing process on CDs in real-time the system capacity is of the essence. Once the writing process started it cannot be stopped no more. The whole CD becomes
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unserviceable upon an abnormal termination due to a system not fast enough. When on the fly is selected the computer must calculate the playback with all real-time functions and simultaneously write the data onto the CD. The DSP display is a fine expedient to assess possible problems when writing onto the CD. The below table gives you a clue for the maximum possible writing speed. Individual deviations may result due to the configuration of your system and the speed of its components.
DSP Display and Writing Speed

Nearly 100 percent Up to 50 percent Up to 25 percent single speed double speed fourfold speed
Particularly when first using a new and unknown computer system it is recommended to simulate the writing process at first to check the limit performance of the system. Should the system become overloaded, a reduction of the number of tracks or real-time effects will help by combining parts of the VIP window by track bouncing. The offline variation of the writing process offers another possibility. At first, it creates a new stereo file that will be the basis for the writing process.
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Internet Functions
MAGIX audio studio 2005 deLuxe is endowed with a double internet connection for: Internet presentations on the MAGIX web publishing area (Upload) File downloads from FTP servers worldwide. MAGIX web publishing area
Web Upload
You can easily post your own songs on the internet for users worldwide to hear. All you need is a normal internet via modem, ISDN or DSL. The song upload functions in the following manner:
1. Publish to web
When you have an arrangement that youre happy with, make sure to save it before selecting Publish to web in the file menu. Firstly, the publishing wizard window opens, which then leads you through the uploading process. Then you must enter your license number before proceeding further.
Web Radio
2. Info
On the second side you need to enter your name and the song name so that one can search for it online. It may also be wise to tie it in with one of the music styles. Then give your Email address so that you can receive queries and feedback to your song. Name, song name, style and an Email address are important elements for posting songs to the MAGIX web publishing area, so care should be taken in entering them correctly. Whether you want your Email address posted on the internet is for you to decide. You can also load up a song cover in JPEG format as well as add a personal note in the Artists comments section.
3. Download optimisation
Next, you must enter the download speed at which the song can be downloaded on the internet. 56 kbit/second, which is the speed of most modems and ISDN cards, is the default setting. For slower modems, one should set the rate to 28 kbit/second, with the knowledge that quality will be somewhat compromised. 128 kbit/second dual channel ISDN offers the best quality. Whoever has a quick internet connection enjoys better song quality. 440
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Of course, its better to activate all three speeds and upload three versions of the same song. Then all users will have access to your songs Finally, by activating the Finish button, your arrangement is compromised and uploaded to the MAGIX server. And that was it! Now open your web browser with the MAGIX web publishing area and make your genre selections.
4. Legal check
It is absolutely forbidden to publish copyright-protected material (e.g. commercial CD music). For this reason, songs that are not made exclusively from MAGIX soundpool loops first have to be checked by the editorial staff. Please note: When you compose a song exclusively from a MAGIX soundpool CD, your song appears immediately in the MAGIX web publishing area. Dont perform a mixdown before youve loaded up your song! A mixdown creates a WAV file which, in contrast to the MAGIX soundloops, do not contain information about the material to be utilised. If other material has been used (for example, your own recordings), there will first be a legal check. It can take a while until your song goes online.
5. On the MAGIX web publishing area (WPA)...

Visit the MAGIX web publishing area (WPA) to see and hear what other MAGIX users make. You can get in Email contact with other artists, vote for the best songs by using the voting mode, take part in competitions and much more. The WPA is your platform for chat, innovation and creative production. Get to know about events, competitions, game rules, web charts, web TV, web radioonline: You access the WPA directly via mouse click in the MAGIX audio studio menu. You can embellish your productions with additional artist information, such as: Song lyrics or commentary (in My Words) Biographical info and hobbies (My Story) Your web favourites (My Links) Your favourite titles in the WPA(My Playlist).
FTP Download
You can access the Internet directly from the program, allowing you to download and process songs and audio files from the farthest corners of the World Wide Web into your arrangement. The option FTP Download in the file menu opens the FTP selection dialogue; here you can enter the
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name or IP number of the desired Internet FTP server. The pre-set address is the MAGIX Entertainment server, on which you will always find new sounds and effects. Once you have selected the FTP server, you will see the basic directory in the dialogue box. Here you can select audio files and download them to the hard disk via the download button. Depending on the speed of your Internet access, downloading can of course take somewhat longer than from a local CD-ROM. However, FTP servers will generally offer compressed sounds e.g. in the popular MP3 audio format, which can then be used directly in the audio studio. These sounds then need only about 5-10% of the transfer time of uncompressed waves while still delivering almost full sound quality. Typically, a 2 second loop can be downloaded in 2-4 seconds, so that the delay remains within acceptable limits. Prerequisite to a successful FTP connection is, of course, access to the Internet. Your PC must be connected to a provider via modem or ISDN card. If providers with proprietary access software are used, it is recommendable to establish the Internet connection with this software first and then to set up the FTP connection inMAGIX audio studio. For types of Internet access that can be access directly via a correctly installed Windows telecommunications network, the dial-in will be processed automatically on setting up the FTP connection.
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The project menu contains wide-range functions for generating, managing, loading and saving projects.
New Virtual Project (VIP)

A new virtual project is opened, you can choose the track and select a name for the new VIP.
Track Number: Sets the number of tracks for the virtual project. Sample Rate: Sets the sample rate of the virtual project. Name: Each new VIP can be named here. Grid: Activates the grid display. Units of Measurement: Select from six different display types for the grid. Snap to Objects: Activates the Object grid. Objects will be snapped together sample exact when this option is active. Lock Recorded Objects : Recorded objects are immediately locked once they are placed into a VIP track. This prevents accidental moving and is especially helpful for multi-track projects. Project-patterns: Projects (arrangements) can also be saved as patterns in the File-Menu. The patterns are empty arrangements that contain all of the settings (f. ex. of the VIP-display) of another project. Auto-Crossfade-Mode: see Edit-Menu 443
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Keys: e
Open Project > Virtual Project

Virtual Projects are multi-track projects in MAGIX audio studio 2005 deLuxe, which make use of Wave projects. When loading a virtual project, all associated Wave projects (RAM and HD Wave projects) are opened if they were not open prior to loading the VIP. The windows of the individual Wave projects remain minimized to prevent cluttering of the screen. They are initially only visible as icons. Once the Wave projects are loaded, the VIP project window is displayed. Keys: o for virtual projects
Open Project > Audio file

When opening an audio file, MAGIX audio studio 2005 deLuxe automatically creates an associated HD Wave project. The HD Wave project file contains additional information about the audio file, such as marker positions. Once the audio file has been opened once in MAGIX audio studio, it can be loaded as a HDP from that point on. Please note that direct editing of audio files from a CDROM is not possible. Please use Import Sample instead. Note: If a VIP is the active window, all loaded HD projects are immediately turned into objects in the VIP. Any selected range (range beginning) determines the position and track where the object is created. Keys: w for WAV files
Open Project > RAM Wave (RAP)

RAM Wave projects contain audio data in MAGIX audio studios proprietary format. These files are loaded into the RAM memory of your computer, including their associated graphic files, marker position information, etc. Keys: l for RAM projects
Open Project > HD Wave (HDP)

HD Wave projects contain audio data, which is directly loaded from the hard disk, together with the graphical information, marker position information, etc. The audio format used for these files is the WAV format. 444
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Keys: SHIFT + l for HD Wave projects
Open Project > Object

Contains playback instructions (link to a Wave project, track, time position, parameters, etc.) for audio data. Objects are used in virtual projects.
Open Project > Session

A previously saved MAGIX audio studio 2005 deLuxe session can be loaded with this command. All projects and their related windows are arranged on the screen the way they were saved to the session. Keys: ALT + s for Sessions
Load Audio CD Track(s)...

This option is located in the menu CD too. This function allows you to import audio data from most CD ROM drives and CD-Writers in the digital domain, without any loss in quality. Please contact our technical support for the latest list of supported drives. The HD Wave projects are recorded as WAV files and can therefore be edited with other audio editing programs without having to convert them first. To do this, please follow these steps: 1. Open the drive list dialog and select your desired CDROM drive, if you have more than 1 drive 2. Click on the Track List Button 3. In the CD track list dialog select one or more tracks in the list box 4. Click on Copy Selected Track(s)... 5. Select a filename for the new WAV file or HD Wave project and click O.K. 6. Now the audio data is copied from the CD-ROM to your hard disk as a new WAV file. 7. Close the track-list dialog and the drive list dialog, in your VIP appear one or more new objects, containing the audio data from your CD.
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Features of the Drive List Dialog
Track List: This button opens the track list dialog for selecting several audio tracks of your CD. Configuration: This button opens the drive configuration dialog, where you can select special copy modes and SCSI IDs... Reset: Restores the standard drive settings. Add Drive: Creates a new drive entry in the list for editing the configuration data. Delete: Deletes the selected drive entry from the drive list. Save Setup: Saves the drive list and all configuration data in a *.cfg file. Load Setup: Loads the drive list and all configuration data from a *.cfg file.
Features of the Track List Dialog
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Copy selected Track(s): This button starts the audio data copy process; all selected tracks from the list are copied into one WAV file. Play: Starts audio playback of the first selected track in the list. Stop: Stops audio playback. Pause: Stops audio playback for later resuming. Resume: Resumes playback if previously paused. Select all tracks: Selects all tracks of the CD for copying the complete volume. You can select multiple tracks with Ctrl + mouse click or with Shift/Alt + Cursor keys! Deselect tracks: Closes the drive door of the CD ROM drive.
Features of the CD ROM Drive Configuration Dialog
Drive Name: Lets you edit the name of the drive in the list. This is useful if you create more than one entry accessing the same physical drive. Host Adapter Number: Lets you specify the number of your SCSI adapter normally 0. SCSI-ID: Lets you set the ID of your CD ROM drive. Be sure to set the correct ID, there is no error checking!
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SCSI-LUN: Select the SCSI LUN parameter, normally 0. Alias: Lets you select a manufacturers type of your CD ROM drive. Copy Mode Normal: Copies the audio data without any software correction. Copy Mode Sector Synchronization: Copies the audio data using a software correction algorithm. This is useful, because some CD ROM drives cannot seek exactly to the same position between two read accesses but MAGIX audio studio can correct these differences using this algorithm. Copy Mode Burst: Optimizes the speed of the copy process, no software correction is done. Sectors per Read: Defines the number of audio sectors per read cycle, the higher the number the faster the copy process will be. Not all SCSI adapters support more than 27 sectors! Sync Sectors: Defines the number of audio sectors used for the Sector Synchronization. A higher number results in a better synchronization but also in a slower copy process.
Save Project
The current project is saved with the name displayed in the project window. If you previously have not specified a name for your project, MAGIX audio studio 2005 deLuxe will ask you to do so. Keys: s
Save Project as
You can define the path and name of the new project you want to save your work under. RAM projects and virtual projects will be saved with the new names (the source file remains untouched). HD Wave projects are renamed on the hard disk. MAGIX audio studio will not generate a copy of it for reasons of conserving space on your hard drive. Keys: SHIFT + s 448
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Save complete VIP in
This function in menu Project allows saving a VIP with all needed Wave projects (*.RAP., *.HDP) into a specified directory. This makes it easy to copy all files of a VIP to a backup disk etc.
Save Project as Template

This option allows you to create project-patterns, where all project settings such as the number of tracks or the type of grate are maintained and saved without the objects and HDPs. These patterns can be loaded when you are creating a new Multi-track project (Menu File > New Multitrack Project).
Burn Project Backup on CD

This option lets you easily create data CD backups of the whole project. For this purpose, the external CD burning software MAGIXCDR is started.
Save Object
This function allows you to save a single object. This is especially helpful if you want to transfer material between VIP projects or want to preserve certain parts of a VIP by saving them to single objects. Another use is the creation of a sound effects library. Please keep in mind that you can use the Windows Explorer to drag & drop multiple object files into a VIP for easy access. The default file extension for object files is *.obj. To save an object, select any object in the VIP and click on File->Save Object.
Save Session
This will let you save a complete session in MAGIX audio studio. This includes information about all just opened projects and their respective window positions etc.. This is useful to be able to continue later at the same place without having to load the individual projects first. If a session is stored with the name startup.sam, this session is automatically loaded at the next start of MAGIX audio studio.
Rename Project
The Rename Project command will let you rename a project file rather than save it to a different file. For RAM Wave projects, only the internal names are changed (without being saved). But all corresponding files are renamed immediately in the case of HD Wave projects.
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RAM Wave projects need to be saved after renaming the project.
Delate Virtual Projects

With the command Delete Virtual Projects you can comfortably delete VIPs and all wave projects used in the VIP. Click on the picture! To delete a project, it has to be closed first.
Import Audio
MAGIX audio studio gives you the option of importing Wave, AIFF, MPEG, MP3 , MS audio (.wma), audio from .avi files or Sample Dump files into a MAGIX audio studio project. You will need to specify which type the project is going to be, a RAM Wave Project, or a HD Wave project. MPEG files need to conform to the Layer 2 format. Any bit rate can be imported.
Difference between Open->WAV and Import Sample->WAV:

The command Open->WAV opens an already existing WAV file and edits the file as a HD Wave project. MAGIX audio studio automatically creates a HDP file and the corresponding graphic file in the source folder. When importing a WAV file, the complete file is copied. Additional hard disk space is needed and the process takes much more time, since the audio file has to be copied with Open Project->WAV. Import Sample->WAV has to be used when intending to use the WAV file as a RAM Wave project.
Convert Audio > Save in Format

This submenu contains items for converting several audio project formats.
Convert Audio > Unlink Project

Sometimes it is necessary to split a 2 channel stereo project (two joined mono projects (L&R Wave project) into two independent mono projects. With this menu option, you can terminate the static connection between the projects. If you would like to join the projects again, simply select Link Projects from the Special menu (see below).
Convert Audio > Link Projects

Two mono projects are linked to one L&R Wave project. This is a convenient way of editing joined mono samples with the same operations. Make sure that the windows of the two projects to be linked are open. Select one of the objects as the current object
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(click on the lower half with the left mouse button) and call up the Link Projects menu option. Next, click on the project you want to join. MAGIX audio studio will link the two projects. MAGIX audio studio 2005 deLuxe will automatically match the sample length of the two projects but not the bit resolution.
Convert Audio > Append Projects

With this function a project can be appended with another project, i.e. the material of one project is copied directly behind the material of the first. You need to first select the object you want to append. Then you activate the menu and click on the project you want to add to the first. A particular use of this option is the cleaning up of VIPs that contain numerous physical samples.
Convert Audio > Change Bit Resolution

When using this function, MAGIX audio studio lets you select the bit resolution of a Wave project.
Convert Audio > Stereo Wave> 2 Mono

A Stereo Wave Project is copied and converted into a Left Mono Wave Project and a Right Mono Wave Project (The same sample is placed in each Mono Project).
Convert Audio > 2Mono >Stereo/LR-Wave

The current L&R Wave project is converted into a mono mode. If it was a stereo project before, both channels will be mixed. The previous samples are first added with 100% of their image and then divided by two to prevent over modulation (distortion). This is an equivalent of reducing the volume by 6 dB. The audio material is exported as a standard Wave file. This is the standard format for further use on PCs running in a Windows environment. These files are not compressed and contain the full quality of your arrangement. If you want a lower resolution or a lower sample rate you can select that via the Format Settings button.
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The original mono Wave project is duplicated and converted into a single L&R Wave project with the same sample in both channels.
Convert Audio > LR-Wave>2 Mono

Two mono projects are linked to one L&R Wave project. This is a convenient way of editing joined mono samples with the same operations. Make sure that the windows of the two projects to be linked are open. Select one of the objects as the current object (click on the lower half with the left mouse button) and call up the Link Projects menu option. Next, click on the project you want to join. MAGIX audio studio will link the two projects. MAGIX audio studio will automatically match the sample length of the two projects but not the bit resolution.
Convert Audio > LR-Wave>1 Mono

A current L&R Wave Project is converted into Mono mode. If it was a Stereo Project before, both channels will be mixed. The previous samples are first added with 100% of their image and then divided by two to prevent over modulation (distortion). This is an equivalent of reducing the volume by 6 dB.
Convert Audio > 1 Mono>LR Wave

Export audio> WaveConvert > Stereo

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Export audio> Wave Notes for Working with 8-bit Wave Projects
Lower resolution audio files are often used for multimedia applications. A reduction of the resolution to 8-bit is useful, since the storage requirements are also reduced. A drawback of lower bit resolutions is the decline of the signal to noise ratio (SNR). The Quantization noise increases with the lower resolution. The Quantization noise is not of a steady type. In fact, it is modulated by the signal and appears especially annoying. By the way, the bit resolution of a project file is always displayed in the title bar of the project window. Bit resolutions between 1 and 8 bits use 1 Byte (8 Bit) per sample value. Resolutions between 9 and 16 bits use 2 Bytes (16 Bit). If you need to perform multiple processing steps on an 8bit Wave project, convert the audio file into a 16-bit project before starting the processing. Any calculation inaccuracies occur in the 16-bit realm and are therefore minimized. Also, some functions in the Effects menu only work with 16-bit samples. After you are done processing the audio, convert it back to an 8-bit audio file.
Export audio> MP3

Exports the arrangement in MP3 format. This is the extension for MPEG Layer 3 coded audio files, used for high quality audio material off the Internet (Off-line Playback). 20 free encodings are available. Encoder upgrade: For the upgrade of the encoder you just select the option Upgrade MP3 Coder in the menu Options.
Export audio> MPEG

Exports the arrangement in MPEG format. This is the extension for MPEG-Layer 2 coded audio files, used for high quality audio material off the Internet (Off-line Playback).
Export audio> MS Audio File

This is the Internet format from Microsoft. It makes the continuous playback of audio files through the Internet possible. However, for this format you will need to use a suitable codec that prevents file rates from getting to high for an on-line playback (Format Settings).
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Export audio> Real Audio
This is a format specifically optimized for Internet purposes. It reaches a very high compression rate, and the sound quality is noticeably lower. However, this format is very useful if e.g. audio on-line has to be played through the Internet (Streaming Audio). After selecting the file name you can choose the bit range of the transferring speed (Modem, ISDN etc.). This should still play audio files without interruption.
Format Settings
Here you can select pre-settings for the quality of the audio material. Target groups: Here you select at which band width the video is to be created, i.e. on which data line it can be played (streamed) in real time. The setting you select here may possibly restrict the other selection possibilities, as a file for a 28k-modem cannot be generated in high quality. Multirate file (real server): The streaming of videos requires a server application which must have been installed on the server from which the video is to be played (streamed) in real time. If this application does not exist, only a download is possible. Real server is a server application, which makes it possible to stream videos in real video format. If you activate this option, you can create a multirate file, which basically contains several videos of different bandwidths. It is thus possible to select several target groups.
Export audio> AIFF file with Quicktime

Exports the arrangement in AIF format, compressed with the Quicktime coder. This is a format specifically optimized for Internet purposes.
Export audio> 16 Bit AIFF

Exports the arrangement in AIF format. This is the audio format used with Apple Macintosh. These files are not compressed and contain the full quality of your arrangement.
Export audio> Export as Dump

Exports the arrangement as a dump file e.g. for external samplers connected to the computer via MIDI. 454
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Export a midi studio sample instrument
You can load up to 16 samples directly into the midi studio. The sampler can handle 1, 4, 8 or 16 samples. You can also cut up many objects in music studio, add effects and then export. You can also, for example, load an audio CD track in audio studio, cut the songs up into bite-sized pieces to be played with a midi keyboard. To export: 1. All samples must lay in separate tracks in audio studio. For 8 samples, you require an 8 track VIP. 2. Samples must be exported in sequence. Therefore, you must select the sample row as solo (with the solo button to the left of the track) and export the samples track for track. 3. In the export dialogue there are five drive files offered. User 1 zone, User 16 zone, User 4 zone, User 8 zone and Drums_16_zone. Select the file for saving according to how many samples youve created. 4. Now choose a file name that corresponds to the first name entered. i.e. in file User_8_zone would be user1_8z_C1.wav. Important note: If you give a new name or change the old name, midi studio sampler will not be able to find the sample! You could read the file of the sample called Rootkeys, from the keys with which the samples that should be played without pitch changes. For example, user1_8z_C1.wav would be the C1 key on the keyboard. 5. Existing files are written over when exporting. Therefore, the current loaded sounds from the sampler are replaced by your own. 6. When youve exported the last sample, you can switch to the midi studio and use the sampler. A newly created set must then be loaded in. More information regarding the sampler, midi recording and ways of playing can be found in the midi studio manual.
Export MAGIX mega mix file

Arrangements can be exported as MAGIX mega mix-tables (MKS format), a special format for the MAGIX mega mix live-remix program. You will need an arrangement with 455
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8 audio tracks for it to be exported and then played in Mega mix format. MAGIX mega mix combines a CD player and an MP3 player, a comprehensive DJ console and multimedia remix software. Up to 16 samples can be started simultaneously on two turntables via mouse click, keyboard or joystick; crossfader and mixing desk take care of live mixes. MAGIX audio studio can be used to create and edit Mega mix songs. A small version of the mega mix MAGIX mega mix jukebox is included! To export MAGIX mega mix-Tables: create an 8 track arrangement produce a loop in each track so that the 8 loops can be played together, make sure that each loop is the same length and that the tempo and pitch tone agree now select the export MAGIX mega mix file option. All 8 loops will be exported as WAV files together with an MKS file that loads as a MAGIX mega mix table.
Export video sound

After editing the video sound track, you can re-write sound track back into the video file. You also have the possibility of replacing either the original video sound track or of producing a new video file. But dont worry, a new time-consuming compression of the video is unnecessary. No matter what, you can change the audio format, for example, into compressed formats such as ADPCM. However, the appropriate compression codecs must be installed.
Batch Processing
With batch processing, you can automate working processes. You can apply a certain editing process across a list (or batch) of music files, all in the same fashion. Possible editing includes: Normalization Linear fades (in and out) All real-time cleaning and mastering effects over-regulation and DC voltage deletion Format conversion: Bit resolution (8/16/24 bit), Sample rate, stereo/mono/left/right Storage in all available export formats. You can, for example, normalize a whole listing full of 24bit Wave files at 96%, each with a 5 ms fade at the beginning and the end provide, compressed with the multi-band compressor, converted into 16-bit mono change, resampled on 22kHz and stored as an mp3.
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Source files
Here you can create the list of files to be edited by adding them to the list with Add file. Multiple selection is possible. Load directory will load all directories (and subsequent sub-directories) into the list. All Samplitude importable audio formats can be loaded. Save list creates a playlist (in the common *.m3u format) for later file selection use. Remove deletes all selected list entries. Remove all deletes the entire list.
Effects
1. Normalization You can normalize to a maximum value represented as a percentage or in decibels. You can also alter the level according to a given value. For more details, please read Normalizing object volumes in the Effects Menu chapter. 2.Effects Applying cleaning and mastering effects from the effects section: You can apply all effects in the effects section to your current settings to the batched audio files. You can also apply Remove DC voltage and Remove Clipping. 3.Fades at the start and end of projects The files of freely selectable length can be created at the beginning and/or end of a project with linear blends.
Target format
Bit resolution (16/24/32 bit), sampling rate, stereo/mono/ left/right and the type of memory storage (with the pertinent format options) can all be freely selected. More about export formats: File menu > audio exports.
Target files
There are several possibilities when it comes to saving edited files: Replace files: The original file is replaced with the edited file. If the file is to be used in a VIP, the VIP is initially closed. Save files with changed name in the source file / Save file in the following directory The edited file is stored in the source directory and/or into a freely selectable directory. A prefix /suffix is added to the file names. Optionally, the source files can be deleted after editing. 457
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The Retain source directory structure option saves the files and the source path. The directory structures from, for example, sample CDs can then preserved.
Connect to the Internet

Opens the dialup connection to the Internet.
FTP-Download
This option allows you to build up a direct connection to any FTP-server on the Internet in order to download sound material directly into your music studio so that you can edit it there. The pre-set server is the MAGIX Server, where you will always find new sound-material. Once again, the only thing you need is a working Internet connection.
Publish to Web
Its really easy to publish your own songs and videos on the web so that all Internet-users worldwide can listen to them and enjoy them immediately. All you need is a normal Internet-connection for your computer using a Modem, ISDN or ADSL. However, it is forbidden to upload material that is protected by copyright laws, for example songs from commercial CDs. This will be checked every time you upload material, so it may actually take a few hours for your song to appear online. If youve just created a nice arrangement, save it first using the File > Save as-option. Then click on Publish to Web and follow the instructions of the Publishing Wizard. See chapter Web Publishing for further details!
Delete Wave Project(s) (HDP)

HD Wave projects are deleted from the hard disk. Use this command with caution, as all corresponding files are lost. (If you wanted to delete a HD Wave project (HDP) from a file manager such as Windows Explorer, it would also be necessary to delete the graphic files related to the project files.)
Close Project
Closes the arrangement.
Exit
Closes MAGIX audio studio 2005 deLuxe.
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Menu Edit
This menu contains all functions, which are similar to cutting on a tape machine. In virtual projects, you can select track sensitive ranges, so only the selected tracks are manipulated. Activate cutting and copy also makes a project named Clip activated. The window for this project will appear if doubleclick on the icon. Some of the functions are only available for Wave projects. Others only for virtual projects (VIP), while some of the functions will work in all types of projects. When working with a virtual project (VIP) a selected range is always required for the cut functions. The beginning and end of the selected range determine the start and ends of a cut. The vertical position indicates which tracks are affected by the edit. It is recommended to use the Auto-Crossfade function to achieve smooth transitions between the edit points. This will automatically create fades at the object edges. Please note that these functions are processed for both channels when working with stereo and L&R Wave projects. (If only one channel is to be edited, you will need to convert the Wave project into two mono Wave projects. After editing the two mono Wave projects can be merged again.)
Undo
MAGIX audio studio offers you a comfortable way of tracking your changes in virtual projects. Up to 100 changes can be kept in memory and traced backwards. That means virtual processes can be reversed (undone). Range and marker manipulations can also be undone using the Undo feature. Thanks to this extremely efficient feature, critical operations can simply be tried and then reversed to return to the original status if the results are not satisfactory. MAGIX audio studio offers a convenient undo option for VIP objects. A maximum of 100 undo steps can be retraced. This number can be configured in File/Preferences/Undo Definition. No undo is available for physical Wave projects. Keys: CTR + z
Redo
Redo revokes the latest undo command. 459
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Keys: CTRL + a
Undo History
Displays the Undo History dialog. This dialog can be used to undo specific editing steps. By clicking on an entry in the dialog, MAGIX audio studio returns the project to the state just prior to the editing step listed. To return to another state, simply click on a different entry. This can be repe ated unlimited times.
Cut
Wave Projects: The audio data in the selected range are copied from the current Wave project into the Clip. The material behind the removed range is merged with the material in front of the removed range to close the gap. The complete Wave project becomes shorter. Please keep in mind that the Clip always contains the same attributes as the Wave project the material was copied or removed from. If you cut material from a mono Wave project, the Clip becomes a mono Wave project. If material from a stereo Wave project is cut or copied to the Clip, the Clip becomes a stereo Wave project. Another attribute adopted is the bit resolution and the sample rate of the originating Wave project. The previous contents of the Clip are deleted. After a successful removal of the selected material, MAGIX audio studio drops a marker at the position the removed range previously started. This allows you to insert the contents of the Clip into the Wave project at the exact same spot if you accidentally removed the material. Use the function Edit->Paste/Insert Clip to insert the Clip contents. Virtual Projects (VIP): In virtual projects the selected range is copied to the VirtClip and is removed from the current VIP project. The VirtClip does not contain actual audio information, only the links to the audio files. The VirtClip also contains as many tracks as the removed range. The material behind the removed range is appended to the material in front of the removed range. The VIP project becomes shorter if the selected range did cover all tracks. This way you can shorten VIPs, which contain empty space behind the last object. As with the Wave projects, a successful removal of the selected range drops a marker at the position the removed
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range previously started. This allows you to insert the removed material with Edit->Paste/Insert Clip. Keys: CTRL + x or x
Delete
The data of the current range is deleted. The sample data after the deleted range is added at the position the deleted range started. The sample length becomes shorter. Please note that this command will not save the deleted data to the Clip. If you want to preserve the deleted sample data, use the Cut command. Using this the Delete command will delete the data from the current sample and preserve the contents of the Clip. Keys: Del
Copy
The current range is copied into the Clip but not deleted in the project. The sample length is not varied. Please note that the former Clip contents are deleted. The Clip again has the same attributes as the project. Keys: CTRL + c or c
Paste/Insert Clip
The contents of the Clip are inserted into the current project behind the position of the play cursor or the beginning of the currently selected range. The data or objects that are located behind the insert position are moved out of the way to make room for the Clip contents. The samples or audio tracks become longer. The Clip remains unchanged during the procedure. If the Clip was empty, an error message is displayed. After inserting the contents, the program selects a range over the inserted area. If you select Edit>Delete, the inserted contents are removed and the project is returned to the original state. In virtual projects using selected ranges, the program utilizes the beginning position and relative track position as the insert point for the VirtClip or Clip contents. The following table shows how MAGIX audio studio responds in the case the clip and the project have different channel numbers:
Clip Project
Mono Stereo Mono Stereo
Clip Channel Project Channel

Channel 1 Channel 1 Channel 1 Channel 1 461
Menu Edit
Mono Stereo Shortcuts: Stereo Mono Channel 2 Channel 1 Channel 1 Channel 1 Channel 2 Channel 1 Channel 2 Channel 1
V, Ctrl + V, Shift + Insert
Extract
This function is the counter part of the Cut function.
Insert Silence
The Insert Silence option will insert blank data at the current play cursor position or the starting position of the currently selected range. If a range is selected, the length of this range is predefined in the dialog to insert. The blank space will actually contain data with zero value. The data following the insertion point will be added to the end of the blank space. The defined range is maintained, the length of the inserted space extends the overall sample. If you do not have sufficient memory to insert the workspace (i.e. with RAM projects), MAGIX audio studio will display an error message.
Append Projects
With this function a project can be appended with another project, i.e. the material of one project is copied directly behind the material of the first. You need to first select the object you want to append. Then you activate the menu and click on the project you want to add to the first. A particular use of this option is the cleaning up of VIPs that contain numerous physical samples.
More > Set Silence

Copies the selected VIP Range into the Clip and clears it in the VIP Project. The Project length is not changed. Please note that the previous Clip contents are deleted. This is a good way to remove a section of a VIP for use elsewhere without affecting the length of the Track(s) from which the material was removed. Shortcuts: Alt + Delete
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More > Copy and Silence
Replaces the selected Range with silence (VIP). This command is useful when you want to remove material without changing the length of the VIP Track(s). Note: This command will not save the deleted data to the Clip. If you want to preserve the deleted data in the clipboard, use the Edit > Copy+Clear command. Shortcut: Alt + Delete
More > Copy as

The current range of a Wave project (HDP or RAP) is copied into a new file. A file requester appears to select the name of the new project.
More > Overwrite with Clip

The current range is replaced with the Clip contents. The overall sample length remains unchanged. The data that occupied this position before cannot be recalled. The Clip contents are not changed. The assignment of the Clip channels follows the table mentioned above. In virtual projects, the selected range determines the position and track in which the Clip is inserted. Keys: Alt +v or Insert Key
More > Mix with Clip

The range contents and the Clip contents are mixed. Channel assignment between project and Clip follows the table above (See Insert function). The contents of the Clip
Delete Panorama Handle

This function deletes panorama curve events, which have been previously selected. Individual events can be deleted by selecting the Object and Curve Mode mouse mode and double clicking the left mouse button on a volume curve event. However, when deleting several curve events, the Delete Panorama Handle function is the best tool. Use the Curve Mode and Grab Tool to select multiple curve events.
Delete Volume Handle

This function deletes volume curve events, which have been previously selected. Individual volume events can be deleted by selecting the Object and Curve Mode mouse mode and double clicking the left mouse button on a volume curve
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event. However, when deleting several curve events, the Delete Volume Handle function is the best tool. Use the Curve Mode and Grab Tool to select multiple curve events.
Crossfade Editor Wave Projects (RAM or HD):

The section before the current play cursor position or the selected range is merged with the contents of the Clip in a way to create a crossfade section. Two separate cuts are needed: 1) Copy a range into the Clip. 2) Set the play cursor on the desired position and then call up the crossfading function.
Virtual Projects (VIP):

This option offers a convenient way of adding a real-time crossfade to two objects in a VIP track. Both objects need to be selected. The best way to select the two objects is with the Object Lasso. The Object Lasso is used when starting the selection in an empty area and dragging a marquee over the two objects. The next step is to display the Crossfade Editor with Edit->Crossfade Editor. The length of the crossfade can be specified in different length units or can be transferred from the selected range. Make sure that enough material is available before and after the object borders to create the desired crossfade length. Available fade-in and fade-out curve types are Linear, Logarithmic, Exponential, and Sine/Cosine. If a range is selected over the crossfade section, the crossfade can be previewed with the Play/Stop button. This also works while making adjustments in the editor dialog and allows you to audition the crossfade parameters in realtime. Please keep in mind that long crossfades employ twice the processing power compared to playback of single tracks. Two samples are played at the same time in real-time and increase the processing requirements. In critical cases increase the VIP Buffer size in File->Preferences->System. Linear crossfades do not take as much processing power as non-linear crossfade curves. The buttons , / and - change the length of the crossfade section in default increments. The Crossfade Position: can also be moved with the + and buttons. 464
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The button Crossfade Off: deactivates the crossfade for the selected Object. Global Set : The currently selected settings for the crossfade can be used as default setting for newly created crossfades. Global Get: Restores the global crossfade settings as parameters for the Editor configuration. The special functions and shortcuts in the menu Object-> Object/Crossfade Editing are very helpful when editing crossfades in VIP projects. Get Range: The length of the currently selected range is used for the length of the crossfade.
Auto Crossfade active

If this option is turned on, all newly recorded or cut material in a VIP or material that is copied from a Wave project into a VIP track has an automatic crossfade applied to it. Global settings for fade-in and fade-out parameters are assigned to the object. These settings can be changed with the crossfade editor in the Edit->Crossfade Editor. If two objects are overlapped that had an automatic crossfade applied to them a real-time crossfade is the result. The auto crossfade mode is an excellent tool to easily perform a linear cut of a spoken voice track, jingle track etc., which requires a soft passage without the unwanted pops. If needed, each crossfade can be edited in the editor or by manually manipulating the handles.
Delete Undo Levels

This feature will delete the Undo levels of a virtual project. This is useful, if for example certain Wave projects are left in the Undo chain, but do not exist in the VIP anymore. You wont be able to process or delete the Wave project if the Undo chain still contains a reference. After deleting the Undo levels, these projects are available again.
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This menu contains tools for manipulating the display of MAGIX audio studio.
Rebuild Graphic Data

Display inaccuracies after complicated sample processing can be fixed by using this menu option. The screen (window) will be cleared and redrawn to display the project properly.
Sections
MAGIX audio studio allows the optional display of one, two or three sections of the samples belonging to one Wave project or the VIP itself. Other audio editing applications usually show only one window of a sample. If you select 2, MAGIX audio studio 2005 deLuxe will display the same sample in two window sections. Each section can be handled separately. It is possible, for example, to represent the complete sample in one section and a zoomed in version of a certain range in the other. The mode 3 sections is especially useful for searching for loop points in Wave projects. The whole sample can be shown in the upper section, while the section on the lower left displays the beginning of the loop range and the section on the lower right the end of the range. Use the split range function for this purpose (key b). Go back to 1 view with Shift b! This is only an example of the mode 3 view. All sections can be handled independently. You can also drag ranges over the section bounds. Establish the starting point of a range by clicking, then keep the mouse button pressed, and change over to another section. MAGIX audio studio will show you the size of the range and at the desired location release the left mouse button to determine the end of this range.
Fix vertically
Ranges can be dragged (pulled) in MAGIX audio studio horizontally and vertically as well. If this option seems too strange to you, you can fix the upper edge of a range(s) to the maximum value and the lower end to the minimum value. Thus, you get the usual representation in range dragging. However, a trade-off is, that you will not be able to define the vertical extension of a section by choosing the vertical range button.
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Show Grid
This menu function will display the grid on the project window. The units of measurement defined in Units of Measurement will appear in the upper sections of the grid. Keys: #
Grid Lines
With this option, you can define the type of grid that is used for the Show Grid option. Select between several line styles.
Units of Measurement
With this function you can define the unit of measurement for the grid, for the display of start and length of the selected range and for the position of the play cursor.
Snap to Grid
This function switches the Grid on and off. When working with virtual objects the Virtual Grid becomes available. Objects can only be shifted to the beginning, the end, or the hot spot of another object. The reference point is usually the beginning of the object to be shifted to. A hot spot when defined will be used as a reference point as well. If several objects have been selected, the move is performed in lining up the beginning of the last selected object in the sequence with the reference object or Grid point. All selected objects remain their position to each other. This option can be used to easily rearrange objects with their audio patterns and gain sample-exact connections. Keys: r
Snap and Grid Setup
Object: Activates the object grid. Range: Activates the range grid and enables the use of the current selected range as grid base (by clicking on the button Get Range). This option is very useful if you have 467
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found the perfect location defining a particular music bar in the sample. To transfer the range into the grid, use the command Get Range. Bar Snap: Activates a grid, this is based on bars and beats. You can specify the speed of the measure by entering the BPM (Beats Per Measure) value in the dialog box. By clicking on the Bar Definitions button you have more options to specify the parameters for this option such as the time signature. If a complete 4/4 measure is selected the number of beats in the measure would be 4. The length of the range would determine the speed in BPM that is needed to play the sample in the selected time frame. Bar Definitions: This dialog lets you specify the bar settings, e.g. Numerator / Denominator, the speed in beats per minute and the timer resolution in peaks per quarter note. Keys: SHIFT + r Key for switching the two modes: Tab
VIP Display Mode

The VIP Display Mode Preferences were designed to help you define the two alternative display modes possible in MAGIX audio studio when working with Virtual Projects. Usually you choose mode 1 for detailed drawing of samples with all information displayed and mode 2 for a quick drawing without graphics. Or perhaps you might prefer using mode 1 for displaying half mono Waveforms, with mode 2 displaying full Waveforms and dual stereo. Switching between the two modes is possible by pressing the Tab-key. You can also toggle between Mode 1 and Mode 2 by selecting the appropriate mode from the Menu item. The Modes are defined by selecting the Definition item, which opens the following window (next page):
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As shown above, the two draw modes have identical options which are listed side by side for easy comparison. The active mode is set by selecting the appropriate radio button at the bottom of the dialog window.
Waveform Display
Draw Samples : The audio sample representation is switched on. Usually you will leave this on, but it can be advantageous to deactivate sample representation if you want to see the volume and pan curves more clearly. Scale with Fades/Curves: In this default representation mode the Waveform drawing is scaled according to the settings of the Fade In/Out or Volume curves. This way the decay of the sound during a Fade Out, or volume changes caused by a volume curve, are more obviously visible. Most users will prefer to work this way, but occasionally you may find it more suitable to have the Waveform drawing remain static regardless of curve changes. In those situations, simply remove the check (tick) from this option. Halve: The graphical representation of the audio material can be displayed as a whole Waveform or half the form for higher definition. Checking this box will display the Waveform with half its information. This mode is recommended, because the Grid function (key #) and the vertical Zoom functions (Ctrl + cursor up/down) are perfectly adapted to this draw mode. Volume Curves results also display better in this mode.
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Although many multitrack and stereo audio applications display the whole Waveform, this is usually unneccessary as the bottom half is not needed for most editing. Separate Stereo: If this option is active, stereo tracks in VIP Projects are displayed with a two-channel Waveform. This allows you to expand the display to both channels rather than displaying just one composite channel display. Please keep in mind that this will also affect the Wave Project display for stereo Wave Projects. Note: For users with multiple output sound cards, this display mode can be helpful when selecting or keeping track of playback outputs. Draw Envelope: With this option on, an outline is drawn around the edges (envelope) of the Waveform. In most cases, this provides easier viewing of the Waveform. Standard: This radio button is the default method of drawing the Waveform. Envelope only: When this radio button is selected only the Waveform outline (envelope) is drawn. This can be useful when constructing crossfades, allowing for easier view of the overlapped Waveforms. Transparent: When this radio button is selected the colors of both crossfade Waveforms are overlapped. This works best in front of a dark background (default). We recommend that you combine this mode and the Draw Mode option Waveform Colors > Red/Blue alternation to display the crossfade areas optimally. Interleaved: When this radio button is selected a sample of the left Object and a sample of the right Object is drawn alternately within a crossfade. You can then visually assess the fade area, especially if the adjacent Objects have different colors.
Waveform Colors
Default color settings: If all Color Settings are set to Default (Options > Program Preferences > Colors > Reset all colors to default), MAGIX audio studio 2005 deLuxe will display the Waveforms as a gold color. Red/Blue alternation: This representation mode colours the Waveforms of adjacent Objects alternately red and blue, 470
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to improve the visibility of crossfades in the Transparent and Interleaved drawing modes (see above). Comparisonics colors: This representation mode uses an algorithm patented by Comparisonics to depict the sonic material in different colors. Depending on the pitch and additional parameters a special tone of color is computed and displayed for each segment of audio material. Low notes are given blue shades of color, high notes are given green/yellow/red colors. Tonal sonic material is given clear shades, while noise and non specific audio is given grey shades of color. This makes it possible to visually recognize the different pitches of a lead saxophone or to visually detect interferences which would be unrecognizable if a purely graphic envelope representation was used. The segment size for the color computation can be entered under Comparisonics Audio Segment Size (see the right hand side of the Draw Mode dialog). We recommend sizes of 50 ms or larger to make available sufficient material for the color computation within the segment. Based on the Comparisonics colors a completely unique audio search method is provided within HD Wave Projects via the Menu item Range > Comparisonics Audio Search, which can be used to quickly and conveniently find identical or similar audio material in the HDP area. Please refer to the Menu Items Range chapter for more details. Note: For further information on the Comparisonics algorithm refer to www.comparisonics.com.
Objects
Background: Each Object in the VIP Track can be assigned its own color. The color is displayed if this option is checked. Otherwise, the Track background color is used. Object color schemes can be assigned via the Object Menu. Object Name: Objects in VIP windows can have their own name. If this option is checked, the Object name is displayed. Objects names can be assigned via the Object Menu. Project Name: MAGIX audio studio also allows you to display the audio file name in each Object. This is especially useful if you quickly want to identify the Wave Project used in an Object. Checking this option will display the file name in the Object.
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Object Properties: This shows you which Object related effects are applied to the Object, e.g. EQ for equalizers, DYN for dynamics etc... Group Number: Objects in VIP windows can be grouped together. When grouping Objects it is helpful if the group number is displayed in the Object. This option allows you to display that information in the Object. Object Lock Button: When locked an Object cannot be moved. Setting this option will let you comfortably change the lock/unlock status of an Object by clicking on the key in the lower region of the Object. The lock key is not displayed if the Object length is too short to fit the key into the display. Red key: Object is locked Yellow key: Object can be moved Audio Marker: When selected, this option displays audio Markers in the Object. Large Object Handles: When selected, larger handles for Objects and volume / panorama curves will be displayed. This has no other effect than to assist visibility.
VIP
Buttons/Slider: By default, MAGIX audio studio displays the buttons and sliders for each Track. However, on smaller displays it may be desirable to turn the display for the buttons and sliders off. By unchecking this option, they are not displayed. Peak Meters: Every Track in a Virtual Project has its own LED meter to allow exact volume level display. However, they are only visible up to a certain vertical Zoom level. The LED meters also work during recording and contain a peak hold function that remembers the maximum input level. This allows you to adjust the input levels. When working with a large number of Tracks, the peak meters can slightly increase the processing load. This is rarely a problem with todays fast computers, but if you run out of DSP power, you may gain a little more by switching off the peak meters. Show Border: This option determines if a border is drawn between Tracks in a VIP. Switch it off to save space within VIPs with lots of Tracks on small displays (ie laptops) 472
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Arrangement Text: This option displays two labels in the upper and lower halves of a VIP track slot: 1. Play Cursor and Range Manipulation Area 2. Object Manipulation Area
Mouse Behaviour
Change Mouse Cursors: This option causes the mouse pointer to change when moving it over certain areas. For example, moving the mouse pointer over an Object handle, the mouse pointer is changed into a directional pointer. This option is useful for mouse modes that combine several functions. Disable invisible Object Handles: When activated, you cannot change any object properties (lenght, position etc.) by the first mouse click (the one to select the object), you have to click again on the objects or handles. This is to avoid accidentially changing the object by just selecting it. Lock VIP size against ZoomOut: If the VIP is Zoomed out beyond its size (from the start of the first Object to the end of the last Object), it will usually be extended automatically. This behavior can be switched off here. Move Thresh: You can adjust the Object move threshold value used for mouse activating. This prevents Objects and Markers from moving accidentally while activating. The move threshold value can be set in milliseconds. VIP Border Scroll: This mode allows you to scroll through the VIP when selecting a Range and extending it beyond the current window borders. Shortcut: Shift + Tab
Get position and zoom level

This function does the same as the snapshot-buttons at the bottom left of the VIP. The four buttons in the lower lefthand section of the Virtual project window allow you to save four setups (S1S4, incl. Zoom-Level, Display-Position, and Display Mode). To store a setup, hold the Shift key and click on one of the buttons. A single click on the button without holding the Shift key recalls the stored setup or zoom level. Any changes applied to the windows will return to the state saved to the button. 473
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Horizontally
This menu contains all the functions of the horizontal (red) position bar.
Vertically
This menu contains all the functions of the vertical (blue) position bar.
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Insert new track
All tracks in the VirtClip are inserted into the current VIP below the actual selected range.
Cut Track(s)
All selected tracks in the VIP are cut and copied into the VirtClip
Copy Track(s)
All selected tracks in the VIP are copied into the VirtClip
Insert Track(s)
All tracks in the VirtClip are inserted into the current VIP below the actual selected range.
Delete Track(s)
All selected tracks are deleted from the actual VIP.
Track Properties
In this submenu you can access all track properties which you can also access by clicking the corresponding button in the VIP window. The menu exist mainly to map keyboard shortcuts to the function to operate MAGIX audio studio with the keyboard. Additionally you can switch the track type to work as an aux bus /submix bus. All menu options affect the selected track (the one with the yellow outline).
Track Informations
Track Playback Options: Here you can define the playback devices for each track. Possible playback devices are all output devices and submix busses with higher track number. If you want to create a new VIP, which provides sensible defaults for the recording and playback devices in Multi IO mode, activate the corresponding option in the New Multi track Project dialog field (e key). All Tracks: Configures the selected Playback or Recording Device in this dialog for all other tracks. Track Type: Here is indicated if the track is a aux/submix bus. You can change the track type in the Menu TrackTrack Properties 475
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Track Record Options: Here you can set the recording device and file name of the recording. These settings are also made in the Recording Parameter window (R key). Stereo/ Mono/ Left / Right: Here you can decide, whether the track is to record a stereo, right channel, left channel or mono channel signal of the selected device. Note: There are sound boards that cannot generate a mono signal. In this case the right or left channel will be recorded, when the mono setting is selected. Depending on the setting selected here MAGIX audio studio will record to Mono or Stereo Wave Projects. Track Name: Specifies the Track Name of the VIP track. You can change the default name here. Record to RAM: If this option is activated, the recordings will be handled as RAM Wave Projects, which will be loaded into the RAM of the computer. This is beneficial for short recordings only, since as soon as the available RAM is full, the operating system starts to swap the data to the virtual hard disk memory (swapping). RAM Wave Projects must be stored specifically or they will be lost. Alternatively the recordings are handled as HD Wave Projects. In this case the data are directly stored on hard disk. Surround Mode: When stereo tracks are used, one channel will be out-of-phase. When a surround system is used for playback, the midrange (the mono portion) of the stereo signal will be heard from the back. (If both channels are identical, i.e. there is only a mono signal/portion, the whole track will be heard from the back.) If you do a crossfade between two tracks containing the same stereo signals and play back one track in surround mode, the midrange can be slowly moved from front to back.
Minimize Track
This Option minimizes the selected track.
Maximize Track
This Option minimizes all tracks except the selected track. The selected track will be zoomed vertical to the maximum possible level
Minimize none
This Option un-minimizes all tracks. 476
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Activate next /previous Track
Moves the track selection up/down You can use the cursor up /down keys for this.
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Menu Object
Contrary to the menu Edit all functions in this menu exclusively manipulate selected objects in virtual projects. Selected ranges have no effect with these functions. Ranges are used to determine insertion points or cut positions of objects. When inserting material into a virtual project, the range beginning has the same function as the play cursor the material is inserted at the range beginning.
New Object
Use this function to create a virtual object. The current range in the Wave project will be inserted into the virtual project at the play cursor position. It will also be the currently selected object. This is the same procedure as the drag & drop method explained earlier in this chapter. The object is inserted at the actual range position in the VIP.
Cutting Objects > Cut Objects

The currently selected object is replaced with empty space and copied to the VirtClip. The length of the current project remains and all other non-selected objects remain in their positions. The previous contents of the VirtClip are replaced with the cut object. If a range is selected, all active objects are separated on the range edges.
Cutting Objects > Copy Objects

To place a copy of the currently selected object into the VirtClip select this option. The contents of the VirtClip can then be inserted into the project using the Insert Objects option (see below). The previous contents of the VirtClip are replaced.
Cutting Objects > Insert Objects

Objects in the VirtClip can be inserted in the project at the current play cursor position. The other objects in the project maintain their positions. Please note that the newly inserted object might cover portions of the already existing objects. Simply drag the new object to a different set of tracks or reposition the object on the same tracks.
Cutting Objects > Delete Objects

The selected objects are deleted from the current project. The length of the current project however remains the same. 478
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Previously unselected objects keep their positions. The contents of the VirtClip remain unchanged. Keys: CTRL + Del
Cutting Objects > Extract Objects

All objects not currently selected are deleted. Please note that the function Edit->Extract works similar. However, the Edit menu function requires a previously selected range!
Cutting Objects > Duplicate Objects

All selected objects are duplicated and pasted to the same position as the original objects. The original object is overlaid with the copied object. The duplicate object can easily be shifted to a desired position by using the mouse. If several objects have been selected before the duplication, press the shift key before shifting to ensure that all objects remain in selected status and are shifted together. This option does not make use of the VirtClip, so all contents of the VirtClip remain unchanged. This function is also available using your mouse. Press and hold the Ctrl-key, click on the object you want to duplicate and drag the copy to a new position in the project. Another option is to use the drag & drop functionality for the Object or Universal Mouse Mode: If multiple objects are selected, press the Ctrl key and drag the selected objects to the new position. This allows you to duplicate the selected objects easily and without using the VirtClip.
Cutting Objects > Duplicate Objects multiple

This function duplicates multiple objects and places them in sequence. Another dialog is displayed, which allows you to determine how many copies of the selected objects are to be duplicated, the separating distance and the overall length of the duplication. This is also another way of building Loop-Objects! The following parameters are available: Number of Objects: Determines the number of objects that are created. Group created Objects: When checked, all created objects are grouped together. Delta Time: This determines the relative position of each created object to the next (from the beginning of one object to the beginning of the next). The default setting is the length of the selected object. At the default setting the du-
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plicated objects line up without a gap between them, this creates a seamless loop. Duration: As an alternative, the duration can be specified, which are the combination of time difference and the number of duplicated objects.
Cutting Objects > Split Objects on Marker position

This function splits or separates selected objects so that individual object sections can be further manipulated. All selected objects are separated at the current marker position, which results in two independent objects.
Split Objects
This function splits or separates selected objects so that individual object sections can be further manipulated. All selected objects are separated at the current play cursor position, which results in two independent objects. If a range is selected, the cut occurs on both range borders. It is not necessary to select objects prior to choosing the range and calling the Split Objects function. If an underlying object is separated, the newly created object covers the original underlying object. Keys: t
Trim Objects
This function trims the object borders to the currently selected range borders. The selected range needs to be located within the confinements of the object you want to trim. Keys: Ctrl + t
Lock Objects > Lock Objects

To protect objects from unintended shifting use this option. First, select the objects you want to lock in place and activate the lock function. A diagonal line is placed across the locked object.
Lock Objects > Unlock Objects

Locked objects are unlocked and made available for shifting. Make sure you have selected the object(s) you want to unlock prior to activating the unlock function.
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Lock Objects > Lock Definitions
Here you can select, which options should be disabled: Disable Moving: Disables moving of objects (default). This is useful in multi-track projects to avoid delays between several tracks. Disable Volume changes : The volume handles are disabled. Disable Fade In/Out: The fade handles are disabled. Disable Length changes : The length handles are disabled.
Object to Playcursor Position

This moves the selected object to the actual playcursor position.
Object to Original Position

This moves the selected object to the original position where the material was originally recorded. This is often helpful if an object was accidentally moved.
Set New Original Position

The current object position is used to reset the Original Position attribute for the object. This is also used in the Take Manager.
Mute objects
The selected objects will be muted.
Build Loop Object

With this function, a loop can be defined within an object. An area, which indicates the loop length, must be selected in the object first. 481
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The object then becomes the loop object. That means that the number of loops can simply be raised with the length handlers at the bottom of the object. Such generated loop objects are ideal for generating long drum sequences from only one drum loop! Loop objects also help to save memory, since in the VIP only one object is handled rather than multiple objects or copies of the same material or very long samples!
Set Hotspot
The current play cursor position is turned into a reference point for the snap function. Instead of the objects beginning, the hot spot is now used when the object is snapped to the grid. Stroked vertical lines illustrate hot spots. Hot spots may stand outside an object (in front of or behind the object). This function is very useful for a case where the portion of an object to be synchronized does not line up with its beginning.
Select Objects
To select all objects located partially or entirely in the selected range, or at the current play cursor position.
Switch Selection
To select all objects located partially or entirely in the selected range, or at the current play cursor position.
Group Objects
All selected objects are grouped together. All operations are applied to the whole group.
Ungroup Objects
Selected objects are ungrouped. Individual objects are available for processing after that.
Object Background Color

Sometimes it is necessary to distinguish certain objects from others. MAGIX audio studio will let you specify different colors for selected objects. Once you have selected one or more objects, choose Object Background Color from the Object menu and specify a different background color for the objects. After clicking on OK, all selected objects will have the specified background color.
Object Foreground Color

482 The foreground color (such as sample data displayed) can be changed as well. After selecting the desired color, all
Menu Object
selected objects in the project will have the same foreground color.
Object Name
Another way to distinguish certain objects is to give them a different name. MAGIX audio studio 2005 deLuxe will let you specify a name (such as Verse) with this option. Please note that the name only shows up if you enabled this option in the Object Draw mode definition window (available from the Setup menu or by pressing Shift + Tab when the object is selected).
Object Editor
The object editor offers the possibility of bundling important object characteristics. The object editor is non-modal, i.e. you do not have to close it, and can jump between different objects in the VIP the open object editor automatically switches to the setting of the presently object selected. Position/length: Here you can enter numerically the start, length and end of an object in different formats.
Pitchshifting/Timestretching: Here you can alter the pitch and/or length of an object. There are three selectable methods: Timestretching (for altering the length independently of the pitch), Resampling (for altering the length dependent upon the pitch) und Beat Marker (for a special algorithm based on rhythmic beats). For more on this subject, please read the Resampling / Timestretching section in the Effects Menu chapter. DirectX PlugIns: This section offers a simple, but very effective interface for DirectX Plugin editing. The practical On key helps deal with Plugins very quickly. The DirX key...enables the configuration of the DirectX Plugin selection, such as the sequence or other settings. FX Inserts: This section contains several audio effects: Cleaning FX: Two simplified virtual effects devices for cleaning up audio material: Dehisser and denoiser. For
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more on this subject, please read the Denoiser / Dehisser sections in the Effects Menu chapter. Sound FX
Vocoder
Please read the Effects chapter for more details. Volumes / Pan: For editing the volume and the position of the object in the stereo panorama. Tip: One of the most popular applications in the object editor is the design of your own CDs. Each song can be a separate object, 484
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which creates a very quick and flexible environment within which to work.
Object Manager
In the object manager all objects used in a VIP are indicated in sequence of their temporal appearance. With this option the object manager features a function which is often offered in other programs with 'Play Lists'. In the object manager objects can be selected, which are also activated in the VIP. If you press play, a range over the selected object is applied. Small objects can be identified and manipulated easily. Ctrl + a mouse click will select several objects; Shift + a mouse click will select all objects between two selects (like in the Windows Explorer). Particularly productive in the object manager is the search function : You can look for certain objects with it in full text mode rather than just the graphical representation of the objects. For example you could look for all HD Wave projects with the name 'XYZ.HDP' or all objects that contain the name 'Intro'. You simply enter the search criteria in the text field and click on 'Search'. All found objects will be selected and are available for further processing.
Object Manager
Take Manager
The Take Manager is another powerful feature of MAGIX audio studio. It is especially for those who work with many different recording takes and need to manage them. MAGIX audio studio registers the VIP position of the recorded audio material. This time stamp is stored to the HD or RAM Wave project and offers the option to always return the recorded object to its original position. Application Examples: Selection of the best take after five loop-punch recording passes. Locating the best material between bars 32 and 34 of 12 takes from a classical production. A clear overview of all available takes during a SMPTE time of 30:00 to 35:00. Basis for working with the Take Manager is a selected object. This could be the last created object after using punchin recording. This object is referenced in the take list with a colored O. Attention: The Take Manager does not work if objects are used in a VIP, which are not created by recording material into MAGIX audio studio 2005 deLuxe. This would
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be the case for any material imported through the WAV Import or CD Track features! When objects are present that where not created through recording, a manual time stamp can be assigned to the objects by using the function Object->Set New Original Position. Once completed, the Take Manager will list the objects in the take list.
Display Filter
Same File Only: Only those takes are displayed that belong to the same audio file as the selected object. Same Track Only: Only those takes are displayed that a positioned in the same track as the selected object. Match Time: Only those takes are listed that match the original time position of the selected object. Play: Starts the playback. Before opening the Take Manager set the play cursor to the desired playback position. Replace: This replaces the selected object with the currently chosen takes from the Take List. Statistic (Verbose): Creates a new VIP with the currently shown takes from the Take List. Every take is listed in a new track. The VIP can be used to audition the individual takes with the Solo and Mute functions of each track. Statistic (Brief): Creates a new VIP with the currently chosen takes from the Take List. All takes are lined up on the same track.
Wave Editing
MAGIX audio studio is primarily a non-linear, non-destructive multitrack audio editor. This means that most of your work is usually completed in the virtual domain (VIP), without making changes to the original audio. However, there are some situations which are best completed by working directly on a Wave Project, as if you were using a conventional audio editor. MAGIX audio studio can also function as a conventional audio editor, but now offers two alternatives - Destructive Editing or the new Wave Editing. When working directly on Wave Projects, the powerful options offered by the Wave Editing system place MAGIX audio studio a cut above other conventional audio editors! 486
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Wave Editing / Destructive Or Virtual?
Using Wave Editing or Destructive Editing may not necessarily be the best method of completing your editing task. For example, if you have duplicated an Object several times, all of the Objects would contain the same edits after changes are applied and saved directly to the Wave Project window. But this can also be an advantage at the other hand. Please keep in mind that editing functions such as cut, copy, fades, crossfades, and so on can also all be applied to the audio material in a non-destructive way in the VIP. Almost all effects can be used from within the Virtual Project and applied to the Objects in the VIP Tracks. With regard to the Effect Menu functions, the editing can also be performed offline, in a destructive or semi-destructive fashion which has similarities to Wave Editing. For example, the Effect Menu Room Simulator function is always performed offline. However, the option Create Copy (checked by default) makes sure that a copy of the original material is processed with the effect and not the original audio segment. The copy of the audio segment allows the use of Undo in the Virtual Project to return the Object to its original state. Of course, this process utilizes additional hard disc space. Also, remember that even if you work extensively with WAV files, you can complete all editing tasks within a VIP. By importing the Wave Project into a VIP, you can complete editing steps faster and more conveniently than in any destructive Wave editing application! For example, any type of cutting and rearranging of audio segments can be performed in a non-linear, non-destructive, and extremely fast way in the VIP. The Track Bouncing option in the Tools Menu allows you to take any material in a VIP and turn it into a new WAV file which can then be imported into a VIP Project. Note : As we shall see in this chapter, the new non-destructive Wave Editing mode is very similar to working within a VIP , but the editing is carried out directly on the Wave Project. This saves a lot of time in some cases (such as when working with sound or loop libraries). Editing on Wave projects can be performed in two different modes, in the old Destructive Editing mode or in (virtual) Wave editing" mode.
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Destructive Editing
This is the term used to describe the method for working directly on Wave projects in earlier versions of MAGIX audio studio. When editing in Destructive Editing mode, the physical audio files are edited on a destructive basis. This means that the audio file is reconstructed with whatever effect or editing process you choose. There will be Undo backups (assuming Undo is enabled), but these only exist while the file is open. Once the Project is closed, the changes to the file are permanent. Of course, the Undo files consume large quantities of hard disk space and can also take a long time to write to the hard disk! When using Destructive Editing on a Wave Project, the changes are in general written back to the audio file without having to use the Save Project command, as the changes are directly applied to the audio material contained in the file. Once editing is finished, you simply close the Project. However, the Save Project command needs to be used for saving marker information and other workspace specific items. A RAP project needs to be saved to the hard disk to make the changes available the next time the project is loaded. Since any editing is applied to the computers volatile RAM memory, the changes would be lost as soon as the computer is turned off. The contents of the RAP project are loaded into the RAM memory of the computer and are played back and edited in RAM. The Save Project command will save any changes to the hard disk for storage and retrieval. The Save Project As dialog lets you make a duplicate copy of the Wave Project window. The original audio files are kept intact when using this command. Instead, a copy with the exact same content is created. This can be a useful option for Destructive Editing. MAGIX audio studios development team designed a way to circumvent the disk space and time inefficiencies associated with Destructive Editing. MAGIX audio studio introduces this new method, called Wave Editing :
Virtual Wave Editing

This is the new virtual wave editing mode introduced with MAGIX audio studio 2005 deLuxe. Read the new features quickstart "Virtual Wave Editing" for an introduction to this mode. There are some differences between the destructive and the Wave editing mode when working on wave projects: 488
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Rendering edit operations on saving
All edits: cut, paste, delete and insert are virtual. The positions, where the edit took place, are marked by dotted lines. There will be no time consuming undo file creation any more. All the edit operations are applied on the wave project, when you save it.
Master Section
You can call the mixer, while working in the wave project. There you can apply every fx manipulation as in the normal VIP Master section in real-time. These effects will be applied on the wave project, when you save it. For more information on the Mixer Master section, read here!
Menu file > Save in format

This will call the track bouncing Track bouncing dialog ( format conversions are possible). (Tools > Trackbouncing)
Auto Crossfade
The Auto crossfade option (Menu Edit) works in wave projects too, on every cut or insert operation the default crossfades are applied, when auto crossfade is active. You can use the Crossfade Editor to edit that crossfade, when you select the crossfade by selecting a range over the crossfade.
New File with Drag and Drop

You can mark a range in the wave project and drag this range to an empty space somewhere on the program desktop. A new wave project (untitled.wav) will appear. So you can easily make copies of the whole or parts of the wave project.
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Menu Effects
This menu will let you add high-grade effects to wave projects.
Important tips regarding the effects functions

The following effects can be directly applied to VIP Objects: Normalizing, Switch Channels, DirectX Plug-Ins, Parametric EQ, Graphic EQ, Reverb, Declipping, Remove DC Offset, Get Noise Sample (needs selected range in VIP) Noise Reduction. Please note that in Wave projects most functions are only available for selected ranges. If the complete audio file is to be processed with the DSP function, the whole file needs to be selected as a range in the Wave project (also see Menu Range->Range All). Selected objects in VIP projects are processed with their complete content, no matter which range is selected in the Wave project. (An exception is the function Get Noise Sample.) If you dont want to alter the whole object, you would first need to cut the object apart (select a range over the desired length and press the key T). We suggest turning on the Auto-Crossfade-Mode (menu Edit->Auto crossfade active) to prevent pops during the object transitions. It is even possible to apply an effect to multiple selected objects. If several objects are selected in the VIP, the effect is applied to each individual object and its corresponding audio material in the physical audio file(s). A suggestion regarding the differences between RAM and HD Wave projects: With RAM Wave projects you can decide after an applied edit whether you want to keep the current version. Since the audio material is only processed in the computer memory, it is possible to simply close the Wave project and not saving the changes to the hard disk. To keep the changes, the project would need to be saved to the hard disk (shortcut: S). In HD Wave projects, the changed audio material is immediately saved to the file on the hard disk. To preview or test a processing step the following methods are suggested: Use the Preview options in the effect dialogs. You can also work with a copy of the audio material for test purposes. To accomplish this, copy the selected range in the Wave project to the clipboard (shortcut: C). Next, open the Clip window (this window is icon-ized at first) and select the complete contents of
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the Clip window (shortcut: A). The effect can now be experimented with on the temporary copy of the audio material. A tip: To edit ranges in a VIP, the object first needs to be separated (selecting a range over the desired length and pressing T). We suggest turning on the Auto-Crossfade mode (Menu Edit->Auto Crossfade active) to smooth the transitions and prevent pops. If the complete HDP needs to be saved, the separated object will need to be merged into a new audio file (HDP). This can be accomplished by selecting a range over the three object parts resulting from the separation (Suggestion: Use the Grid to assist with the creation of the range.) Next, use the Track Bouncing function (Menu Tools->Track Bouncing, Setting: Only Selected Range) to merge the objects in the range to create a new HD Wave Project. Clicking the right mouse button on the respective effects knob of a channel can also access the real time effects dialogs in the Mixer window. The corresponding effects dialog will appear, which can be used to make detailed adjustments to the settings.
Amplitude/Normalize > Normalize File (phys.)

This function modifies the samples overall amplitude. The data is altered so that the maximum amplitude occurring in a specified range is set to 100% (or any other value between 1-400%). MAGIX audio studio will first attempt to detect the maximum and relate it to the percentage chosen. Then all other values are weighted with the new factor. The Normalize function is designed to fully modulate or over-modulate samples. A particular application is processing that is done before a conversion from a higher sample resolution to a lower resolution takes place. Since the dynamic range of the low resolution is smaller, it still can be fully utilized by applying the Normalize function. If working with sounds from one single instrument, you should set the factor to 100%. If, however, your audio material has background percussion for example, you will be able to over-modulate the sample to 120% to 200%. This will only cut off the new percussion peaks. The same method allows you to alter the sound of natural instruments by over-modulating them. As preparation for further physical processing, such as filters, reverb, dynamic compression etc., a level reduction of 50-70% is suggested. This should avoid clipping during post processing. 491
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An important reselect: If the volume level during the recording is relatively low and the material is later normalized, the result will not be of the same quality if the recording level is maximized to its fullest range. If for example the volume level was only set to 50% of the possible range, the audio material will be in 15-bit quality. Even normalizing the material to 100% will not change this aspect. Editing mode: In virtual projects, a virtual normalization function is available. Sample data remain unchanged the object volume is adapted in such a way that the loudest passage in the object equals 0 dB (corresponding to 100%). This virtual normalization is non- destructive and extremely fast! Selecting several objects: If you have selected several objects, you can decide here whether you want to normalize objects individually or as a whole. Quick access: This section allows you to set the parameters for quick access. Instead of having to open the dialog each time you want to normalize, simply press the n key. Keys: Shift + n
Amplitude/Normalize > Normalize Object (virt.)

This function will perform real-time normalizing on the selected objects. This is different than the physical normalizing, which will restructure the audio file. The real-time normalizing will look for the peaks in your audio material and adjust the volume so that the peaks represent 0 dB. The rest of the audio material is scaled accordingly. Keys: n
Amplitude/Normalize > Fade in/out

This function allows sample ranges to be faded in or out. The amplitude is varied in its time characteristic from the start value of the beginning to the final value at the end of the range. When the function has been called, a window appears in which you can specific parameters for this operation. A simple fade-in operation would be performed with the parameters from 0% to 100%, whereas normal fade-out requires the specification from 100% to 0%. 492
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Amplitude/Normalize > Set Zero
Sample data values in a selected range are set to zero (no data). Noise and imperfections in a sample can thus be eliminated. The fade curve can be adjusted from linear to exponential or logarithmic. Notice that real time fading is applied to virtual projects only (with handles). For all other projects (RAM and HD), the sample data is physically altered. Keys: f
DirectX Plug-Ins
See Menu Track!
Equalizer
The 10-band-Equalizer splits the frequency spectrum into 10 areas (bands) and provides them with separate volume faders. This offers a whole spectrum of impressive effects, from a simple bass boost to complete alienation of your sound. However, raising the levels too much, especially in the case of the lower frequencies, will also increase the general sound level, and distortions may appear. In this case you should lower the main sound level using the "Master Volume-controllers in the main menu.
Slider: Each of the 10 frequency areas can be raised or lowered separately using the corresponding 10 volume sliders. Link Bands: This switch links the different frequency areas in a flexible way, avoiding override of isolated frequency areas that would result in artificial sound. A/B: If you chose a preset value for an effect and want to change that value manually, you can compare the original preset sound with the new settings by pressing the A/B button. 493
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Reset: Resets the equalizer to it's original (neutral) settings where no system resources will be used and no effect will be added to the sound. Touchscreen (right EQ section): This is the sensor field of the EQ: draw a frequency curve using your mouse, and it will be immediately translated into the corresponding slider positions on the left side of the EQ.
FFT Equalizer
The FFT equalizer is some kind of automatic thousandsof-bands-equalizer. The calculated frequency response can be freely edited with a drawing function and reapplied to the audio material.
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Some applications for this function are: Frequency response Verification and correction of a recording or mix. High quality filtering: fine tuning or complete frequency alteration of samples without changing the phase response. Typical filter application effects such as the worsening of impulse responses or the room characteristic are completely eliminated. The filter does not contain its own amplitude. Sub-base precision correction by raising or reducing the amplitude is possible in the range of 10 to 50 Hz without the typical dampening effect that occurs with conventional filters. This is ideal for Dance music or eliminating of rumbling noises and similar effects. Detailed volume reduction or amplification of specific instruments or tones in a recording. Formant filtering. Correction of frequency responses from recording or listening rooms, loudspeakers, amplifiers and others.
Menu Effects
Cloner
Also attached to the Equalizer is the Sound Cloner. It helps you determine the sound characteristic of a song and transfer them to others. If individual Songs in a music collection sound out of place, you can treat them ( e.g. a hit from the 80s can be treated with the sound of the late 60s). Load a song that you like and place the playing position within it. All elements of the sound which can be cloned must be present, but not intros or breaks. All instruments involved should play. Press the Get sound button in the Sound Cloner. Now the sound characteristic is set, creating a Fingerprint which you can apply now to every other song. It can be stored via the Save button. By loading the Clone from the Preset Menu you apply it to the sound material. With the fader, you can regulate the intensity of the sound transmission. The Sound Cloner is some kind of automatic thousandsof-bands-equalizer. Ist filter curve (cf. the touch screen curve of the normal EQ below) is affected by the average of the cloned sound and the original sound. At the moment when you select a preset, the Sound Cloner analyzes the audio material at the actual play cursor position and creates a filter curve. Applied as a master effect, it filters all audio material in the same way, but it is, severely taken, only right for this specific part of the project. So if your audio material were taken from different sound sources, you must apply the Sound Cloner as object effect! Additionally the preset menu of the Sound Cloner contains some general-use filter settings (e.g. Car, Loudness, Class Room). These Presets are independent from the original audio and can be used as master and as object effect.
Vocoder
The principle of the Vocoder is as follows: Carrier material (e.g. a surface sound or a synth chord) is affected by a modulator (e.g. language or singing) so that one gets the impression that it is speaking or singing. Rhythmic surface sounds can also be developed if modulated with a drum loop. This is done via the transmission of the frequency characteristics of the modulator (speech) on the carrier (chord).
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Carrier Input
Here the carrier signal for the Vocoder is selected. By clicking on the 6button, one of the pre-defined carrier samples can be selected in the upper list field ("WAV"). With the "file" button any other one carrier sample can also be loaded. That carrier sample can be heard before with the small "Play" button. In the lower list field ("Track") the output signal of any other track of the arrangement can be used as a carrier signal. The volume of the carrier signal is adjusted with the button in the middle. "M<->C" allows you to exchange the carrier and modulator signals. The "Noise" regulator allows white noise to be added to the carrier signal in order to increase speech comprehensibility. Carrier samples are particularly suited to material in which all frequencies occur evenly, e.g. synthesizer surfaces, orchestra chords or rustling and wind noises etc.
Filter
Dynamic: Affects the dynamics of the modulator signal in order to reduce the modulation depth of the Vocoder. Thereby two often unwanted side effects can be prevented with modulation: On the one hand the change of volume of the modulator signal is reduced and transferred to the output signal, which can improve the penetration of the Vocoder voice in the mix. On the other hand low-level portions of the modulator signal are ignored in order to avoid a modulation of the carrier by breathing or other spurious signals. Smooth: Affects the speed at which the Vocoder adjusts to the modulator spectrum. The greater the value, the "lazier" the Vocoder follows the modulator and the smoother" the sound changes in the carrier sound.
Filter graphic
Exactly as with the freely drawable filter, here any frequency characteristic can be drawn in to optimize the results of the Vocoder. For example, simple disturbing bass frequencies can be eliminated as the curve is corrected downwards to the left. Likewise, weak heights can be strengthened as the curve is raised to the right.
Mixer
In the mixer, the Vocoder output signal (Out) can be mixed with portions of the carrier and modulator signals. 496
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If the output signal of a track is used as a carrier in the Vocoder, this track is muted for technical reasons. In the Vocoder mixer, it can be made audible again.
Presets
Preset calls up pre-defined Vocoder settings. Using the diskette symbol, your own presets can be added. The presets contain all Vocoder settings apart from the selected carrier signal and/or samples. Reset returns the Vocoder to its standard settings.
Dynamics
The Compressor is basically an automatic, dynamic volume controller. The dynamics of a track will be limited, loud passages will stay loud whereas the volume of silent passages will be raised. The compression is normally useful, if you want to make your material sound more powerful and smashing. The grade of compression can be adjusted using the Ratio-controller. The threshold is controlled by the Threshold button and attack and release can also be controlled by the corresponding buttons. The processing of the track is as "prospective" as with highend professional studio equipment. This means that there are no peak overrides (blasting, clipping) or other disturbances, as the algorithm can not be "surprised" by sudden peaks.
Sensor field: The sensor field of the compressors can be manipulated intuitively, just by a movement of the mouse, which will change the colour of the graphic and the effect settings. Ratio: This parameter controls the compression ratio. Threshold: Adjusts the threshold above or below the active compression. Attack: Adjusts the delay, in which the algorithm responds to increasing levels. Short attack times can result in a pumping sound, as the volume will be raised or lowered very quickly. Release: This value controls the delay in which the algorithm reacts to falling levels.
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A/B: If you chose a preset value for the effect and then changed it manually, you can compare the original sound settings with the new ones pressing the A/B buttons. Reset: Resets the Compressor to the original values. In this state no system resources are used and no effects are added to the original sound. Load/Save: This option allows you to save the actual settings as an effects file, so that you can use them for other projects.
MultiMax
The MultiMax is a compressor with three independent frequency bands. The dynamic processing takes place separately for each band. The main advantage of a multi-band compressor over a normal compressor is that warping and other bothersome side-effects are reduced drastically by the dynamic processing. This means, for example, that a single peak level in the bass section will not drag the level of the whole signal down. Otherwise, the multi-band technology enables precise treatment of individual frequency bands.
Frequency Band Settings: Made directly in the graphic display. Simply click on the dividing lines to shift them. Bass/Mid/High: Regulates the degree of compression for each frequency band. Limiter: The MultiMax contains a limiter that harmonizes levels so that, for example, too high a level is automatically reduced, and quiet passages remain unaffected. Tip: The limiter can also be used independently of the MultiMax!
Presets
498 Two further special functions can be called up by using the presets in MultiMAX.
Menu Effects
Leveler: : This function brings the entire material up to a uniform volume automatically. The volume control handle is made void. Larger volume differences can therefore be adapted within a song. To balance volume differences between different songs, also use the function Volume adjustment function in the effects menu. De-Esser: These special presets remove overemphasized s sounds in speech recordings.
Stereo Enhancer
The Stereo-FX-Enhancer allows you to reposition your audio material in the stereo panorama. Whenever a stereo recording sounds undifferentiated, the extension of the basic stereo-width can provide a more transparent sound.
Basic stereo width controller: Here you can adjust the width of the basic stereo panorama from mono (leftmost side), over unchanged (in the centre) to maximum width (Wide, rightmost side). When setting the stereo panorama to smaller values, the sound level may rise. In an extreme case it means that if the left and right channels contain identical audio material and the Basic stereo width controller is set to mono the sound level increase can be as much as 3 dB. While increasing the basic stereo width (values exceeding 100) the mono sound compatibility gets worse. This means, that recordings that have been manipulated in such a manner will sound hollow during mono playback. Volume fader: Adjust the volume for each channel and the stereo panorama. The damping for the left and the right channel will be indicated in dB values under the controllers. This allows you to reposition an originally centred recording to the right or to the left inside the stereo panorama. Stereo-meter (correlation indicator): This is a graphic display of the phase position of the audio signal. Here you can check the orientation of your signal inside the stereo panorama and the effects caused by the Stereo-Enhancer. 499
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In order to achieve the best possible mono-compatibility, the graphic should resemble a diagonal line. If not, some frequency areas may eliminate each other when the stereo signal is played back on a mono player.
Echo / Delay
Reverb
Reverb supplies a high-quality reverberation which can be defined more closely with room size, time and colour and mixed into the original sound with mix. Room size: This control button controls a room simulator which calculates the reverb effect in dependency on the room size. If the control is turned completely to the left, it sounds as if the audio object has been recorded in a tiny room, turned completely to the right, one can listen to the object as if it had been recorded in a cathedral. Time: Here the length of the reverb trail is determined, i.e. the fading phase of the sound. Colour: Here it is possible to control the type of reverb rather dull than high-pitched or vice versa. Mix: This control determines the mixing ratio between the unedited original sound (dry signal) and the reverb portion (wet signal). Echo: The echo effect is defined more closely with delay and feedback and calculated into the original sound by means of mix. Delay: Here the period of time between the individual echos can be determined; the more you turn the control to the left, the faster will the echos follow each other. Feedback: Here the number of echos can be adjusted. Turned completely to the left, there is no echo at all, turned completely to the right there are virtually endless repetitions.
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Amp Simulation
The Ampsimulator is a newly-developed real-time effect that simulates tube amp sound properties. It is especially suitable for guitar sounds, but also for the organ or recordings of vocals.
Amp Model: Here you can select from a range of amplifiers whose sound can be simulated. Speaker Model: Here you can select from a range of speakers whose sound can be simulated. EQ-Section: A 3 band equalizer for setting the bass, midtones and treble. Bright: The Bright button is for a particularly sharp sound display, that can be jarring when used with the following automatic controllers: Distortion: Creates distortion in typical analog amplifier fashion. Volume: Controls the entire volume of the amplifier module.
Room Simulation
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Room Type: You can chose between several room types When choosing a room type, the Room Simulator loads several parameters (non-editable) and a so-called impulse response associated with the settings. The impulse response is a sample of reverb from real rooms, produced by a very short impulse. They are used to convolute the audio data with it to produce a mega-realistic reverb. If the file was moved or deleted, the Room Simulator displays an error message. The files loaded with the standard presets (factory presets) are located in the same folder as the presets (Folder fxpreset in the MAGIX audio studio folder). Preview: This option allows you to preview the current dialog settings. Mix Original %: This setting allows you to determine the amount of original signal that is to be mixed with the reverb signal. A setting of 0% will only contain the reverb signal. At 50% both signals are present with the same volume and amplitude amount. Reverb dB: The setting determines the overall amplitude of the reverb effect in dB. Create Copy: When checking this box MAGIX audio studio will create a copy of the selected range into the same audio file as the original material. This can be done to compare the results with the original material. Please consider the length of the selected range and the available hard disk space or RAM memory! It must be activated for working with the Undo-Function in virtual projects.
Get Noise Sample

This mode uses a noise sample to reduce the unwanted sound with the...
Denoiser
The Denoiser is especially useful for the elimination of continuous background noise, such as electric buzzing, band noise, noise produced by the sound card, your HiFi equipment (for example, the turntable) and LPs. All the Denoiser needs is a sample of the disturbing noise. Some of the most common disturbing noises are provided. It is however preferable to make your own noise sample. All you need is a short section of audio material with the isolated disturbing noise.
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Noise Level: This is the threshold at which the Denoiser starts to work. This value needs to be as exact as possible. Low values will result in deficient damping of the disturbing noise and in formation of artefacts such as disturbing sounds or tweeting(see artefacts). Excessive values will produce a dull sound, as all higher frequencies of the music signal will be filtered away. So it is recommendable to spend some time on the correct adjustment of this value! Noise reduction: To adjust the balance between the original signal and the processed signal. In many occasions it is better not to eliminate the whole disturbing signal but to dampen it only 3-6 dB. This will help maintain the natural sound of your sound material. In case of buzzing sounds however, we recommend that you eliminate them completely. Removed Noise: To listen to the part of the sound material that the Denoiser is going to eliminate.
Noise Sample Section

Pick! Generates a NoisePrint. A small noise sample will be taken from the actual position onwards. It is important, that the noise sample includes no music or voices, but only the pure disturbing noise signal. The actual position can be changed using the transport bar even if the module is already opened in order to search for an ideal sample. The noise print cannot be generated if the replay position is located between two objects. An error message will appear to remind you. Play: To listen to the noise sample. Auto: If this switch is activated, the length of the noise sample will be chosen automatically. Length: Choose the length of the noise sample in ms, if the Auto switch is turned off.
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Save: The generated Noise Sample can be saved in the "Noise Print Sample" directory. It can then be selected from the "Noise Sample Presets" selection whenever you need it. Noise Sample Presets: Choose one of the noise samples. The noise samples are located in the Noise Print Samples directory. If you generated the noise sample using the Pick! function, then it will appear in the list titled NoisePrint. Play: To listen to the noise sample. However, this is not possible if the noise sample has been generated using the Pick! function.
Dehissing
The Dehisser was especially designed to eliminate the band noise, which is all so typical for analogue tape recordings, micro-preamps or AD-transducers.
Noise Level: Here you will have to determine as exactly as possible the noise level at which the Dehisser starts to work. If you choose a level that is not high enough, the band noise will not be completely eliminated. In such a case you will notice tweeting sounds (the so called "melodic band noise). An excessive value will result in a dull sound as part of the band noise and part of the original audio signal recording will be eliminated by the Dehisser as well (for example: air intake sounds of brass instruments) (see Artifacts) If the noise level on your recording is low, you should experience no problems while adjusting it. Noise Reduction: this option allows you to adjust the damping of the band noise in decibel units. In many occasions it is the best solution, not to eliminate the noise completely, but to damp it only -3 - -6 dB, hence maintaining the natural sound of the original material. Removed Hiss: This option allows you to listen to the music that would be filtered away by the Dehisser.
Declipping
504 MAGIX audio studio contains a one of a kind function to remove digital or analog clipping. Anybody who records
Menu Effects
audio has encountered this one before. The perfect live recording contains clipping at the most important moment. This alone may render the recording unusable! MAGIX audio studio uses high-grade algorithms to interpolate the passages containing the clipping. The algorithm uses the material before and behind the clipping as a reference point. Once processed, the total volume level for the material can be reduced to prevent further clipping. The declipping algorithm is especially useful for material that contains obvious clipping, such as a piano or voice recording. Distorted drumbeats are normally not salvageable.
Minimal Level of Clipped Samples

This setting determines the volume level the algorithm considers offending material. There are sound cards that exhibit different clipping behavior and this setting becomes an important issue. Some DAT recorders have an analog protection mechanism so that the level never reaches the digital maximum signal. In these cases a setting of 0.5 dB or lower make most sense. By entering a value of 6 dB all samples above half of the digital maximum are considered distorted and are recalibrated. Even analog distorted material can be improved with the algorithm.
Remove DC offset
This function in menu Effects removes a DC offset in the selected range of a Wave project (RAP or HDP). Some sound cards produce such a DC offset while recording, so it is useful, if you can remove it!
Resample / Time stretching / Pitch shifting

Important: If you want to change the sample rate of a whole audio file (e.g. from 48 kHz to 44.1 kHz) please use the separate function Change Sample Rate in the Effects menu! All algorithms in this dialog only use the parameter factor (upper left edit control) to set the amount of effect. All the other input fields in the parameter group simply control this factor. This makes it easy to specify the factor by typing in the new length, pitch or tempo in bpm. Press Refresh Display to calculate the actual factor if needed!
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The following algorithms can be used:
Resampling
When using a factor lower than 1.0 the material becomes faster and higher. This is very similar to an analog tape deck, which runs at a higher or lower speed. Also samplers and pcm-synthesizers use this type of algorithm for transposing the samples or waveforms. Use this mode to correct the pitch and speed of any audio material, which may change its length. If the factor is lower than 1.0, the re-sampling process is performed without a quality loss. Otherwise, the re-sampling process will result in a loss of high frequencies. If for example the length of a 44.1 kHz sample is doubled, the resulting frequency response of the processed sample is limited to 11.025 kHz.
Pitch Shifting
The pitch of the sample is changed, maintaining the length. Use this mode to transpose an audio object without changing the length.
Time Stretching
The length of the sample is changed, maintaining the pitch. Use this mode for example to change the tempo of a drum loop without changing the pitch. Time Stretching and Pitch Shifting are no loss-less procedures - depending on the factor there can occur short delays or other artifacts in the sample. To minimize these artifacts you have the choice between 3 internal algorithms: Loops/Songs: Use this mode for factors in the range of 0.9...1.1. This algorithm keeps the original phase even of stereo material, but it produces more artifacts when using with large factors. 506
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Loops/Songs/Speech: This mode uses a much more complex algorithm, which needs more time that is calculating. But it gives in most cases better results when using large factors. The phase of the material is changed to get a smoother sound. If you were for example dealing with speech, vocals, or orchestral instruments this would be no problem. More complex spectrums, such as a mix of different instruments or completed mix problems, may develop problems. Solo Instruments: This mode uses the same algorithms as the last one, but uses more of the smoothing component. This makes it ideal for solo instrumental sounds like piano samples or vocals. Beat Marker-Mode: This is an additional Time stretch Mode. It is made for pure Drum-loops. Basically it works like this: Through activating the option Find Beat Marker the algorithm tries to find and mark Beats in the Audio material. Only these points will be used for time stretching by moving the audio material at the markers ahead or back. Increasing the tempo will superimpose some beats, slowing down generates short pauses between the beats. That mostly sounds better than the older algorithms. A threshold value for beat detection can be set by using the sensitivity control. Furthermore you are able to set the beat markers manual before you open the Time stretching dialog. Just set the markers short of the beats (key: shift + 1 ... 0) If a Wave Project is open and visible, you can follow the process of setting beat markers on the screen. Test Realtime: This is a new function for the beat marker mode. Herewith it is easy to test the effect before you let Music Editor calculate the whole sample. Irrespective of the tempo, the pitch of the loop can be adjusted using the pitch control in the upper left region of the dialog.
Change Sample Rate

Use this function to change the sample rate of a whole audio file. This may be needed to convert a DAT recording at 48 kHz to 44.1 kHz for use on an audio CD. After choosing the new sample rate you can select a filename for the new project.
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If the resolution is increased the sample rate change will take place without any quality loss the sample material will not experience fidelity reductions. (The needed hard disk space will increase though.) If the resolution is reduced, the overtones or high frequencies may be lost during the sample rate change. For example, if the resolution of a 44.1 kHz sample is reduced to 22.05 kHz, the frequency response of the resulting sample is reduced to 11.025 kHz. The frequency response is always half of the resolution specified. For a conversion from a 48 kHz sample to 44.1 kHz, this loss in quality is not significant, since the human ear only recognizes frequencies up to 20 kHz. (A resolution of 48 kHz is often only used because the digital to analog conversion can take place with much higher precision without expensing a lot of effort.) Please note that resampling to 44.1 kHz can also be done while recording in real-time. The Playback Parameter window (Shortcut: p) contains a Vari-speed option for real-time resampling during playback. The Record window (Shortcut: r) lets you resample to 44.1 kHz in real-time from any of the selected sampling rates.
Reverse
The sample data in the selected range is reversed along the time axis ie the file will now play backwards with the end now placed at the beginning. This allows for very interesting effects, not to mention the backwards masking hidden messages frequently rumoured to be in various songs.... This function is reversible: if you do not select a new range, calling this function once more leads to the original material. The option is only available when working in Destructive Editing mode ie directly on an HD Wave file.
Build Physical Loop

This function utilizes a complex algorithm for optimizing loops in Wave projects. It is useful when samples are to be used for instrumental sounds as well as wave table synthesizer. Before you can process a sample you need to select a range in your sample that already defines the rough edges of the sample loop. Remember that you can shift and vary a range during playback to find the best loop position. A comfortable way to look at the loop positions is by activating the split range mode by pressing b. The sample will be displayed in 3 sections. 508
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To gain an interruption-free loop the outer limits of the range will be set to zero. By applying a crossfade to the material at the loop end containing the sample data in front of the loop beginning, MAGIX audio studio will create a smooth transition between loop-end and loop beginning. When a marker is set in front of the selected range, the range between the marker and the beginning of the loop will be used for the crossfade. This offers you a feature found in professional hardware samplers. To achieve a short crossfade set the marker close to the loop beginning. To receive a long crossfade position the marker further away from the loop beginning. Notice that the distance between marker and beginning of the loop range needs to be smaller than the loop range itself to make a crossfade possible.
Switch Channels
With this function you can switch left and right stereo channel. This is useful to correct recordings with switched channels.
Invert Phase
The sample data within the selected range is inverted along the amplitude axis. This phase inversion means that negative values become positive and vice versa. This function, too, is reversible. The Invert function permits samples with different phases to be matched. Along with the available mixing functions (which are, from a mathematical viewpoint, adding functions) you can actually subtract samples by applying this function to the selected sample.
Process only left stereo channel

Only the right / left channel of a stereo Wav project will be affected by effects when activating Left/Right processing only. This options is only available when in Wavediting / destructive Editing mode. The same effect have the L/R buttons in the lower left corner of the WAV project window.
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Menu Range
MAGIX audio studio offers a convenient way of working with ranges. The Range menu will let you use these options.
Range all
The range will cover the complete sample. This command comes in handy if you want to apply changes to the entire sample with functions that normally only address certain ranges. Keys: a
Move Play Cursor > to beginning

Sets the start position of the play cursor to the beginning of the project. Keys: Home
Move Play Cursor > to end

Sets the start position of the play cursor to the end of the project. Keys: End
Move Play Cursor > to range start

Sets the start position of the play cursor to the beginning of the currently selected range. Keys: Alt + cursor right
Move Play Cursor > to range end

Sets the start position of the play cursor to the end of the currently selected range. Keys: Alt + cursor left
Edit Range > Range to beginning

The beginning of the range will be extended toward to the beginning of the project. Keys: SHIFT + Home
Edit Range > Range to end

510 The end of the range will be extended toward the end of the project.
Menu Range
Keys: SHIFT + End
Edit Range > Flip Range left

The current range is shifted left by the length of the range. Its end will be its former beginning. If there is not enough room to place the range, the command will not be executed. Keys: CTRL + SHIFT + left
Edit Range > Flip Range right

The current range is shifted right by the length of the range. Its beginning will be its former end. Keep in mind that if there is not enough room to place the range, the command will not be executed. Keys: CTRL + SHIFT +right
Edit Range > Beginning of Range > 0

This function shifts the beginning of range to the right of the next zero position. The function can be called from the keyboard by pressing the left Shift + Alt keys and 6 on the numeric keypad at the same time. You can also press the PgUp key. Keys: Page Up
Edit Range > End of Range > 0

This function shifts the end of the range to the right of the next zero position (change in polarity). Zero position is the next sample value with zero value or the boundary between a positive and a negative sample value (or vice versa). This is particular useful for searching for loop points. The function can be called from the keyboard by pressing the right Shift + Alt keys and 6 on the numeric keypad or the PgDn key. Keys: Page Down
Edit Range > 0 > Range < 0

This function shifts the beginning of the range to the left and the end of the range to the right of the next zero position.
Edit Range > Beginning of Range < 0

This function shifts the beginning of the range to the left of the next zero position. The function can be called from 511
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the keyboard by pressing of the left Shift + Alt keys and 4 on the numeric keypad. You can also press the PgDn key. Keys: SHIFT + Page Up
Edit Range > End of Range < 0

This function shifts the end of the range to the left of the next zero position. The function can be called from the keyboard by simultaneously pressing the right Shift + Alt keys and 4 on the numeric keypad or by pressing the Shift + PgDn keys. Keys: SHIFT + Page Down
Range length to
This command lets you set the range length to 1, 2, 4, 8, and 16 bars. You can set the tempo in BPM with menu View->Snap Setup.
Split Range
This function is in particular useful for working with loops. If not already displaying in Split Range Mode the project is first switched to this mode displaying three sections on the screen. The upper section displays the whole sample. The section located at the bottom left displays the data near the beginning of the range. The section at the bottom right displays the data near the end of the range. The boundaries of the range can be exactly positioned in the lower sections, while the upper section will display the location of the entire range. You can also define ranges across several sections. Keys: b
Split Range for Video

This function is in particular useful for working with AVI Videos. The upper section displays the whole sample. The section located at the bottom left displays the data near the beginning of the range. The section at the bottom right displays the data near the end of the range. Both lower sections are zoomed down to single frame accuracy. The boundaries of the range can be exactly positioned in the lower sections, while the upper section will display the location of the entire range. You can also define ranges across several sections.
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To undo the split, the display has to be returned to a 1 section display with Shift + b or View->Sections->1.
Store Range
Another powerful feature of MAGIX audio studio is the option of defining and saving different ranges for future retrieval. An unlimited number of ranges can be defined. You can for example specify different loops and compare them while you recall their ranges. All ranges of a project can be seen in menu Tools->Range Manager. There all ranges can be renamed or played. When selecting this menu option, the selected range needs to be stored by entering a numerical value the range is associated with. Keys: SHIFT + F2 ... F10 You can define more ranges by using the submenu Other. You will need to specify a name for the range selected. Keys: SHIFT + F11
Get Range
By selecting this option, you can choose one of the defined ranges as the current range. MAGIX audio studio even lets you choose a range while playing. The specified range becomes the current one and is audible. Using this method, you can change between two ranges comparing them with each other. Ranges can also be named and recalled with the Range Manager (Tools menu). Keys: F2 ... F10
Get Range Length

By selecting this option you can choose the length of one of the defined ranges as the current range. MAGIX audio studio 2005 deLuxe even lets you choose a range length while playing. The specified range becomes the current one and is audible. Using this method you can change between two-range length comparing them with each other. Keys: Ctrl + Shift + F2 ... F10
Store Marker
You can store an unlimited number of markers wherever the play cursor is placed at. 513
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Keys: SHIFT + 1 ... 0 Using the submenu Other, you can define more markers with a desired name. Defined markers can be seen above the sample data section of the project window and can be moved with the mouse. Keys: SHIFT + [
Get Marker
By selecting this menu option, you can easily locate marker points. Simply specify the desired marker location and MAGIX audio studio will position the play cursor at that location. You can even select a new play cursor location during playback of the project. You should keep in mind that, whenever a marker has been defined, the range between the marker and the end of the sample is played. Keys: 1 ... 0
Markers on Range Borders

This function sets two markers to the beginning (S) and the end (E) of a selected range.
Set Markers on Silence

This function sets markers on silent regions in the sample (only in Wave projects - HDP or RAP). You can choose the minimal length of the pause, a threshold level, the start number and a prefix for the marker name. This is very useful to select the regions of sample CDs etc. Min. Time (ms): This is the minimum length in ms of a silent area. Threshold (dB): This is the maximum volume of a silent area. The level of the area in the project will be set on the level of the threshold in the graphic display! Starting number: The markers will start to count from the number you type in this dialogue box. Prefix: This allows you to insert additional symbols (letters would be appropriate), which will be placed in front of the marker-numbers. By doing this, you will able to distinguish between new and older markers.
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Delete marker
The selected marker will be deleted.
Delete all markers

All markers of the project will be deleted.
Recall last range

Get the last selected range. This is useful if you have clicked
Range Editor
The beginning, the end and length of a selected range can be numerically changed in different units of measurement. This function will let you specify minute details of a particular range you need to set. If you change any of the values in the Range Start, Range Length or Range End sections, all other values will automatically be updated with the exceptions below: Change values in the Range Start section: The end will be maintained. Change values in the Range End section: The start will be maintained. Change values in the Range Length section: The start will be maintained. Please note the format of the Bar dialog box. The format is displayed as a 4/4 beat with 96 clicks per quarter. Displayed are the bar, beat, and clicks. The number of beats per minute (BPM) can be set in the BPM dialog box in View->Snap Setup.
Range Manager
See Menu Tools!
Edit Timedisplay
MAGIx audio studio has three main displays for viewing the time settings for Cursor / Range / Object / Marker locations etc: 1. The standard Time Display window invoked from the Window > Time Display menu. 2. The Time Display settings indicated by Tooltips (For example, when selecting a Range or hovering the mouse over a Marker). This is very handy when creating a Range, but the Tooltip measurements are only shown while actually dragging the mouse. 3. The Time Display Position Boxes located at the bottom of the waveform workspace, at the extreme right in HD Wave Projects and adjacent to the Zoom preset buttons in VIP Projects. These settings remain in the display
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until a new setting is chosen. The settings can be directly entered into the boxes.
Object Lasso
The normal way to select several objects at once would be to click on the free space on the right of the object in the lower area of the track and to pull a frame around the selected objects. Sometimes, however, there is not enough space between the objects. The object lasso solves this problem. Once activated, you can click on an object and pull up a selection frame, without moving the object you clicked on (which would be the case in the standard mode). Once you selected your objects the mouse returns to the standard mode, that means that you will have to reactivate the object lasso each and every time you want to use it.
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Menu CD
MAGIX audio studio deLuxe allows you to create audio CDs directly from virtual projects and any Stereo Wave project, regardless how many tracks are in the VIP. The requirement is a sample rate of 44.1 kHz for the project. 24-bit objects are converted to 16-bit during the burning of the CD or the CD Track Bouncing function. Single-track virtual projects (so-called CD VIPs) are especially useful; if WAV files or Wave projects are ready to be turned into a CD. The VIP treats the loading of the Wave project different than for multi-track VIPs. Regardless of any selected range, the Wave projects are loaded by automatically inserting a pre-determined space between the songs or objects. The distance can be set with CD->Set Pause Time. If a completed VIP represents a single track on the CD, use the Track Bouncing function to turn the multiple tracks into a single Wave project. This Wave project can then be loaded as a Track Object in a new CD VIP to properly place it among other track objects.
Load audio CD track(s)

See menu File!
Set Track
Use this function to set a track marker (Index Marker) on the current play cursor position. All markers behind the insertion point will be renumbered. Each track on your CD needs a track marker, typically set after a short pause at the beginning of the next title. Use the function Track markers on object edges to create the markers automatically on the borders of the sample objects! To manage the markers or to rename them use the Marker / CD Track Manager in the menu Tools.
Set Sub-index
Use this function to set a sub-index marker on the current play cursor position. All sub-index markers behind the insertion point will be renumbered. Sub indices are not necessary for your CD but useful for selecting several regions in one track.
Set Pause
Use this function to set a pause marker on the current play cursor position. This lets the CD player switch the output 517
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to absolute silence while continuing playback until to the next track index/marker is encountered.
Set CD end
Marks the End of the CD. This is important for burning a CD, when the project produces still audio after the last objects end, for instance a reverb tail. To prevent MAGIX audio studio from cutting this audio, you can place the CD end marker after the last object in an appropriate distance. Another use of the CD end marker is to burn a project partially on CD. The CD Burning always starts with the first track marker set and ends with the end marker. All you have to do is to delete all preceding track markers before the first track you want to burn. All audio before the first track marker will not be burned on CD. The burning stops with the CD end marker. So you can place the CD end marker inside the project to mark the end of the CD.
Set Track Indices on Silence

If you are inserting a longer audio-file containing various titles (for example a live-take or recordings on DAT), you can automatically insert track-markers between the titles using this function.
Min Time: Time interval detected as silence Threshold db: Maximum volume detected as silence Starting number: The number of the marker that will be the starting point for the automatic indexing procedure. Prefix: You can add additional symbols (letters) to the marker numbers, which will be displayed in front of them. This allows you to distinguish new markers from already existing markers. Delete prefixed Markers: All markers that are labeled with the same prefix will be deleted. 518
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Delete all Markers: Deletes all markers
Set Track Indices on Object Edges

This function sets track markers (Index Markers) automatically to the beginning of each VIP object in the first VIP track. Prior to using the function, execute Remove All Indices to delete any possible track markers. If there are multiple objects that make up a single track or title, you may want to use the Bouncing function to combine the objects to ensure proper track assignments.
Remove Index
Use this function to remove a previously set track or subindex marker. First, click on the marker (the small rectangle below the number), and then activate this function to delete it! Keys: Delete
Remove all Indices

Use this function to remove all previously set track or subindex markers. This can be helpful before calling the function Set track markers on object edges!
Make CD
This dialog starts the CD writing process. MAGIX audio studio contains high-grade CD creation routines that are constantly updated. The software code is licensed from Point Software & Systems. MAGIX audio studio creates a TOC (Table of Contents) file prior to starting the CD creation. The name of the current VIP is used and the extension *.tcx is added to the file. The TOC file is located in the same folder as the current VIP. It is therefore important to save the VIP to the hard disk prior to starting the burning process.
Burn On the Fly

Use this extremely powerful mode if you want to create the CD directly from within the VIP. All necessary calculations are performed in real-time during the burning process. The following real-time tasks are calculated during the process: Volume and panorama settings Fades and crossfades Mixing of tracks Mixer track effects Mixer Master section effects
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To get a good idea whether your system is able to sustain the real-time processing needed for this functionality, try this: Play back the VIP sections that contain the largest number of tracks and/or where the most real-time effects are used. Watch the DSP meter (bottom left-hand). Below are the expected performances at the different DSP values: Below 25%: CD creation with up to 4x mode Below 50%: CD creation with up to 2x mode Below 90%: CD creation with up to 1x mode Above 90%: Real-time creation is not possible, use the second mode (Bouncing)
Generate a complete new file

Use this option if your system is not fast enough to sustain the real-time creation of the CD (see above). This mode calculates all WAV files, including fades, crossfades, and volume automation into a new audio file. Any other realtime processing is also part of the newly created audio file. Make sure that you have sufficient hard disk space prior to starting the process (approx. 700 MB for a complete CD). The original WAV files used in the VIP remain unchanged. This makes this procedure non-destructive!
Use Uni Code for TOC

This is the default setting and is used for the internal CD creation process as well as the 32-bit version of Point CD Audio.
Use ASCII Code for TOC

This format should only be chosen when using the 16-bit version of Point CD Audio.
Print TOC
This starts the external TOC Printer application. This convenient tool allows you to print the contents information of the current CD. You may choose between a text style format to print the production documentation and a formatted printout for the CD jewel case. Please refer to the on-line help for the TOC Printer for more specific information!
Show TOC
This button opens a text window, which shows the contents of the current TOC. The Copy function can be used to copy the contents to the Windows Clipboard for use with other text editing applications.
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Show CD-R Drive Information
This dialog shows you information about the active CD-R drive(s). Among the information displayed is the manufacturer, drive name, hardware revision, cache size, and the features supported by the drive mechanism. The feature Disc At Once is extremely important, since it is needed to produce Red Book compatible Audio CDs that are accepted as masters by pressing plants
Show CD-R Disc Information

This dialog shows information about the currently inserted CD-R media. The most important information is the maximum length that cannot be exceeded during the production (i.e. 74 minutes and 5 seconds).
CD Track Options
The CD Track dialog shows all CD tracks and sub-indexes used in the current VIP. Every track can be assigned with a name, which is also displayed in the VIP. Other settings such as Pre-emphasis, Copy Protection, and Second Generation Protection Flags can be set for each of the tracks. The button Set All allows you to use the current flags to set all tracks to the chosen settings. Other settings are the ISRC Codes for every CD track.
CD Disc Options
This dialog configures settings for the current CD. Among them are:
CD Title
The title is written to the CD and is used in the TOC Printer application to print the CD information.
UPC/Ean Code
This code is also written to the CD and can be requested by special CD players that work with this format.
Number of first CD Track

Under certain circumstances, such as writing with TrackAt-Once, the number of the first track can be determined with this setting. When using the Disk-At-Once mode this setting does not have any significance. The CD will always start with track 1 in this mode.
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Set Pause Time
Use this function to set the length of the default pause between two tracks. These pause length is needed for the grid function, which lets the sample objects snap to the edges of other objects + this pause time. Normally a pause time of 2 seconds is used.
Set Start Pause Time

Use this function to set the length of the default pause before the first track. Normally a start pause time of 2 seconds is used.
Special CD Arrange-Mode
If you activate this menu feature, MAGIX audio studio will arrange the next objects introducing a Red Book-StandardPause between them. The following procedure highly recommended: Open a new VIP, with 4 tracks for example, so that you may reedit it later on Activate the Special CD Arrange Mode in the CD Menu Open a new VIP Load wave files, audio tracks or make a recording using the microphone You will notice gaps in the VIP between the individual objects, which represent the inserted breaks. You can adjust the length of the included pauses in the dialogue Adjust Pause Length if you want.
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Track Bouncing
The current virtual multi-track project (VIP) can be converted into a WAV file or MAGIX audio studio HD Wave project and saved with a new name. All tracks in the VIP are mixed and all real-time processing, cuts, crossfades; all Mixer settings, Mixer effects, DirectX Plug-Ins, Volume automation and Panorama automation are included in the bounced version. The function Track Bouncing may require a large amount of storage, depending on the length of the VIP. Four track projects are internally mixed to combine two tracks for playback on each channel. To prevent clipping, an amplitude reduction of 6 dB is applied (which corresponds with a 50% representation of the source material). For eight track projects, the reduction is normally 12 dB. However, you can change the value in Options-> Project Info (shortcut: i).
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There are two variations for the track bouncing implementation: Only selected Range: MAGIX audio studio uses any selected range in a VIP for the track bouncing. This command does not work track selected, meaning that the number of tracks that are spanned by the selected range does not matter. The track bouncing will always use all tracks for the period of the selected range. Complete Project: The complete contents of the VIP project are used. Calculate Maximum Amplitude: When check, this option displays the peak level of the mixed WAV file in dB. Further processing of the bounced audio file can use the specs to make precise adjustments. After the track bouncing process, MAGIX audio studio displays a dialog with the maximum amplitude value.
Bouncing (Internal Mixdown)

Use this function to convert the objects within a selected range to a new WAV file. The selected objects in the VIP are replaced with the track-bounced version. This is very useful to combine multiple objects into a single object so that the function to create track markers automatically can be used.
Remove unused Samples

This function removes all material from Wave projects belonging to the current VIP that is not used by any of the VIP objects. The objects in the VIP will point to the proper audio ranges in the linked audio files. This leaves the VIP itself unchanged. Using this function can conserve a lot of storage space. However, the downside of using this option is that object length changes are possible only in a limited form. Object can be made short, but they cannot be extended. Tip: If you need the complete contents of the audio files for other production projects, it is recommended to archive the finished project in the following way. Save the complete project to a new folder (File->Save Complete Project to). The VIP is now located with the complete contents, in other words all the audio files, in an unaltered form (WAV, RAP, etc.) in the same folder that the VIP was saved to. Next, use the command Remove Unused Samples. The same folder will now only contain the audio data or sam-
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ples that are actually used by the archived VIP. The contents can be easily back up to any backup medium such as CD-ROM, Data DAT, and others.
Waveform Generator
This dialog contains a powerful generator of several test tones. Please be sure to have activated a Wave project (HDP or RAP) before opening this dialog! The generated waveform is stored in the Clipboard with the same properties as the opened wave project. Please rename the Clip after generating the waveform, so it can be easily included into other projects without naming conflicts. You can adjust type, frequency, and length in samples of the created waveform. The generated samples are always fully amplified. The volume level can be easily reduced with the normalizing function (Normalizing). The following types can be selected: Square, pulse, triangle, sine, saw up, saw down and white noise.
Range Manager
The Range manager is a window illustrating all ranges of the current project. The current range is selected by a colored bar. The range bounds are selected by clicking on the range name. The range name can be changed in the lower line. Ranges can be deleted and new ranges can be saved. With the Play Once button you can playback the actual range once, with Play Loop it is played as a loop. This way you can use the range manager as a simple jingle player!
Marker / CD Track Manager

All currently saved markers of the active project are shown with their name and position in this dialog. The play cursor is moved to the respective marker position by clicking on the dialog entry of the desired marker. You can also change the marker names and create new markers. In addition, the dialog lets you delete individual or all markers of a project.
Object Manager
In the object manager all objects used in a VIP are indicated in sequence of their temporal appearance. With this option the object manager features a function, which is often offered in other programs with Play Lists. In the object manager objects can be selected, which are
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also activated in the VIP. Small objects can be identified and manipulated easily. Ctrl + a mouse click will select several objects; Shift + a mouse click will select all objects between two selects (like in the Windows Explorer). Especially productive is the search function in the object manager: With it you can look for certain objects in full text mode rather than just the graphical representation of the objects. An example would be to look for all HD Wave projects with the name XYZ.HDP or all objects that contain the name Intro. You simply enter the search criteria in the text field and click on Search. All found objects will be selected and are available for further processing.
Take Manager
See Menu Object!
External Program 1, 2
This menu item in menu Special runs an external program with the actual project as parameter. This makes it easy to export a MAGIX audio studio 2005 deLuxe project to another audio software for special edits. Use the ?-button to select the external program you want to run. After editing and saving the file in the external program you can load it back to MAGIX audio studio using the recent file list in menu Project. This function works only with HDPs in Mono or Stereo Wave format!
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Play once
The project or the range is played once. Keys: Space
Play loop
The project or the range is played in a loop. Keys: Space
Play in Range
If you have specified a range selecting this menu option (or button) will start the playback of the sample from the beginning, enter the range and continue to loop through the range until you press the stop key (button). This mode is very useful when testing loops for instrument samples. Keys: Space
Play with Preload

All buffers are loaded and the playback is ready to be started. Another window will appear with which playback can be started at your convenience. No delays will occur. This function is useful on slower systems and if synchronization must be started in manual mode and an exact start has to be performed. Keys: Shift + Space
Stop
The playback is stopped for all projects types. Keys: Space
Stop and go to current position

The playback is stopped; the play cursor goes to the current position.
Change Play Direction

The playback direction can be changed even during the actual playback.
Restart Play
Playback will start at the beginning even during the actual playback. 527
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Keys: Backspace
Playback Options
The Play Parameter window that appears after selecting this menu option is designed to quickly enter playback parameters. Below is an explanation of the options available in this window.
Sample Rate: The sample rate can be changed here as long as the soundcard supports the new rate (some soundcards even support changing the rate while playing the sample!). This is especially useful to hear notes in a sample range played in a different octave. When selecting half the sample rate the pitch should be the same. It would be played one octave lower. Device: To specify the driver of the sound card use this dialog box. This is necessary if playback takes place through a single sound card device. This is especially important if multiple output devices are located in the computer.
Autoscroll
The Autoscroll section will let you activate the Autoscroll feature. It is especially useful when working with long disk files. The HD Wave project window will follow the play cursor during playback. When working in 2 or 3 section display mode, the autoscroll feature will cause the individual sections to follow the play cursor as well. If you have zoomed into one of the sections, the play cursor will move through the section faster resulting in more screen re-draws. There are two alternatives in auto scrolling: 1. The Soft option performs a smooth scrolling of the whole waveform; the play cursor stays in the center of
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the display. This mode needs a fast graphics board, because the complete screen is scrolled between the marker steps. 2. The Page option performs a page-by-page scrolling. Please note, that the auto scrolling requires certain processing power based on your processor, graphic card and the resolution of the display. For this reason you might encounter small interruptions in playing the audio files. Should this occur simply disable the auto scroll feature or raise the buffer size (select Setup menu and click on System).
Scrubbing
While pressing the 0 key on the numeric block (Numlock active) and moving the mouse you can perform scrubbing. MAGIX audio studio starts playback at a very low speed, the mouse position relative to the start play cursor controls the speed. There are two scrubbing modes (in playback parameter window - key p): Note: When working with smaller buffer sizes (4000, 2000 samples) the scrolling becomes softer. Please verify the performance of your computer system and smaller buffer sizes to not produce playback interruption. Relative: The distance between the play cursor and the mouse sets the playback speed. Absolute: The position of the mouse in the window sets the playback speed - at the left border playback speed is 200% backward, at the right border speed is 200 % forward, in the middle of the window the speed is 0. There is a real time resampling performed for changing the playback rate without changing the sample rate of the sound card. For best performance, use small play buffer sizes and a fast processor (Pentium recommended)! A Tip Using Scrubbing: The scrolling becomes softer when using small buffer sizes (2000, 4000 samples). You may need to test your system for error free playback with these small settings. Combined with the Soft Scroll mode, editing becomes very convenient on faster computers.
Varipitch
MAGIX audio studio supports smooth changes of the pitch while playback, even in multi track projects (vertical slider in playback parameter window - key p). Activate the Va529
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rispeed mode with the active button, and then you can change the playback speed in various kinds: Vertical slider: Changes the playback speed from -200% to +200% Pitch Factor: Lets you specify a certain pitch factor manually Halftones: Lets you specify a value of halftones. The playback will be transposed the number of halftones. Internal Rate: Here you can set a sample rate for the varipitch calculation. If you want to play a WAV file with a sample rate of 48 KHz but your sound card can only play rates up to 44.1 KHz simply set the internal rate to 48 and activate varispeed. You hear the same result as playing back with real 48 KHz! This function is also very useful for digital playback to DAT with 44.1 KHz samples and vice versal. BPM: Here you can type in the original bpm value of your material and a destination bpm value, which is reached using the varipitch. Important: Varipitch works also while recording! So you can set the pitch to -2 halftones, sing a song into the computer, then switch off the varipitch your track is transposed two halftones higher! There is a real time resampling performed for changing the playback rate without changing the sample rate of the sound card. For best performance use small play buffer sizes and a fast processor (Pentium recommended)! Keys: p
Punch In > Punch In Mode active

This option activates the Punch mode. Punch-In and Punch-Out are a process automating the recording start and end of an audio segment. Once the Punch mode is active, the Punch-In Record can be used to record audio segments without stopping the playback. Requirement for this mode is an armed Record track. Use the REC button on each track to select it for punch recording! Punch Recording can be done in two ways: 1. Punch-In/Out On-The-Fly: This allows you to start the recording (punch in) at any time during the playback. Once the recording commences, it can be stopped at any
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time (punch out), while the playback continues. This is very similar to tape based multi-track recorders, which allow you to correct mistakes during previous recording takes by overwriting segments of the tape. Simply start the playback with the Spacebar. The PunchIn recording can be started by clicking on the Punch Record button in the toolbar. The same button punches out of the recording mode, while the playback continues. To stop the playback, press the Spacebar. 2. Punch-In/Out with Markers: The second method is the punching in and out of recording using special markers. This is a more automated way of dealing with punch-in/out recording. This is useful when specific punch-in and punch-out points are determined and you dont want to take any risks in possible punching in or out of the recording. Dont panic though! The punching in and out with markers lets you specify the exact points the recording is to start and stop. Since you are working in a non-linear, non-destructive environment, any mistake or unwanted take can be removed or undone without any problems. The previous material in the track would still be there! This is simply a very convenient way when its midnight and your fingers are getting tired! To operate in this mode, a range has to be selected, which defines the beginning and end of the recording. The functions Set Punch-In Marker and Set Punch-Out Marker are used to tell MAGIX audio studio where to punch in and where to punch out. Next, set the play cursor to an appropriate position prior to the punch-in point and start the playback/recording with the Punch Record button in the Punch Toolbar. Important: When working with the punch in/out functionality, make sure that the Auto Crossfade mode is activated, by clicking on the corresponding button in the MAGIX audio studio toolbar. The auto crossfade will create smooth transitions between the takes. This helps to prevent little pops and clicks! There is also a way to perform looped punch-in recording! Simply select a range over the desired punch region. The range is played back until you stop the playback with the Spacebar. Each time the program loops through the range, new takes are recorded at the punch markers. To find the best take after the recording is completed, use the Take Manager! 531
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Punch In Record: This function/button starts and stops the punch-in recording. Set Punch In Marker: This function/button sets the punch-in marker. Set Punch Out Marker: This function/button sets the punch-out marker. Remove Punch Markers: This function/button deletes the punch-in and punch-out markers.
Punch In > Punch In Record

This function/button starts and stops the punch-in recording.
Punch In > Set Start Marker

This function/button sets the punch-in marker.
Punch In > Set End Marker

This function/button sets the punch-out marker.
Punch In > Remove Punch In / Punch Out Markers

This function/button deletes the punch-in and punch-out markers.
Live Input Mode

This is another very powerful feature of MAGIX audio studio the Live Input Mode! When working with this mode, MAGIX audio studio lets you use the real-time Mixer to mix live inputs from the sound card with recorded audio material. This turns MAGIX audio studio into a full-scale digital realtime effects device, including DirectX Plug-Ins! The Basics: The Live Input Mode basically functions similar to recording audio material without writing it to disk! A channel that is to be used for live mixing has to be armed for recording. Once the playback of the VIP is started with the Spacebar, the live signals on the input of the audio device(s) are routed through the Mixer. Use the controls in the Mixer window to create a mix. In addition, any VIP object is also played back while the live inputs are processed.
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Latency: The audio processing in MAGIX audio studio obviously takes time. This may lead to small delays at the outputs versus the incoming signal. This delay is very much dependent on the VIP Buffer size. The latency can be reduced by using smaller VIP buffer settings. Use settings that enable the program to process the real-time audio without introducing any errors. A setting of 4 buffers at a buffer size of 8000 stereo samples creates a delay of 0.7 seconds. A buffer size reduction to 2000 samples results in a delay of only 0.2 seconds. Experiment with the buffer settings to find the optimal settings for your system! The latency may not make it possible to use the Live Input Mode to replace an analog effects device. However, it leaves room for some very interesting application aspects. MAGIX audio studio 2005 deLuxe as Live Effect Processor: If you are looking for fancy effects that are not offered by effect units in your rack, try to use some of the integrated effects in MAGIX audio studio. A live signal can be processed with the FFT Filter, the EQs and the Stereo Enhancer. You may also use the many DirectX Plug-Ins available. There is no limit to your creativity! Note: If you have an ASIO driver for your soundcard, you can pretty much switch the latency off. Please read the MAGIX audio studio as external effects device section of the Effects chapter.
Record
Starts recording.
Record Options
This menu option opens the Record window. All necessary settings for the recording can be performed here. If once set, you dont need to open the dialog again, just start record by the record button at the transport control or clicking the toolbar icon
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Record mode: Select between Stereo and Mono, whether you want to record the audio into a RAM Wave project or to the hard disk as a HD Wave project. Preload: The Preload option allows you to load all the buffers before the recording actually begins. This enables you to an immediate recording once you click the recording button. Otherwise MAGIX audio studio will load the buffers and depending on the size of the buffers and the overall computer speed this may take a little bit of time. Sample Rate: Select the sample rate of the audio file. Make sure that your sound card supports the chosen sample rate. Resampling to 44.1 kHz: Some MAGIX audio studio 2005 deLuxe versions can perform a real-time sample rate conversion to 44.1 kHz if you are recording with a different sample rate. For example, many times a DAT tape is recorded at 48 kHz but the tape needs to mastered and prepared for Red Book audio CD processing, which needs to be in 44.1 kHz. MAGIX audio studio allows you to automatically convert the audio during the recording, eliminating the additional sample rate conversion step after the recording. Device: This selects the desired device driver you want to use for the recording. If you have more than one sound card installed in your system, this window will let you specify which card to use. Make sure the sound card is properly installed in Windows and is operational. If you do not see an entry in this window, check whether a device driver has been installed for your sound card. This usually is done during the software installation for your sound card. ? (Device): By clicking on the ? button you can check on the record capabilities of the selected sound card. It shows you information on the sound card driver and its capabilities. Info: Dialog for detailing soundcard properties. If your soundcard supports 24 bit recording, you can activate this recording mode via the Info dialog. Playback while Recording: Simultaneous record and playback is especially important when wanting to monitor existing tracks while recording a new track. This option allows you to turn the feature on. To conserve system resources and keep the recording error free on slower systems, you may need to turn this feature off.
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File Name / Browse: The name of the audio file to be produced and the pre-set index path are displayed at the bottom of the Recording Windowboth can be changed by clicking on the File Button. Set CD Track Marker: While the recording is running, you can set Track Markers, by clicking on the Set CD Track Marker tab in the Recording Dialogue. Automatic Recording Stop: When this field is activated, the recording stops automatically after approximately 16 seconds of silence. This allows you to make, for instance, a record recording without having to worry about stopping it at the end. Automatic CD Track Recognition: When this field is activated, Track Markers will be set automatically at the end of pauses between songs. Note: If you only have one sound card in your system and want to use this feature, you will need a full-duplex capable sound card. Check the capabilities of your sound card for this functionality. MAGIX audio studio will generate an error message if your sound card is not capable of working in this mode. Also, this option is grayed out until the first track is recorded. Create VIP object with name: MAGIX audio studio 2005 deLuxe allows you to choose whether you want to automatically create objects in a VIP once you are done with the recording. If you check this box a new object is created for every recording take and inserted at the play cursor location and in the track(s) you enabled for the recording. If the box is unchecked MAGIX audio studio will not create an object but rather open the Wave project with the contents of the recorded audio material. Monitor: This checkbox activates the VU meters. Most sound cards also allow you to preview the audio signal you are about to record and depending on the features of the sound card, you will be able to monitor the recorded signal during the recording. To keep the system requirements down, you may wish to disable the monitor function if it is not crucial to the recording you are doing. This will lower demand on the
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computer system, which may be required if you are working on a slower system. During the recording, the meters will react more slowly due to the priority level change. The most important task is to keep the recording error free. For this reason, MAGIX audio studio will switch the updating of the VU meters to a lower priority to not overload the computer system. This results in a slower reaction time of the meters. The levels are still shown with the correct values. Also, if you use lower buffer settings, the meters are updated in faster intervals. Recording level: This display indicates that the signal level to be digitized is correctly set. Play the loudest part of the material to be recorded and watch the display. Low-level recording leads to a loss in sound quality, while high-level recording can produce unpleasant clipping sounds. Set the recording level either directly at the sound source or in the Sound cards Mixer Window. To access this window, click on the level control tab. To obtain the best results, set the sound cards level controller as loud as possible. Record Time: This counter indicates the length of the actual recording in minutes, seconds, and milliseconds. Disk Space: This counter shows you the available disk space in total track minutes for the selected sample rate and record mode. This counter does not decrease during the recording. It is updated after the recording takes place. Tuner: For tuning guitars and other string instruments. A calibrating line appears when the A0 note is played. If deviating tones are played, the deviation can be read on the basis of the calibration line and the numerically indicated pitch is corrected accordingly. Record Offset: This option allows you to specify an offset, which is calculated in samples. Sometimes it is necessary to compensate for any delays due to processing speed and other factors, such as your sound cards ability to switch between playback and recording mode. Delays can occur between the recording and the playback of audio when the Playback while Recording feature is turned on. This option allows an adjustments if this occurs. Good values to start with are in the 20-2000 sample range. 536
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Help: This brings up the context sensitive help system with information on the features in the Record Parameter dialog. New (Button 1): The path to the left of the button indicates the location of the audio file that is to be recorded. If you click on the New button you may enter a new name for the audio file or a new location. This is an easy way to target specify directories or hard disks as destinations for the new audio files. If you select a new name, the Wave project is renamed as well. New (Button 2): The path to the left of the button indicates the location of the VIP file you are working with. You may reassign the VIP to a new location on a hard disk or in another directory. If you specify a new VIP name, a new VIP is generated with only one track of the same type as the mode that is specified in the Record Mode section in the Record Parameter dialog. Set Marker 1: You can drop markers into the project. The current position of the play cursor is used to drop a marker at positions you want to select for later clean-up or similar tasks. Record: Starts recording by activating this button. Stop: Stops the recording process. MAGIX audio studio 2005 deLuxe will ask you whether you wish to keep the recording or delete it. Should the computer become overloaded due to swapping data or hard disk access for example, simply interrupt the recording with a click of the right mouse button or the space key. OK: Closes the Record Parameter dialog. Key: r (second r starts recording)
Multi IO Monitor
This function lets you monitor the input level of all routed input devices on the LED peakmeters in each track. Before starting the monitoring you have to select the proper wave input device for each track. This can be done with the track info dialog (yellow track info button) or with right mouse clicks on the Rec button in the VIP track. Then select the tracks for recording with a left mouse click. 537
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Project Properties>Mixer Setup
Opens the mixer setup dialog where you adjust the general settings for the mixer routing design. Please refer to the mixer chapter for details!
Project Properties > Playback Options

See menu Playback!
Project Properties > Media link

This is one of the most powerful features of MAGIX audio studio. With this option you have the opportunity to synchronize media files such as MIDI files or AVI files. These can be complete MIDI songs or sequences (*.MID files), Video clips (*.AVI files) or other files for which a MCI driver is installed in Windows.
Synchronizing MAGIX audio studio projects with MIDI songs: Since MAGIX audio studio offers synchronization with media files, you can set audio tracks to an already existing MIDI song. Certain audio effects in VIPs can be perfectly positioned on MIDI material (e.g. drum loops, scratches etc.). Otherwise, a project recording can be synchronized with the MIDI file, so that MIDI and audio material will play simultaneously. Please note that the MIDI file is always played through the selected MIDI device in the Windows Control Panel. 538
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Synchronizing of MAGIX audio studio 2005 deLuxe projects with Video-for-Windows movies (AVI) With this capability MAGIX audio studio is an excellent tool for film music arrangements. Film and video clips are recorded as AVI files. A MAGIX audio studio virtual project can then be synchronized with it. The music, original sound, voice tracks, effects and much more can be adjusted on the time line and played with the AVI video simultaneously. As the final step, the audio signal can be recorded back to the videotapes original audio tracks or mixed for broadcasting. File Name: Here you can specify the file name and directory where the media file is located. By clicking on the ? button you will receive a file requester dialog that allows you not only to look for the location on your hard disk(s), but also lets you specify which media file type you are looking for. Once you have found the media file, simply click on OK and MAGIX audio studio will make the link. SMPTE Offset: The Offset allows you to specify a different start time for the media file. The default is a zero position, which means that the media file would be started at exactly 0 position, which is the beginning of the file. If the offset is different than the 0 position the playback of the media file starts at the position you entered. Here is an example: Lets assume that we are working on the audio for an AVI file and the audio section does not appear until 15 minutes into the AVI file. It would be unnecessary to create 15 minutes of empty space at the beginning of the VIP in order to line up the AVI frames and the audio. Instead we can specify an offset of 15 minutes and the AVI file would start playback at 15 minutes into the video file. However, all the audio in MAGIX audio studio 2005 deLuxe would start at position 0. It makes good sense to write down the offsets you are specifying for the individual projects you are working with. This way you can easily identify offset references for your work. Play Always: This checkbox allows you to specify whether MAGIX audio studio 2005 deLuxe is to play the media file every time you start playback or recording in MAGIX audio studio. If you uncheck the option MAGIX audio studio will not play back the media file. This is a quick way to turn off the playback of the media file. 539
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Load Always New: If this option is checked, MAGIX audio studio 2005 deLuxe will always load the media file for every playback or recording of your VIP or Wave project. If the box is not checked the playback of the media file is performed with the contents of the memory. If the media file is too large for the buffers, the playback is performed from the hard disk. On faster computers, the real-time preview can be used. Using the preview, a specific setting can be easily examined before it is written back to the sample. On a Pentium with 90 MHz or higher, all 3 bands can be calculated in realtime and played back simultaneously! Extract audio from AVI: If the file type is an AVI file with video and audio data, audio streams are extracted from all other information and the audio information itself is put into a Wave project. This allows you to extract and edit the audio apart from the rest of the contents in the imported file. Replace Audio in existing AVI: This option performs a track bouncing of the current VIP into 1 WAV file. This file is merged into the selected AVI file, so the AVI gets a new audio track. Create AVI / Audio Copy: This option performs a track bouncing of the current VIP into 1 WAV file. The AVI file is copied to a new file, which contains the new audio track. This option keeps the original AVI. Play Video without sound: This option applies for AVI files only. If the AVI file contains audio the playback of the AVI file and its audio could interfere with the audio playback in MAGIX audio studio. For this reason, it is suggested that you turn the audio playback for the AVI file off. Video in MAGIX audio studio window: This option also applies to the AVI file playback only. Normally, the AVI file is played back in a completely independent window. This means that if you run the MAGIX audio studio window enlarged you will not see the playback of the AVI window. You would need to minimize the MAGIX audio studio window or scale the window in order to display both windows on the screen. However, by checking this option you can display the AVI window as another MAGIX audio studio related window, which always stays on top during 540
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playback. This allows you to display the AVI movie at any time the playback or recording in MAGIX audio studio takes place. Show Video Track: This is a new feature in MAGIX audio studio! With this option, you can display a video track in the VIP window, which shows individual frames of the AVI file. In the upper left-hand corner of the VIP window, the current frame is displayed when clicking the play cursor at a particular location in the VIP tracks. This allows you to position audio events and material at exact frame positions. If you zoom into the window, the video track is also enlarged, showing the video frames at a lower zoom level as well. If you select to display the window at its lowest zoom level, each frame is shown in the video track. FX: The FX option allows the adjusting of small delays that can occur on slower computer systems for example. The linking of media files with VIP or Wave projects is based on two playback processes, one for the MAGIX audio studio 2005 deLuxe window and one for the media file window. No synchronizing of material takes place during the playback process. This means that on computers that have timing problems due to insufficient system resources or speed the digital audio tracks and the media file may run out of sync. With the FX option you can specify a factor that is used to do internal sample rate conversion. How does that work? Since we cannot influence the playback speed of the media file, we need to adjust the playback speed of the digital audio tracks. Imagine that a normal playback speed is represented with a factor of 100. If the digital tracks play ahead of the media file, the playback needs to be slowed down. This would be accomplished by multiplying the regular playback speed of 100 with a FX factor just a little below 1, for example 0.998. This would result in a playback speed of 99.8, which is a little bit slower than the regular speed. This way we would align the digital tracks with the media file. On the other hand, if the digital audio tracks lag behind the media file playback, a factor higher and 1 would need to the entered. A value of 1.002 would be an example. Rule of thumb for this factor is to use small value increments. The values should stay around 1. You will need to experiment with this setting, since there is no hard rule about the system performance of an individual computer system. 541
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If you do not have any problems with the digital audio tracks and the media file playback staying in sync, you should not enter any values in this field! Remove Link: This button will unlink the media file from the MAGIX audio studio window. This effectively stops all association with the media file. If you do not need any further referenced to the media file, you may use this option. Preview: The Test button allows testing of the current link. By clicking the button the playback of the media file should commence. If no playback is visible in a MAGIX audio studio window, you may need to check the Video in MAGIX audio studio window option for AVI files. Other media files should be playing back through the Windows multimedia extension, such as the MIDI file player.
Project Properties > Text Comments

You can enter text comments to the current project via a simple text editor. This text can be displayed at each new opening of the project. This will preserve important information about the project together with the audio material.
Project Properties > Units of Measurement

See Menu View!
Project Properties > Snap and Grip Setup

See Menu View!
Project Properties > CD arrange mode

See Menu CD !
Destructive Wave Edit Mode

See Menu Edit > Wave Editing!
Project Information
This will show you information on the current project. This includes creation date, memory size, path and file names. For virtual projects, a list of all included physical files is displayed. Virtual projects also display a list of linked Wave projects. Volume Reduction in Virtual Projects: The Project Information dialog features a setting for the volume attenuation in 6 dB steps. This setting allows you to adjust the main volume output of virtual projects. Theoretically, each track of a 4 track stereo project must be reduced by 2 bits (12 dB). In the real world application, tracks are often not recorded or played back at the maxi-
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mum level so that the reduction can be adjusted accordingly. However, raising the volume reduction setting may result in clipping. Please keep in mind that MAGIX audio studio reduces the volume of Wave projects to the setting in the virtual project that uses the Wave project. This allows you to switch between the VIP and the Wave project without the usual encounter of volume differences between the project types. If a Wave project is opened by itself (without using the Wave project in a VIP), MAGIX audio studio automatically uses the maximum volume playback. Key: i
Synchronization
MAGIX audio studio 2005 deLuxe will slave to SMPTE/ MTC/MC and can act as the master for MIDI Clock and MIDI Time Code. Please note, that in most cases the slave sync functions work more stabile under Windows95 than the master mode! To run MAGIX audio studio in multitasking with a sequencer a MIDI connection must exist between the sequencer and MAGIX audio studio. That can be done through simple connection of a MIDI input to a MIDI output with for example a MIDI interface of a soundcard. Better is an internal combination of the programs through
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a Multi MIDI driver (available as shareware software, e.g. Hubis MIDI Loop back), which connects the output of one program to the input of another one. Keep in mind that one program will need to act as the master, while the other takes the position of the slave. Select the modes in the programs accordingly. Starting and stopping is done from within the master. If possible MAGIX audio studio should be the slave! If MAGIX audio studio needs to be synchronized to a tape machine, such as a video recorder or a multi-track recorder, a SMPTE interface with Windows driver is necessary. Internally the computer interfaces process the SMPTE code as MIDI Time Code (MTC). You can also use an external SMPTE to MTC converter and feed the MTC signal to a MIDI input port on a MIDI interface in the computer. MAGIX audio studio supports real chase lock sync (MIDI Clock and MIDI Time Code/SMPTE). This means, that the internal sample rate of MAGIX audio studios playback or recording is varied in small steps, so that MAGIX audio studio can follow little timing changes of the sync master. This is very useful when using sync between a tape or video recorder (master) and MAGIX audio studio (slave), because most tape machines always produce small pitch changes, which results in delays between the tape and MAGIX audio studio, when not using chase lock sync. If the timing changes are too big, MAGIX audio studio produces heavy pitch changes, which may be reduced by entering smaller values for the Sync Velocity in the sync dialog. Try values of 200 or more, when you need fast pitch changes in sync mode! In the lower right status bar you can read the actual/maximal pitch change in cents (1 cent = 1/100 halftone). Please know, that the chase lock sync performs a real time resampling (if not using ARC44/88 sound cards), which needs a certain processing power, so be carefully on slow machines! When receiving SMPTE/MTC you can start and stop playback with the space key MAGIX audio studio 2005 deLuxe will always be in sync! MIDI Clock Input Device: Here the driver must be selected from which MAGIX audio studio 2005 deLuxe will receive MIDI Clocks for the synchronization. BPM: Here the tempo must be entered, with which the MIDI Clocks should be received. 544
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SMPTE/MTC Input Device: Select the device driver through which MAGIX audio studio will receive the SMPTE/MTC signal. MTC Output Device: Select the device driver through which MAGIX audio studio 2005 deLuxe will send the MIDI Time Code master signal. Type: Select the proper frame rate. Use 24 frames for cinematic synchronization, 25 frames for PAL video, and audio synchronization, 30 frames for NTSC video. Pre-roll-Frames: You can specify, how many frames MAGIX audio studio 2005 deLuxe is to ignore before the synchronization starts. Here you can account for the fact, that certain analog instruments need time to reach the correct speed. In order to have MAGIX audio studio link up to the proper time values, a certain pre-roll frame count can be specified. Sync Velocity: You can specify how fast MAGIX audio studio follows a pitch change of the sync master. A value of 100 is good for normal purposes. If you need faster pitch changes, try 200 or 300. If you want to reduce the pitch changes in MAGIX audio studio try a setting of 50 or 30! SMPTE-Offset: The SMPTE offset is indicated in milliseconds and in SMPTE frames. The offset is removed from the incoming SMPTE time code signal to line up differences between tape material and recorded samples in MAGIX audio studio. With an offset of 60:00:00 milliseconds (1 hour) a tape that was previously stripped can be synchronized, if the start point for the recording/ playback starts at 1 hour. MAGIX audio studio will, however, start at the correct beginning position. FX: With this parameter, possible inaccuracies during the positioning of long samples can be equalized. Requirement is a flawless synchronization at the sample beginning. Follow the instructions in the chapter Problem Solutions. Shortcut: key g
Track Information
Please refer to menu Track!
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Program Preferences > VIP Mouse Mode
This submenu makes the following selections available. (These are also accessible via the Mouse Modes Toolbar.): Universal Mode: This is the default mode in MAGIX audio studio. All necessary functions can be executed with the left mouse button. The right mouse button accesses a context sensitive pop-up menu. The vertical position within each VIP track determines between Object handling or marker and range manipulation. The upper half of a track lets you select ranges and set the position of the play cursor. The lower half of the track makes object selection and manipulation possible. Object handles, and volume and panorama curve events take precedence and can be modified at any position within the track. Range Mode (Secure Mode): This mode lets you only modify the ranges and the play cursor position. Using two special keys, additional functionality is available: If the period key is pressed, MAGIX audio studio changes temporarily into the Object Mode. Once in the Object Mode you can easily select and manipulate objects. Pressing the Minus Key - key, MAGIX audio studio temporarily changes into the Curve Mode. In the Curve Mode, you can change the volume and panorama automation curves. These special functions provide a way to quickly reach all of the important functions, while protecting an object from accidental moving. This is why this mode is also called Secure Mode! Cut Mode: You can use the mouse cursor like a pair of scissors to crop objects. Pitchshift-/Timestrech mode: The lower right tab allows compression or stretching of an object. A time stretching effect is created: The object is not played as a loop or shorter version, but simply in a different play tempo. Using the centre tab, the pitch can be altered using pitch shifting. Curve Mode: The Curve mode allows you to manipulate existing volume and panorama automation curves. Draw Volume Mode: The left mouse button draws volume automation curves. Before using this mode, make sure the V button for the desired track is active.
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Draw Panorama Mode: The left mouse button draws panorama automation curves. Before using this mode, make sure the P button for the desired track is active. Scrubbing mode: You can listen to the spot in an arrangement at which the mouse is currently located in this mouse mode by pressing the mouse button. The replay cursor therefore follows the mouse movements. Zoom mode: Right mouse key: Left mouse key:
Zooms out of the project Zooms into the project
Context Help mode: Click onto the object or subject for which you request further information.
Program Preferences > Wave Mouse Mode

You can select between two draw modes for Wave projects (HD and RAM Wave projects): Ranges Mode: The left mouse button is used to set the real-time cursor, select ranges, and markers (default). Draw Wave: In this mode you can use freehand drawing to manipulate the waveform. This is useful to correct single samples, small distortion peaks, clicks etc... Please use a zoom level of 1:1 or larger for exact handling! Draw Volume: In this mode you can draw the volume of the sample, e.g. to create a special fade curve. The middle of the display is volume 100%, the lower border is volume 0%, and the upper corner is volume 200%.
Program Preferences > Edit Keyboard Shortcuts

This dialog allows you to customize the keyboard shortcuts for all menu functions in MAGIX audio studio. This makes it possible to assign your popular commands to specific keys and key combinations for a quick recall. The shortcut settings are saved to the file MusStu40.ini in the Windows directory when exiting the program. The next time the program is loaded, the customized shortcuts will be retained. The most important aspect of the dialog is the display of the MAGIX audio studio menu tree. You can select which menu option is to be reassigned a new key. To accomplish this, simply click on the desired menu option in the tree
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and then on the New Shortcut box. Next, press the new key or key combination and press or click on the Assign new Shortcut button. Any possible combination of Shift, Alt, and Ctrl with other keys is possible. Please do not use the space bar, ESC, or the Insert key. These functions are hard coded into MAGIX audio studio and cannot be changed!
Program Preferences > Object Lock Definitions

Restore default: This will return the shortcut assignments to the default settings of MAGIX audio studio 2005 deLuxe. Show Shortcut list: This opens another dialog that will show a complete list of current shortcut assignments. This list can be copied to the Windows Clipboard with the Copy button for further processing with a text editor to print a hardcopy of the list. Load Shortcuts: Previously loaded shortcut assignments can be loaded with this button. Save Shortcuts: The current shortcut assignments are saved to a new file name with the extension *.ssc. Delete: Deletes the selected shortcut. Assign new Shortcut: This will assign the value in the New Shortcut box as the new shortcut for the respective menu function.
Program Preferences > Change Toolbar style

You can change the style of the toolbars into 3-D or a flat look. You have to restart MAGIX audio studio if you changed the toolbar style.
Program Preferences > Edit Toolbars

With this command you open the tool bar editor for the according toolbar. The same function can be called by rightclicking on the tool bar. All tool bars are customizable. You can customize any toolbar by adding or removing any command, which is available as a toolbar icon. Inside the toolbar editor there is a context-sensitive pop-up help.
Program Preferences > Reset Toolbars

This menu lets you reset several toolbars. 548
Menu Options
Program Preferences > Enable VIP Tool tips
ToolTips are small information windows that open up automatically if the mouse pointer stops briefly on a button or some other area. They provide information about the buttons function. These information boxes can be switched off or on with this option.
Program Preferences > Grid Setup

See Menu View>Snap setup!
Program Preferences > Video Height

MAGIX audio studio allows you to link to an AVI file. The AVI movie is played back whenever the VIP or Wave project is played back or recorded into. If the option to display the AVI frames in the VIP window, the height of the AVI pictures is determined with this setting.
Program Preferences > Font Selection

MAGIX audio studio will also let you specify the font used for text display in the various objects.
Program Preferences > Font for Time Display

This option lets you select the display font for the Time Display (Window->Time Display).
Program Preferences > General / Directories

See System!
Program Preferences > Colors

MAGIX audio studio lets you specify the color for various areas of the screen. Use this menu option if you want to (see above, System)
Program Preferences > Options for the track marker detection

In the recording dialogue there is the possibility of employing automatic CD track marker recognition. With vinyl recordings, for example, a track marker is automatically set where pauses occur.
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Minimum pause length: The higher the value, the more difficult the identification of pauses. On the other hand, if the value is too low, short breaks within the title can be identified as pauses. Minimum track length: A new marker is only set when the minimum amount of time has passed between the last Track Marker and the following pause. If you want to record a tape with current pop-songs on a CD, you can determine the length of pauses. On the other hand, if you have a tape with samples or sounds, you should determine this time. Maximum (Minimum) Pause level: During the first step, MAGIX audio studio 2005 deLuxe searches for useful volume values for the identification of pauses. If too many pauses are found (and therefore false), you should move both controls a bit to the right, if too few pauses are marked, move them to the left. Record side or CD Identification: Sometimes you may want to record both sides of a record immediately without interrupting the recording on the computer. Normally the result is a very long audio file that contains part of very low volume in the middle, as there was no knocking or hissing to be heard during the record or tape turn over. In this case, MAGIX audio studio 2005 deLuxe only identifies this as a pause, recognizes the situation, splits the object on this position into two new objects and tries it again on each of these new objects. The sounds produced by turning over the record or tape will usually be eliminated. You will get a better hit-rate if you determine the minimum length of your record or tape side. Here are some suggestions: Single: 10 Minutes Record: 15 Minutes 60 Tape: 25 Minutes 90 Tape: 40 Minutes
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If you know for sure that there will not be a recording of both record sides, turn this function off.
Program Preferences > Undo Definitions

The depth of undo can be specified when working with VIPs. A value of 20 means that the last 20 changes can be undone.
Program Preferences>Draw Setup

See Menu View > VIP Display Mode > Definition!
System
In the System menu, you have options to fine-tune MAGIX audio studio. You can specify parameters such as paths and play and recording buffers.
System > Playback / Record Devices Naming and rearranging devices

You can: disable several non used input/output device by unchecking the box reorder the devices with the Order buttons name your devices to be more expressive by pressing Rename obtain capability infos by clicking Device info
Buffer settings
The Buffer settings in MAGIX audio studio 2005 deLuxe are an important aspect of customizing your digital audio 551
Menu Options
workstation. For most part, your CPU and hard disk speed will determine the maximum number of tracks and realtime processing in MAGIX audio studio. However, the buffer settings in MAGIX audio studio are used as an internal cache, allowing the program to operate with a higher number of tracks than usual applications. Buffers are used extensively to cache the written and read data. Since the computer does not always deliver the audio data in the right sequence, MAGIX audio studio has to do some shuffling in order to play back and record the audio data properly. This organizing of the audio data is done in the internal cache for each of the buffer types. It is important to remember that the larger the buffer size, the more sluggish MAGIX audio studio will react. Since the buffers are larger, it takes more time to reset or load them when a playback or record command is initiated. The buffer number is multiplied with the individual size of each buffer type. For example, a VIP buffer size of 8000 samples would result in a total VIP cache of 40000 samples, if the buffer number is set to 5. This is close to one second worth of audio material (44100 samples / second for a 44.1 kHz, 16-bit audio file). If you own an extremely fast computer system with a fast hard disk for audio recording, you may safely decrease the number of buffers, not necessarily the buffer sizes. It is recommended that you change the buffer number first, before increasing or decreasing the individual buffer sizes. Also, note that some sound cards may not work very well with buffer sizes larger than 8000 samples! Use the settings in this dialog to customize MAGIX audio studio. Especially the buffer settings take a little experimentation to find the best combination of buffer sizes and buffer numbers. The status bar in the lower right-hand corner of the MAGIX audio studio screen helps you with this task. The buffer activity is displayed in this status bar and a display of Buf: 2/8 Max: 2 Err:0 means that you are currently using 2 out of a maximum of 8 buffers (setting in Buffer Number), that the maximum number of buffers used is 2, and that no errors occurred during the playback or recording. If you notice that MAGIX audio studio never goes beyond a certain number of buffers, you may safely reduce the setting in the System Properties dialog. It is difficult to give suggestions for the buffer settings. Each computer system is completely different. The CPU speed and the hard disk performance determine in large part, how the overall system performs. Based on this performance, the buffer settings need to be customized. For faster systems, you will not need to make any setting
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changes. Unless you are seeing performance problems in MAGIX audio studio, we would suggest sticking with the default settings. RAM Buffer: This parameter allows you to control the size of the RAM Buffer. The RAM Buffer is used to record and playback audio from RAM Projects. The default size is 4000 and will generally perform well, but you can try smaller sizes for quicker response time. To alter the RAM Buffers size, click on either the or + buttons (left or right of the parameter box). HD /Scrubb Buffer: This parameter allows you to control the size of the HD (hard disk) / Scrubb Buffer. This Buffer is used to playback audio from Hard Disk Projects (HD Wave). The default size is 4000 and will generally perform well. However, you can try smaller sizes for quicker response time, or larger sizes if you experience drop-outs or errors. To alter the HD Buffers size, click on either the or + buttons (left or right of the parameter box). VIP Buffer: This parameter allows you to control the size of the VIP (Virtual Project) Buffer. The VIP Buffer is used to playback and manipulate audio when in the VIP window. The default size is 8000 and will generally perform well. However, you can try smaller sizes for quicker response time, or larger sizes if you experience drop-outs or errors. To alter the VIP Buffers size, click on either the or + buttons (left or right of the parameter box). Realtime Buffer: This parameter allows you to control the size of the Realtime Buffer. The Realtime Buffer is used when applying realtime mixing Automation and realtime Effects or DSP. The default size is 8000 and will generally perform well. However, you can try smaller sizes for quicker response time, or larger sizes if you experience drop-outs or errors. To alter the Realtime Buffers size, click on either the or + buttons (left or right of the parameter box). Buffer Number: The number you specify here is a factor by which all of the above Buffer sizes are multiplied, to determine their final cache sizes. The default is 4. For example, if you specify 4 as the Buffer Number and each of the above Buffer sizes is 8000, here is the equation used to determine the final cache for each Buffer. 4 (Buffer Number) * 8000 (Buffer size) * 4 bytes per stereo sample = 128Kb for each Buffer 553
Menu Options
HD Record Buffer: This parameter allows you to control the size of the HD (hard disk) Record Buffer. The HD Record Buffer determines the block size of the data written to disk when recording Hard Disk Projects (HDPs). The default size is 16000 and will generally perform well. If you wish to change the block size written to disk, alter the Realtime Buffers size by clicking on either the or + buttons (left or right of the parameter box). Use Record Buffer Size...: This option determines at which point MAGIX audio studio will use the HD Record Buffer. For example, if 16 is selected, the Record Buffer will not be used until a Track Count of 16 has been reached. ASIO-Software monitoring with Track-Effects: With this option you can use MAGIX audio studio as an external effects device. For this, you need an ASIO driver for your soundcard.
System > Paths/Skins Paths

This dialog is the place to set the default folders for the HDP, RAP, VIP and Session files. MAGIX audio studio uses these folders to store the various files. Unless you assign a different path and folder to a project, MAGIX audio studio will use the settings specified by you in this dialog. Im/Export: This parameter allows you to specify the default Path (location) for Files that are either Imported or Exported to/from MAGIX audio studio. Click on the ? button (to the right of the parameter box) to browse to the desired Path. HD-Projects: This parameter allows you to specify the default Path (location) for Hard Disk Projects (HD Wave). Click on the ? button (to the right of the parameter box) to browse to the desired Path. RAM-Projects: This parameter allows you to specify the default Path (location) for RAM Projects (RAP). Click on the ? button (to the right of the parameter box) to browse to the desired Path. Virtual Projects: This parameter allows you to specify the default Path (location) for Virtual Projects (VIP). Click on the ? button (to the right of the parameter box) to browse to the desired Path.
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Sessions: This parameter allows you to specify the default Path (location) for saved Sessions. Click on the ? button (to the right of the parameter box) to browse to the desired Path.
Skins
You can choose between two alternate Skins for VIP, Mixer and Transport control. Skins are alternate bitmap and .ini files, which are placed in a subdirectory in the .\bitmap directory. If they include a mixer.ini, transport.ini or vip.ini, the subdirectories name is listed in the selection box. So copying your bitmap directory in a subdirectory below and experimenting with graphic software is maybe a nice waste of time to customize your personal MAGIX audio studio look. Shortcut: Shift + y
System > View options

Please refer to Menu View, VIP Dislpay Mode! Shortcut: Shift + Tab
System > Colors

Select this option to change the Colors of many of MAGIX audio studios display drawings. You can select any color you like for such options as Sample foreground and backgrounds, Curves, VIP Arrangement backgrounds, Oscilloscope colors and so on. MAGIX audio studio 2005 deLuxes default colors have been carefully chosen to complement most working situations, but many variations are possible to suit almost any taste. The best way to find out how changing the colors affects the working environment is to spend a little time experimenting. Please remember that some variations are also available in the View > VIP Display Mode > Definitions menu item. Note: Be careful when choosing your custom Colors; its possible to choose colors which will result in a screen that is unreadable. For example, If the Text and Background share the same Color, you wont be able to see the information in the window. The default Color scheme can be restored at any time by choosing the Reset All Colors To Default option. 555
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System > Program Options
Performance Display: This menu option lets you enable the DSP power display in the lower left corner of the screen. Always be sure to use less than 100% to avoid the system hanging during playback. If your project needs too much processing power, you can: Reduce the number of DSP effects in the Mixer or in the Object Editor. Reduce the number of Tracks with audio Objects. Increase the VIP buffer size in Menu System>Playback/ Record Devices to 16000 or 32000 samples. The status bar will display suggestions to remedy problems if the processing capabilities of the CPU are exceeded (for example during use of the Noise Reduction or FFT Analyze Filter ). Disable Menus and Buttons if Function is not available: Click on (enable) this option and MAGIX audio studio will gray out functions that are not available. IE: Some of the functions under the Effect Menu are not available while working in the VIP window (they can only be applied Destructively). In this case, the functions that are unavailable will appear grayed out. If this option is not enabled, ALL functions will be listed normally whether they are available or not. It is recommended that you enable this option. 556
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Opens VIP and Record Window on Program Start: Click on (enable) this option and MAGIX audio studio will automatically open a VIP and Record window when the program is started. This option is enabled by default. Open Wave Projects in destructive editing mode: MAGIX audio studio 2005 deLuxe offers a non-destructive editing mode for wave projects which is pre-setted. That means: All cut operations, effect settings, volume level changes, fades, and more are completely virtual in VIPs and in Wave Projects (WAV, RAP, HDP), meaning that the audio material is not destroyed! This allows you to select the proper cut position, cut length, volume level, effect setting, etc. by experimenting without loosing audio material or alter it. The workspace menu at the bottom left of the wave project screen lets you select between destructive editing and Wave editing (non-destructive editing). If you prefer the destructive editing you can select this option for opening wave projects in destructive editing mode. Check Space Key for Playback Stop also in Background: Click on (enable) this option and MAGIX audio studio will continue checking the Spacebar (to stop playback) while multi-tasking in another program. If you wish to use the Spacebar in the other program (without stopping playback), do NOT enable this option. Pentium III Optimizations: MAGIX audio studio is designed to utilize the PIII algorithm extensions. If your PC has a PIII, enable this option. Preview Time (Seconds): This parameter lets you specify the length of ALL calculated Previews (in seconds). For example, if you set this parameter to 10 seconds, when you click on the Preview button in the Room Simulator, MAGIX audio studio will calculate a 10 second Preview of the results. Dithering Options/Trackspeed Settings/Undo Definitions/Object Lock Definitions: You have a direct access to this menu items. Please refer to the corresponding chapters of the menu Options! OK: Click on this button to accept the current settings and close the System window. 557
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System > Midi Options (Metronome)
Here you can set a metronome to help keep in time with the beat during recordings. You will require soundcard with MIDI functionality and/or an external MIDI instrument to provide the metronome click.
Active during recording: This option allows you to hear the metronome click during recording. Active while playing: This option allows you to hear the metronome click while playing. Output device: Selects the device that will provide the metronome click (usually the soundcard). MIDI Channel: Sets the MIDI channel, through which MIDI commands are sent. Tact / Tact velocity: Here you can set the various notes and velocities for the first beat of each tact and/or the subsequent tacts.
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Menu Window
Cascade
This function arranges all open windows in a cascade style.
Tile
All open windows are moved next to each other, making use of the whole display area. This is useful when dragging physical sample ranges into VIPs. Keys: Return/Enter
Untile
This function will return the window order to the previous state. Keys: Shift + Return.
Arrange Icons
All icons are rearranged along the lower portion of the screen.
Toolbar
Shows or hides the upper toolbar .
Position bar
Shows or hides the positioning bar on the lower portion of the display.
Mouse Mode Toolbar

Shows or hides the mouse mode toolbar with buttons to select different mouse modes in VIPs.
Range bar
Shows or hides the range bar on the lower portion of the display.
CD bar
Shows or hides the CD bar on the display.
Workspacebar
Workspaces should help you to organize the huge amount of menu items and toolbar buttons to get a better overview over the functions of MAGIX audio studio. There are several items in the menus, toolbars and toolbar entries, that you never use, or only use at a certain point of your workflow.
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Menu Window
The possibilities to hide menu items (Menu Options > program preferences > Edit Keyboard shortcuts and menu... and toolbars (Menu Window) and reorganize the contents of the toolbars (Options > Program preferences > Edit toolbars or simply right-click a toolbar) are present in former versions of MAGIX audio studio. A workspace brings this all together and offers the ability to save such a setup under a certain name. Several workspaces are predefined by the MAGIX audio studio team for different working tasks like recording, editing or CD mastering. The workspace Power User shows every toolbar and menu item, use this if you are an experienced user or if you want to build your own custom workspace. Create a new Workspace with New Workspace, the currently chosen settings are copied to this workspace and all changes from now are stored in this workspace, you dont have to save the workspace explicitly. If you are in Wave editing mode, you can choose between Wave Editing and the old Destructive Editing mode" and all workspaces, marked as use for Wave Editing. The mode Power User is marked for use in Wave Editing mode by default. Edit workspace: In the upper area you can select the toolbars to show, in the middle area you can customize the several toolbars, Edit menu calls the Menu Options > program preferences > Edit Keyboard shortcuts and menu... command
Button bar
Shows or hides the Button bar on the lower portion of the display. With the buttons on the button bar you can open / close the main windows of MAGIX audio studio
Status bar
Shows or hides the status bar on the lower portion of the display.
Time Display
Shows or hides the time display window. This window always shows the actual time position in the actual format. You can change this format with the menu Units of Measurement. We recommend the SMPTE format:hours:minutes:seconds:frames. The colors and the font for the display can be changed in the File->Preferences. You can zoom the window to any size and position it anywhere on the screen! 560
Menu Window
Mixer
Opens the mixer. Please refer to the Mixer chapter!
Visualization
The Visualization Meter is a floating control which enables you to meter (measure) the audio in a variety of ways. The meter is invoked from the Window >Visualization menu. The meter can be resized and rotated to suit the user. The settings of the Meter can be adjusted by right clicking on the Meter and selecting the appropriate adjustment. MAGIX audio studio 2005 deLuxe provides you with a special window featuring multiple ways to display the original volume level and spectral structure of your projects. Default setting is a high resolution stereo peakmeter. By clicking on the Setup button in the upper left corner of the visualization window you can made all settings: Value/Range: You can set the minimum/maximum value for all visualization modes and for the peakmeter furthermore if it should show absolute peaks or RMS and the actual maximum value numerically. Speed: Here you define three different display speed for all visualizations, you can set custom values for the damping: set the time value in ms that the visualization needs to change its display, if the input value has changed by 10 dB. Peak hold: You can switch on/off Peak hold and define peak hold and decay time. Spectral options: Here you can make several settings for the Spectrum Analyzer visualizations Spectrogram and Spectrograph, the number of used bands, if the bands are distributed linear or logarithmic, how the bands value is calculated from the signal and the stereo options, where you can choose to display just left /right signal or the sum or difference of the two channels. Colors: You can set the color for the Osci/Correlator line/ grid/background and for the peakmeter/Spectrum bars. The latter can work in solid (3 fixed colors for minimummiddle-maximum value) or gradient mode (the three colors will be blended into each other). Reset all: all open visualization windows are reseted 561
Menu Window
Open new Visualization: Opens a new visualization window, where you can choose an alternate mode to have optimum control over the signal. You can have up to four visualizations windows open, three for playback and one for an input signal (opened by the record dialog). Load/Save preset: Choose from nice designed presets or save your own design for later use. Mode: You can choose between Oscilloscope, Peakmeter, Spectroscope (which is actually an spectrum analyzer), Phase correlation ( Goniometer) and Spectrogram (visualizes the spectral structure in time). Five metering types are available as follows:
Peak Meter
Oscilloscope
Phase Correlation
Spectoscope
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Menu Window
Spectogram
Tuner
For tuning guitars and other string instruments. A calibrating line appears when the A0 note is played. If deviating tones are played, the deviation can be read on the basis of the calibration line and the numerically indicated pitch is corrected accordingly.
Transport Control
MAGIX audio studio 2005 deLuxe provides a very cool transport console!
Start / Stop / Forward / Rewind Buttons: This allows positioning similar to that of a tape machine. Right-clicking the Playback button opens the Playback Parameter window for the stereo master operation. This lets you determine the sample rate, playback device, and the Scrubbing/Varipitch options. Record button: Starts the recording for all active tracks. This means that tracks with the red REC button enabled need to be configured with the proper recording devices 563
Menu Window
prior to starting the recording. Right-click on the REC button for each track to select the device. Right-clicking the Record button displays the Record Parameter window. This lets you make settings such as Playback during recording and also lets you record material directly from the Record Parameter window. Time Display: This displays the current playback position of the project. Double-clicking on the window lets you numerically enter a new playback position. Clicking the green arrow lets you set various units of measurement. L/R Time Display: This displays the length of a selected range and is editable by double clicking the display. Marker Buttons 1-12: Clicking on one of the marker buttons saves the current playback position to the button. If it already contains a previously saved position (marker appears in light color), the program will place the playback position to the saved position. A right click clears the button memory and allows you to store a new position to the button. Marker Button: This button open the Marker Manager for more detailed Marker editing. Punch Button: This button switch MAGIX audio studio into punch record mode. This means that the recording process can be started any time during playback. This is also called On-The-Fly Recording. This can be repeated numerous times. Punch In and Out markers are set automatically. You can stop a punch in recording process with another click on the Record button. However, this does not stop the playback of the project. Punch In Button: This sets the punch in position. Punch Out Button: This sets the punch out position. If the both the punch in and punch out markers are set, the punch recording can be started with the Playback button. The program will play back the project until it reaches the punch in point. At the punch in point the program switches into record mode and continues until the punch out marker has been reached. At the punch out marker the program switches back into playback mode and continues the playback until it is stopped. 564
Menu Window
Sync Button: This button opens the Synchronization window. Loop Button: The loop button activates the Loop mode, meaning that playback continues to loop through a previously selected range. RCMON Button: This button activates the Record Monitoring feature of MAGIX audio studio. All tracks that have their REC buttons activated are monitored with the peak meters. The inputs of the audio device(s) are directly routed to the outputs of the soundcard, if the soundcard offers this functionality (check with your soundcard manufacturer). This offers the same functionality as with real tape machines. Jog Shuttle: The jog shuttle wheel varies the playback speed. This can be used to audibly spot material in your project. Scrub >> & Scrub <<: These buttons allow you to scrub through your project. During scrubbing the playback of the project continues with varying speed while the playback direction can be changed. This also offers a convenient way of finding audio sections such as clicks or mistakes in the audio material.
Close all Windows

Closes all opened projects. Before closing a window/project, MAGIX audio studio will ask you whether you would like to save the project.
Hide all wave projects

This function will hide all Wave projects to make room for the display of the virtual projects.
Iconise all waveprojects

This function will reduce all Wave projects to their icons to make room for the display of the virtual projects.
Half Height
The MAGIX audio studio screen is shown in the upper half of the display. This is useful, when using a sequencer program in multitasking. So you can switch between MAGIX audio studio and the sequencer without the need of complete screen redraws. 565
Menu Window
1, 2, ...
Choose active window from the list.
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Menu Help
This menu contains the context sensitive online help functions of MAGIX audio studio 2005 deLuxe.
Help
Use this command to show the contents of the help.
Help Index
Use this command to show the index of the help.
Context Help
Use this command, to get help about any part of MAGIX audio studio.
About Help
Use this command for getting information about the online help system.
System Information
A window is displayed, containing information about the memory status and other parameters. Particularly useful is the display of the free storage on all connected disk drives, the used system resources utilized by MAGIX audio studio and the memory usage. Make sure the parameter for system memory used by MAGIX audio studio never grows larger than the displayed overall system memory available (physical RAM). If this happens, the performance of MAGIX audio studio is reduced caused by page swapping (virtual memory) done to compensate for the missing memory.
About MAGIX audio studio

Copyright notices and version numbers are displayed.
Online registration
Here you can register online as a MAGIX NetWorker.
Upgrade MP3 Encoder

The included MP3-Encoder allows you to use the program 20 times for free. After that, you may want to use the Upgrade-Option of the program. In the upgrade-dialogue your personal ID-code will be displayed. If you indicate this code to MAGIX you will receive the code for unlocking your MP3-Encoder. You just have to type in the code in the corresponding dialogue-box, confirm and then you can encode, encode, encode...
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Menu Help
Just inform us about your wish to upgrade via Internet link of the upgrade dialogue, by phone, fax or mail:
Europe:
Phone: +49 (0) 5741 3455 0 Fax: +49 (0) 5741 310 768 Mail: MAGIX AG, Borsigstrasse 24, 32312 Lbbecke, GERMANY
US:
Phone: 1.888.866.2449 Fax: 310 656 0234 Mail: MAGIX Entertainment Corp., 11440 W. Olympic Blvd. Please dont forget to name the information as follows: Key word: QDesign-Upgrade ID code Address In case of payment by credit card: Credit card number and date of validity In case of payment in advance: Stamped transfer bill In case payment by check: Signed nonnegotiable check
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Individual Mouse Modes

Universal Mode Right Mouse Button
Displays context sensitive pop-up menu.
Left Mouse Button:

Upper Track Pane Range: Selecting ranges and moving ranges (with Shift key). Play Cursor: Single click sets the real-time cursor anywhere in the track. Zoom: Double click outside of a selected range (or no range) zooms out. Double click inside a selected range zooms in.
Lower Track Pane

Selecting Objects: Single click selects objects (or group of objects.) Single click + Shift selects multiple objects, including all objects between the two clicks. Single click + Ctrl selects multiple single objects. Moving Objects: Dragging moves objects or object groups. Dragging + Shift moves objects or object groups up or down the track list without changing the time position. Dragging + key k move the object under the mouse pointer, plus all objects behind on the same track. Duplicating Objects: Dragging + Ctrl duplicates one or more objects. Dragging + Shift + Ctrl duplicates one or more objects, while allowing the objects to be moved up or down the track list without changing the time position. Lasso Function: Clicking next to an object while right dragging the marquee (lasso) across multiple objects selects the objects within the marquee. Clicking next to an object while left dragging the marquee (lasso) selects multiple volume or panorama curve events.
Complete Track
Object Handles: The upper handle changes the object volume. The changed level is shown in dB in the upper lefthand corner of the VIP. The upper left and right handles change the fade-in and fade-out of the object. Fade curve parameters can be set in the Crossfade Editor. The lower handles resize the object.
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Volume and Panorama Automation Curves: Double click on the automation curve creates a new curve event. Another double click on the same curve event deletes the event. Single click on an event selects the automation curve event. Selecting Events: Single click + Ctrl allows selection of multiple events. Dragging of a curve event moves the selected event. Dragging + Ctrl moves several events. To delete events, select the events and use Edit->Delete Handle.
Curves/Object mode
This mode differs to the universal mode only in as much that the track is not split in two halves. Play-cursor, fields and zooming are not set in the upper part of the track, but rather in the beat line above the first track. All other functions are handled by the universal mode (only, one needs to work with split tracks). The curves/object mode is less complicated to use and is therefore a default setting.
Range Mode (Secure Mode) Right Mouse Button

Left Mouse Button

Range: Selecting ranges and moving ranges (with Shift key). Objects or automation curves cannot be changed by accident (therefore called Secure Mode). Play Cursor: Single click sets the play cursor anywhere in the track. Zoom: Double click outside of a selected range (or no range) zooms out. Double click inside a selected range zooms in. Select Object Mode temporarily: Using the . (Period key) temporarily switches to the object mode, which allows moving of objects. Select Curve Mode temporarily: Using the - (Minus key) temporarily switches to the curve mode, which allows moving and manipulating of automation curve events. 570
Menu Window
Curve Mode Right Mouse Button
Context menu
Left Mouse Button

The left mouse key offers following functions: Volume and Panorama rubber band: When you click into the track near by an object, you can, by pulling the mouse to the left or right, spread a rectangle with the mouse key kept depressed. This will select all volume and panorama points contained within. Volume and Panorama graduations for the whole track: By means of the panorama and volume curves, volume and stereo panorama graduations can be graphically recorded. For this purpose sizing handles, which are moved are created on the curve. A double click on the volume or panorama curve creates a new handle, and a further double click will clear it. Selected handles may also be cleared by selecting the option clear handles in menu edit. You may select a volume or panorama handle by a single click. You will select further handles by holding the Ctrl key while clicking. When you click into the track on the right besides an object, you can spread a rectangle with the mouse key kept depressed. This will select all volume and panorama points contained within (rubber band function). You may move selected volume and panorama handles with the mouse. To move several handles the Ctrl key must be kept depressed while pulling.
Pitch-shift/Time stretch Mode Right Mouse Button

Context menu
Left Mouse Button

The lower right tab allows compression or stretching of an object. A time stretching effect is created: The object is not played as a loop or shorter version, but simply in a different play tempo. Using the center tab, the pitch can be altered using pitch shifting.
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Menu Window
Cut Mode Right Mouse Button
Context menu
Left Mouse Button

You can use the mouse cursor like a pair of scissors to crop objects.
Draw Volume Mode Right Mouse Button

Left Mouse Button

Draws volume automation curves into VIP tracks. The V button for a respective track needs to be active prior to drawing the volume curve.
Draw Panorama Mode Right Mouse Button

Left Mouse Button

Draws volume automation curves into VIP tracks. The P button for a respective track needs to be active prior to drawing the panorama curve.
Wave Edit Mode (only wave projects) Right Mouse Button

Context menu
Left Mouse Button

Free-hand drawing function for the wave format.
Scrub Mouse Mode Right Mouse button

Context menu
Left Mouse button

Scrub function. Click into project: Pre-listen with control over play tempo. The project will be played forward and back controlled by the distance of the mouse pointer from the actual play cursor position. The larger the distance the faster the play tempo. You can set 3 individual scrub modes in the play parameter window
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Zoom Mode Right Mouse Button
Zooms out of the project
Left Mouse Button

Zooms into the project
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Button Overview
Upper Toolkit Bars
When the program is first started, only the tools and mouse mode bars are opened in the upper right corner of the monitor. All further ones may be added via menu windows. All toolbars may be placed on the screen at discretion, and they are automatically arranged in the upper part of the screen by a double click onto the header line.
Tools bar (left)

1 2 3 4 5 6 7 8 9 10 1 New multi-track project 10 2 Open VIP 11 3 Open WAV file 12 4 Export/Store project 13 5 Cut 14 6 Copy 15 7 Insert 8 Split object 9 Undo 11 12 13 14 15 Redo Snap on Auto Crossfade Mode Crossfade Editor Group Objects Ungroup Objects
Tools bar (right)

1 2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 574 7 8 9 10 11 12 13 14
Set Marker Set Track Index Set Sub Index Set Pause Set CD End Auto Track Markers Make CD Play Once Play Loop Play into Range Stop Record Options Multi-I/O-Recording Mixer
Button Overview
Mousemode bar
1 1 2 3 4 5 6 7 8 9 9 10 2 3 4 5 6 7 8 9 10 11
Universal mode Range mode Curve mode Object and curve mode Cut mode Pitchshift/Timestrech mode Draw Volume mode Draw panorama mode Draw wave mode Scrubbing mouse mode Zoom mode
Lower Toolkit Bars Positioning bar (left)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 Cropping at start 2 Cropping to left 3 Half cropping to left 4 Half cropping to right 5 Half cropping to right 6 Cropping at end 7 Object edge left 8 Object edge right 9 Range to last marker 10 Range to next marker 11 Zoom in 12 Zoom out 13 Zoom all 14 Range as clipping 15 1:1 presentation
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Button Overview
Positioning Bar (right)
16 17 18 19 20 21
16 Zooming range 1 sec, 10 sec, 60 sec or 10 min 17 Zoom in vertically 18 Zoom out vertically 19 Zoom all vertically 20 Range as vertical clipping 21 Waveform zoom in/out
Range bar
1 2 3 4 5
1 Play cursor to start of range 2 Play cursor to end of range 3 Fold range to the left 4 Fold range to the right 5 Range editor
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Problems & Solutions

The following are solutions to some common problems.
I see markers with the letter E in my physical audio file and interruptions occur at those spots. What are they?
MAGIX audio studio 2005 deLuxe creates these markers automatically if during the recording the program runs out of resources and recording interruptions take place. This can happen if the computer is overloaded or not fast enough to do the processing of multiple tracks. Look at the pops and clicks section for some solutions to the problem.
I want to back up all my project files. What needs to be included?

When backing up project files all files need to be included that are associated with the VIP project! These files may include any of the following: *.hdp, *.h0, *.h1, *.vip, *.wav, *.s0, *.s1. To keep files organized we suggest that for each project or song you are working on, you create a sub-directory before you start working with the project and save/record all files into that directory. This can be done from the Record Parameter dialog.
I have pops and clicks in my material when I play back any audio.
Pops and clicks can sometimes occur with certain sound cards and system configurations. If it happens, it is most often during the recording of audio tracks. Especially when usingMAGIX audio studio in Windows 95 there are several things that can be done to remedy the problem: Make sure you use the latest driver for the sound card. You might need to contact the manufacturer of your sound card for an updated driver. Check to see that there are no IRQ or DMA conflicts with other devices in your system. The Device Manager in the Control Panel in Windows 95 might help you diagnose problems. The audio caching setting in Windows 95 might need to be adjusted. To do this, bring up the Control Panel and select Multimedia from the options. Next, click the Advanced tab and select the Media Control Devices option. In the Media Control Devices look for Audio Control De577

vice and call up the Properties. The following setting can be adjusted to solve some pops and clicks problems. Some problems with pops and clicks can be solved by editing the SYSTEM.INI file in the Windows directory. Look for a [Vcache] section and add the following lines: maxfilecache=4096 This should effectively solve the problem. The values for the parameters are Kbytes of file cache and can be adjusted depending on your RAM size. By disabling virtual memory a problem with pops and clicks or other playback or recording problems can sometimes be solved. Please refer to your Windows manual for instructions on how to disable the virtual memory. As a rule of thumb: If the status bar in MAGIX audio studio 2005 deLuxe does not indicate any errors during playback or recording, the problem most likely has to do with the sound card driver or settings for the sound card.
I get no audio during recording or playback.

If you hear no audio during either recording or playback, check on the following items: Make sure that all cable connections are made properly and that none of the cables is defective. If the sound card has a mixer program, make sure that none of the mute options are turned on and that the volume faders are sufficiently turned up. Check to see whether you have the proper driver installed for your sound card. You can do this in the Windows Control Panel. If you dont hear any audio inMAGIX audio studio and would like to check your sound card, use the sound cards own sound utilities to diagnose the card. Also, many sound cards come with their own set of playback software for digital audio. Follow the instructions in the sound cards manual for testing digital audio with the cards utilities. Make sure that your external mixer/amplifier is turned on and has a sufficient volume setting. These are the most common problems you would be dealing with when having audio problems. Note: The Digital Audio Labs CardD + approaches monitoring the recorded signal during the recording a little bit different than other sound cards. It is perfectly normal to have the incoming audio signal missing on the outputs of the card as you are recording the audio. The CardD + will not feed the audio signal on the inputs of the card to the outputs during the recording. You will need to monitor the recorded signal externally during the
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recording phase. All other tracks inMAGIX audio studio will play back just fine.
My VIP volume appears to be too low. How can I fix that?

MAGIX audio studio has a sophisticate way to deal with digital audio clipping which can occur when you add audio tracks in the VIP. Depending on how strong the audio signals are in each of the tracks, by the time you add audio in tracks 5 or 6, you actually might encounter digital clipping. Since digital audio volume processing deals with mathematical addition of volume values it can easily happen that the resulting volume for combined tracks is beyond a sound cards capabilities to deal with the audio volume. This is when digital clipping would be introduced. In MAGIX audio studio 2005 deLuxe you can set a master volume for each VIP. This setting can be different depending on the audio material in the VIP. This setting can be found in File>Properties>Project Info. You will need to have a VIP open to get to the Project Info dialog. You can adjust the overall volume setting for the VIP in the Volume section of the dialog. By default, MAGIX audio studio will assign a setting of -12dB, which can be too low for some projects. You can easily increase the volume setting to 0 dB for example. When you encounter digital clipping, you may want to reduce the volume setting at that point. You may also change the overall volume setting in the Mixer window in the Master Volume + Image section.
MAGIX audio studio display some sort of SYSTEM error when I try to do simultaneous record and playback with my sound card. What could be the problem?
Unfortunately, you may be dealing with a sound card that is not capable of working in the full-duplex mode needed for simultaneous record and playback. Some sound card are only half-duplex sound cards, meaning that you can either play back your audio or record audio, but not both at the same time. You will either need to install a second sound card and record with one card while you play back audio tracks with the other. Or you will need to replace your sound card with a full-duplex sound card. Check with the manufacturer of your card to verify the capabilities. 579

Whenever I start playback or recording my system hangs or displays an error message.
This many times is an indication that an IRQ or DMA and possibly an address conflict are present. You will need to make sure that no other component in your computer system uses the same hardware settings as your sound card. If it does, the system may hang or even crash. Under Windows 95 and NT 4.0 you may use the Device Manager to find free IRQ, DMA and address settings. Refer to your Window manual for instructions on using the Device Manager to diagnose your system. There are also a number of commercial diagnostics tools available that may assist you with finding free settings. In some cases reconfiguration of already existing components is necessary and sometimes even replacing components with ones that allow you more configuration choices.
When I try to do something with my mouse it doesnt respond or does something erroneous.
Make sure that the correct mouse mode is selected. You may need to set the mode back to its default setting by selecting the Universal Mouse Mode from the mouse mode toolbar. You may also change the mouse mode in File>Preferences>VIP Mouse Mode.
Why cant I close a Wave project even though all references (objects), using the Wave project contents, in the VIP are gone?
Trying to close a Wave project usually only works if there are no objects in a VIP that may use ranges from the Wave project (HDP or RAP). This is due to the fact that the VIP needs the Wave project for playback of material in the object(s). If all VIP objects in the VIP window are deleted that make use of the Wave project, the Undo list still may have references to the Wave project open in case you need to undo any editing step associated with the VIP window. If you are really convinced that the material in the Wave project is not needed anymore, simply delete the Undo Levels with Edit, Delete Undo Levels. After this you will be able to close the Wave project since all references in the Undo list are gone. Note:MAGIX audio studio will only allow you to delete the Undo Levels when a VIP window is active (click on the title bar of the VIP window). 580

Synchronization
There are various aspects to synchronizingMAGIX audio studio 2005 deLuxe with the outside world. Synchronization is used when you need to synchronize MAGIX audio studio with a tape-based recorder, video machine, external sequencer or other equipment, which will send sync signals to MAGIX audio studio. Most of these situations will work best by setting up MAGIX audio studio as the slave and the external sync source as the master. Once the setup has been made for MAGIX audio studio to expect the synchronization signals at a particular interface port, you do not need to do anything else in MAGIX audio studio to start the playback or the recording. Once MAGIX audio studio detects the incoming signal, it will attempt to locate the song position pointer and jump to that location. Playback is started automatically. The same holds true if you need to record in MAGIX audio studio 2005 deLuxe while synching up to an external device. Simply open up the Record Parameter window and make all necessary adjustments. Now, press the Record button. Once you have made the needed changes in the window, simply start the external device. MAGIX audio studio will lock up to the incoming signal and will start the recording process. Its that simple! There are several things to consider when working with an external sync source: Make sure that the synchronization interface can convert a SMPTE signal into MTC code. A software utility should let you do this easily, or the cards device driver might do it for you automatically. When striping analog or digital tape with a SMPTE track, make sure that the signal is strong enough to feed a continuous, uninterrupted sync signal. MAGIX audio studio will stop the playback or recording as soon as a drop out occurs. You might need to work with the offset settings in MAGIX audio studio when working with a sync source that starts in the middle of a tape for example. Make sure you are using the proper sync protocol.
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582
Indexmidi studio INDEXMIDI STUDIO

o
A
About This Manual 35 Accelerando 329 Add Audio File 240 Region 235 Adjust Tempo using Object Length and Locators 174, 330 Aftertouch Event 283 Altering Values absolutely 278 numerically 278 of events 278 relatively 278 Anchor 165 moving 236 protecting 255 Apply Operation 322 Arming an audio track in the Arrange window 86 Arrange Window Inserting Events 147 tracks 135 ASCII Input 97 Ask for complete Backup 354 Attack Phase Compensation 150 Audio arming ~ Track 168 Autodrop recording 171 Automatic Tempo Matching 173 Crossfades 176 Digital Mixdown 174 List 232 recording 167 recording in stereo 86 recording with count-in 171 Release in Background 355 Stereo Object 225 Audio Energizer 266 Audio File 238 adding 240
583
Indexmidi studio
Backup 242 copying 242 Destructive Editing 258 exchanging ~s & Regions between Songs 234 finding 244 Formats 228 locating 244 moving 242 optimizing 242 Overview 233 reassigning 244 removing 241 selecting 234 Audio object display of levels 87 Audio recording 81 tutorial 81 Audio Region 160 adjust to zero crossings 164 Anchor 165 changing start and end points 163 copying 161 creating 160 cutting 160 Delay 164 erasing 161 fine-tuning 162 Loop 164 moving 162 moving numerically 162 Name 164 Parameter box 164 Audio track arming 86 Audio window 228 Edit commands 234 Link mode 230 opening 229 Selection techniques 234 Undo 235 Auto Create Tracks in Cycle Record 130 Auto Define 287 Auto Mute in Cycle Record 72, 130 Autodrop 130, 171, 358 Button 124 Cycle 131 defining ~ region 131
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Indexmidi studio
Autoload 118 Automatic Scrolling 105 Automatic Tempo Matching 173 AV-Betrieb Aufnahmequelle und -pegel 27, 169, 222 AVI 338
B
Background Windows 104 Backup automatic 257 File(s) 242 making 242 manual 257 Balance 223 Bank Select 141 Bar Position Display 121 positioning ~ to Frame 338 Bar Ruler 125, 358 display 125 Positioning directly 126 Song Position Line 126 Beam Width 289 Beaming 316 Bouncing 226 Bypass 189
C
Catch 105, 110 Enable when SPL is moved 352 switching off automatically 105 switching on automatically 105 Catch mode 62 Change Background 158 Chase Events 132, 349 SysEx 350 Checkbox 96, 358 Chorus 183 Clefs 312 Click 125, 348
585
Indexmidi studio
only during count-in 129 Clip Detector 222 Clipboard 109 Clipscan 175 Concealing the Parameters 102 Contents Catch 105 Link 105 Copy 109 File(s) 242 Notes in Score Editor 302 Count-In 129 Create New Region 254 Crescendo 326 Crossfades 176 Crosshair Tool 99 Cut 109 Cycle 126 button 124 Chase Events 351 defining the region 127 Numeric Display 121 switching on 127 tutorial 62
D
Damaged Song 118 Default 359 Delay 150, 184, 359 for single event types 289 of Audio Regions 164 Delete 110 File(s) 235, 242 Note in Score Editor 303 Deselect all 109 Dialog Boxes 103 Diatonic Insert 303 Digital Compression 266 Digital Factory 263 Digital Mixdown 174 Disable safety alert for Undo 109 Disarming all tracks 169 Display
586
Indexmidi studio
bar numerator 122 bar/SMPTE 121 denominator 122 division value 122 Format 145 Locators 121 MIDI Events 123 parameter box 306 quantization 301 Song End 123 Song Position 121 song title 123 tempo 122 Division value 122 Dots 310 Double-clicking 96 Double-time 144 Drag and Drop of MIDI Files 356 Drop 359 Drum Editor 286 Beam Display 289 Beam Width 289 Beams 287 Changing Event Values 292 Changing several Event Values 292 Creating new Events 293 Event Definition 286, 287 Grid 287, 289 Length of Notes 290 Linear Series 293 Open 286 Selection Techniques 291 Setting Events with fixed Values 294 Style 289 Duplex 26 Dynamics 149 Dynamics signs 312
E
EBU 341 Edit Control via MIDI Output 110 Repeat Objects 143 via MIDI Input 112
587
Indexmidi studio
Edit Operations 109 Copy 109 Cut 109 Delete 110 Paste 109 Undo 109 Editor Contents Catch 105 Contents Link 105 Drum Editor 286 Event List 275 Matrix Editor 295 Score Editor 300 Transform Functions 111 Enable Catch when Sequencer starts 105 Enharmonic Shift 315 Enlarging 101 Entering Numbers 97 Equalizer (EQ) 182 Eraser 99 Event ~ Types 281 Add 277, 294 Aftertouch ~ 283 Alter ~ Value 278 Chase ~s 349 Control Change ~ 283 Convert 292 Copy 292 Data Byte 279 Delete 111 Display 123 Duplicate 277 Float Window 284 Input Filter 348 Insert 147 Meta ~ 284, 313 MIDI Channel 279 Move 278, 292 Note ~ 281 Paste 278 Pitch Bend ~ 282 Poly Pressure ~ 283 Position 279 Program Change ~ 281 Quantization 113 Relative Position 279
588
Indexmidi studio
Event Definition 287, 289 Beam Width 289 Create 287 Create ~ automatically for selected Events 287 Editing different ~s simultaneously 291 Erase 288 Event Status 290 First Data Byte 290 Grid 289, 291 Hi-Hat Mode 291 MIDI Channel 290 Note Name 288 Parameter Box 288 Select 287 Sorting 288 Event List Arrange Level 280 Display Filter 276 inserting Program Changes 75 Length/Info 280 Meta Event 313 Monitoring Events 277 Open 275 Scroll 276 Selecting Events 277 Event Parameter Box 302 External Sync Enable 336
F
Fader 222 Feedback 183 Festplatte AV-Betrieb 27 Filtering Events 348 Finding Key Commands 116 Fix Quantize 152 Value 294 Fixed Key Commands 103 Flanger 183 Float Windows 104 Font 317 Forward 124
589
Indexmidi studio
Frame 360 Rate 332, 342 Frequency Range 182 Full Duplex 26
G
Gate Time 150 General MIDI Tone Generator 54 Glue Tool 99 Goto Locators 122 Position 126 Selection 112 Grid 289 Groove Machine 263, 268
H
Half-time 144 Hand Tool 99 Hanging Notes 123 Hardware Programmers 349 Help 117 Hide Unused Key Commands 116 Used Key Commands 116 Hierarchical Menus 102 Hi-Hat Mode 291 Horizontal Selection 108 Hyper Draw 154 ~ in Matrix Editor 296 Colour 156 Deactivating 155 Defining MIDI Channel 155 Fine-tuning Values 156 Inserting a new Curve Point 155 Making ~ visible 155 Moving a Curve Point 156 Quick Delete 155 Tips 157 590
Indexmidi studio
I
Input Filter 348 Insert Defaults 303 Notes in Score Editor 302 Interleaved Stereo 243 Interpretation mode 309
J
Jump 126
K
Key Commands 114 ~ Window 115 Assign 116 Check 116 Delete 116 Find 116 Hide 116 Learn Key 116 Special Keys 114 Kontrollfelder Ton 27, 169, 222
L
Lautstrke AV-Betrieb 27, 169, 222 Layout 303 Tool 99 Legato 150 Level adjusting 222 display of on audio object 87 Meter 221 Line-Eingang 28, 170, 223 Link 105, 189 Locators Numeric Display 121 591
Indexmidi studio
Setting by Objects 110 Loop 148, 360 of Audio Regions 164 Turning ~s into real Copies 149 LTC 342 Lyrics 318
M
Magnifying Glass 99 Matrix Editor 295 Change Note Length 298 Change Velocity 298 Copy Note 297 Create Note 296 Delete Note 299 Duplicating Note 296 Functions 299 Hyper Draw in ~ 296 Move Note 297 Note Display 295 Open 295 Selection Techniques 299 Max Dots 310 Menus 102 Merge New recording with selected sequences 130 Only new Sequences in Cycle Record 130 Meta Event 284, 313, 360 ~ switches Screenset 107 Metronome 125, 348 MIDI Control Change Event 283 Control Output via ~ 110 Event Display 123 In switch 111 Monitor 123 Options 348 Out Switch 110 Step Edit 112 MIDI Clock 340 Interpolation 337 Transmit 334 MIDI File 356 Bank Select 356
592
Indexmidi studio
Format 352, 356 Load 356 Open via Drag and Drop 356 Save 356 Save in Format 0 357 MIDI Machine Control 335, 337 Transmit 337 MIDI Monitor 123 MIDI recording 70 MIDI Thru Parameter Box 147 SysEx 349 MIDI Time Code 343 Delay 335 Format Interpretation 336 Send 335 Trigger 334 Mikrophon-Eingang 28, 170, 223 MMC 337 Mode Buttons 124 Modify Object Borders 144 Monitoring 231, 252 ~ from a Position 231 ~ Output 231, 253 Cycle 231 Stereo ~ 231 Whole Region 231 Mouse 96 as slider 96 Pointer 98 Move 96 File(s) 242 Note in Score Editor 302 Selected Objects to Track 136 MTC 343 Multi ~ 317 Multi Stave 307, 317 Mute 146, 223 Tool 99 Track 137
N
Names 307 Input ~ 97 593
Indexmidi studio
With Numbers 97 New Song 118 Next/Previous Object 108 No Overlap 310 Normalize 361 Sequence Parameters 151 Notation 300 Note ~ End as absolute Position 280 ~ Event 281 ~ Head 312 ~ Name for Event Definition 288 ~ Names in Matrix Editor 296 ~ Symbol Families 311 Beaming 316 Change ~ Length 111, 298 Change ~ Length with Sequence Parameters 150 Change Velocity 298 Copy 296, 297 Copy ~ in Score Editor 302 Create 296 Delete 299 Delete ~ in Score Editor 303 Editing via MIDI In 112 Insert ~ in Score Editor 302 Move 297 Move ~ in Score Editor 302 Quantize ~ individually 113 Stem Direction 316 transposing in Score Editor 302 Noten Symbolgruppe 311 Num 279 Numerical Input 97 Value Input 278
O
Object 362 Colors 117 Snap ~ 144 Solo listening 124 Online Help 117 Open 118
594
Indexmidi studio
Original Event Position 151 Overdub Mode 26 Overview Calculation 233 Aborting 233 Accelerating 234 Automatic 233 Start manually 233 Overview Display 248
P
Page Edit 319 Scroll 319 Up/Down/Left/Right 101 Page Edit 319 Page Edit view 79 Pan 141, 223 Insert ~ Event 141 Panic Function 123, 158 Parameter Box 362 Partbox 310 Paste 109 At original Position 110 Paste at Original Position 163 Pause 124 Peak Hold 221 Pedal ~ in Step-Time Recording 111 Sign 312 Pen Width 289 Pencil 99 Pitch Bend Event 282 Play 124 Play parameters 362 Plug-In Window 189 Pointer 98 Poly Pressure Event 283 Preferences Audio 354 Audio Extensions 355 Display 353 Global 351 Initializing 351
595
Indexmidi studio
Reset 353 Score 353 Print 320 tutorial 81 Program Change 141, 281 Insert ~ Event 141 Pull-down menus 96
Q
Qua 152 Quantization 151 Display ~ 309 Event ~ 113 Fix 153 How it works 152 in Sequence 152 Mixed ~ 152 Odd ~ 153 Transform Window 325 Triplet ~ 152 Quantize again 113 Quick Record 355
R
Record 129 Arm ~ 224 Autodrop 130 Button 123 Change a Track 129 Choose a track 129 Count-In 129 Cycle & Autodrop 131 Cycle & Replace 130 Erase ~ 161 in Cycle Mode 130 in Replace Mode 130 in Step Time 111 Merge & Replace 130 Options 129 Pause 124 Predefining ~ Length 239 Repeat 129
596
Indexmidi studio
Setting a ~ Path 238 Time 239 Toggle 129 Recording Auto Mute in Cycle Record 72 creating stereo audio files 86 tutorial 70 Recording Options 346 Rec-Ready Switch 224 Region Add to Arrangement 237 Altering Limits 236 Copy 235 Create 161, 235, 254 Cycle 231 Delete 235 Drag Tool 238 Fine Adjustments 254 Protect 237 Rename 237 Select 234, 254 Show/Hide 232 Waveform Display 232 Regions Individualize ~ in Arrange 161 Relative Value Alteration 278 Remove Overlaps 144 Repeat Objects 143 Replace 124 Reset 158 Controller 158 Panic 158 Volume 158 Rest Correction 309 Reverb 184, 189 Revert to Saved 119 Rewind 124 Ritardando 329 Rubber-Banding 108
S
Sample Editor Absolute Position 251 Catch Mode 249
597
Indexmidi studio
Change Gain 259 Create Region 254 Cut, Copy, Paste, Clear 256 Fade In 259 Fade Out 260 Invert 261 Layout 248 Link mode 250 Normalize 258 Open 247 Overview functions 249 Relative Position 251 Remove DC Offset 262 Reverse 261 Search Peak 262 Search Silence 262 Silence 260 Trim 261 Warning before Closing 354 Sample Rate choosing 245 convert 267 Save 118 Save as 118 Saving Tutorial song 73 Scissors 99 Score Page Edit view 79 Score Editor 300 Arrows 312 Articulation signs 312 Crescendo 312 Decrescendo 312 Diminuendo 312 Info Line 302 Key Signature 312 Lines 312 Lyrics 318 Multi Stave 307 Open 300 Overlap Correction 310 Partbox 310 Print 303, 320 Slurs 312 Speed up Screen Redraw Rate 353 Text Font 317
598
Indexmidi studio
Score editor Arrange level display 80 Display Parameter box 78 Interpretation 78 Page Edit view 79 Score style 78 track filter 80 Screenset 106, 363 Copy 107 Protect 106 Sequencer-controlled Switching 107 Store 106 Scroll 100, 101 to SPL 110 Search Silence 262 Zero Crossings 164, 236, 255 Select All Objects 108 Alphabetically 108 Following Objects 108 Horizontally 108 In Score Editor 302 Next Audio File 234 Previous Audio File 234 Rubber-Banding 108 Several Objects at once 108 Single Objects 108 Unselected Items 108 Unused 234 Used 234 within the locators 108 Selection 107 Save as Audio File 257 Toggling 108 tutorial 63 Send Fader Values after loading 349 Separate Drum Parts 146 Sequence 142, 363 ~ Playback Parameters 147 Adjust Length to fit 144 Automatic Naming 352 Change Length 143 Change Tempo 144 Copy 142 Create 142 Create empty ~ 142
599
Indexmidi studio
Create with Clipboard Events 147 Cut 145 Cut several Times 145 Delete 142 Demix by Event Channel 146 Finer Grid 144 Fix Playback Parameters 151 Hyper Draw 154 Inserting Events 147 Join and Mix 146 Loop 148 Make Contents visible 158 Move 142 Moving the Start 143 Mute 146 Name 147 Quantization 152 Repeat 143 Soloing 146 Sequence Parameter 148 Change several ~s at once 148 Default 147 Delay 150 Dynamics 149 Gate Time 150 Loop 148 Normalize 151 Open ~ Box 148 Qua 152 Sequence Parameter box MIDITHRU 72 Sequencer Positions as List 280 Sequences Round Length to Bars 144 Set Locators 128 by Objects 110, 128 Set Optimal Object Sizes 144 Show as Sample & Hold 251 Contents 105 Silence 260 Size of Display 101 of Window Elements 101 Tool 100 Slider Input 96 600
Indexmidi studio
SMPTE 341 Drop Frame 341 Frame Rate 342 LTC/VITC 342 Offset 332 Position Display 121 Recording Time Code 343 Snap Objects 144 Solo 146 Button 124 Lock 124 Tool 147 tutorial 63 Solo Tool 99 Song Autoload ~ 118 Check/Repair 118 End 123 Load 118 New 118 Revert to saved Version 119 Store 118 Switch between ~ 118 Song Position Catch 105 Display 121 Jump graphically 126 Jump numerically 126 Song position tutorial 62 Song Position Line 126, 363 Catch 105 Wide ~ 353 Song Position Pointer 335, 340 Song Settings 346 Chase Events 349 MIDI options 348 Recording Options 346 recording options 346 Song Title Display 123 Soundkarte 25 SPL 126, 363 Split Stereo 243 SPP 340 Staccato 150 Standard MIDI File 356
601
Indexmidi studio
Start/Stop with Bar Ruler 126 Stave 317 Move ~ vertically 316 Step-Time Recording 111, 112 Stereo File Format 243 Stereo Objects 225 Stereo recording setting audio object for stereo recording 86 Stop 124 Style 301, 307 tutorial 78 Swing 364 Symbol groups 311 Sync Button 124 Mode 334 Synchronization ~ of Sequencers to Tape 344 ~ of several Sequencers at once 344 Bar-Referenced 339 Basics of ~ 339 Click Track 344 MIDI 334 MIDI Clock 340 Problem solving 345 Procedure 343 Pulse Clock/FSK 339 SMPTE/EBU 341 Song Position Pointer 340 Status Display 327 Time-Referenced 340 Synchronizers 343 Syncopation 309 SysEx MIDI Thru 349
T
Telescopes 101 Tempo 327 display 122 events 327 Graphic Tempo Editor 329 List Editor 328 Overview 327
602
Indexmidi studio
recording tempo changes 330 Spur 327 Tempo Changes copying from a musical passage 328 creating 328 creating continuous ~ 329 deleting 328 Text ~ in Score Editor 317 lyrics 318 positioning ~ 318 Text Input 97 Text Mark 99 Text mode 313 Tie Correction 309 Tie Objects 144 Time Code (TC) 341 Time Machine 264 Time Signature and Divisions 122 Time Signature Changes 313 creating 122 editing 122 erasing 123 Toggle Selection 108 Toolbox at the mouse position 98 tutorial 67 Toolbox (see Tools) 97 Tools 98 crosshair 99 effective range 98 eraser 99 glue tool 99 hand 99 Layout ~ 99 magnifying glass 99 Mute ~ 99 pencil 99 Pointer 98 scissors 99 selecting 98 Size Tool 100 solo tool 99 text mark 99 two at once 98 voice splitter 100
603
Indexmidi studio
Top Window 103 Track 140 Filter in Score Editor 306 Icon 140 Mute 137 Pan 141 Program Change Event 141 Selecting Banks 141 Selecting Programs 137 Setting MIDI Channels 140 Setting MIDI Port 140 sorting 136 Volume 141 Track Column 364 Tracks 135 changing 136 creating 136 deleting 137 selecting 135 Transfer MIDI File 356 Transform Window 321 actions 322 display 326 effective range 321 event parameters 323 mode 322 opening 321 operations 324 purpose 321 Transform window Select and Operate 322 Transport in window 102 Transport Bar 120 buttons (lower) 122 buttons (upper) 121 time signature and divisions 122 Transport Function Keys 123 Transport Window 120 Autodrop 124 changing the display 120 cycle 124 Forward 124 large SMPTE or bar display 121 legend 120 Locators 121
604
Indexmidi studio
metronome 125 MIDI monitor 123 moving 120 opening 120 panic function 123 part display 121 Pause 124 Play 124 position display 121 position slider 121 pull-down menu 120 Record 123 Replace 124 Rewind 124 smaller/larger 120 solo 124 Solo Lock 124 Stop 124 sync 124 tempo 122 Transport window autodrop button 71 cycle button 62 solo button 63 Transposing notes in Score Editor 302 Transposition corellated (classic) 266 free 265 tutorial 69 Trill symbols 313 TrueType Fonts 317 Turn Loops to Real Copies 149 Tutorial Song Arrange level display in Score 80 Arrange window 59 audio recordings 81 autodrop 71 copies of sequences 68 copying sequences 68 creating audio tracks 81 cycle mode 62 dividing sequences 69 entering text in Score 79 GM tone generators 55 importing audio files 83 inserting Program Changes in the Event List 75
605
Indexmidi studio
internal audio effects in the Mixer 85 key signature in Score 79 launching in Windows 54 loops 65 loops (sequences) 65 MIDI THRU 72 Mixer 82 mute program change control sequence 55 Non GM tone generators configuring for 56 Page Edit view in Score editor 79 print 81 printing the Score 81 quantization 64 quantizing 64 recording MIDI 70 Sample editor 84 Saving the song 73 selection 63 Sequence parameter box 64 solo 63 song position 62 Song Settings window 71 sounds and MIDI channels used in 56 start song position 61 starting the song 57 Text input 79 toolbox 67 transposition of sequences 69 Turn Loops to Real Copies 70 undo 68 Tutorial song track filter in Score editor 80
U
Undo 68, 109 Audio window 235 im Sample Editor 256 Safety Alert 352 tutorial 68 Unused Blocks 118 Update File Information 244
606
Indexmidi studio
V
V Tool 298 Val 279 VCA 271, 273 VCF 271, 273 Velocity Compressing 149 tool 298 Vertical Selection 108 Video for Windows 338 View parameters 114 transport 114 VITC 342 Voltage Controlled Amplifier 273 Voltage Controlled Filter 273 Volume 141 AV use 27, 169, 222 Insert ~ Event 141
W
Waveform Absolute Time Axis 251 Change Gain 259 changing selection 253 Detailed display 250 Editing commands 256 fading in 259 fading out 260 moving selection 253 normalizing 258 Phase inversion 261 Relative Time Axis 251 Sample display 251 Search for Maximum 262 Search Silence 262 Select Region 254 selecting 253 Selection Parameter Box 253 To digital Zero 260 X and Y axis 250 WavePlayer 270 Wide Song Position Line 126
607
Indexmidi studio
Window Drum Editor 286 Event List 275 hiding those of inactive songs 352 Matrix Editor Window 295 Windows Arrange 134 autocatch 105 Background ~ 104 Catch 105 changing the elements present 101 close box 100 concealing the parameters 102 concealing the Transport 102 contents catch 105 Event Float Windows 284 Float Windows 104 functions 100 Graphic Tempo Editor 329 Hierarchical Menus 102 Key Commands 115 Link 105 main menu 104 maximizing 100 menus 102 minimizing 100 opening 100 relationships between 104 screensets 106 scrolling 101 selecting the working area 100 selective zoom 101 Show Contents Mode 105 size 100 Tempo List Editor 328 top window 103 transform 321 Transport window 120 types 103 zooming 101 WYSIWYG 319
X
X/Y Element 101 608
Indexmidi studio
Z
Zoom 101 selective 101 Zoom Function 365
609
Index - Audio Studio

A
A/B 414, 415 About Help 567 Accessing Audio Material 398 Activate next /previous Track 477 Active Section when using Zoom Levels 395 Adjusting a Range 401 Adjusting the Signal 407 Amplitude 491, 492, 493, 524 Amplitude/Normalize > Fade in/out 492 Amplitude/Normalize > Normalize File (phys.) 491 Amplitude/Normalize > Normalize Object (virt.) 492 Amplitude/Normalize > Set Zero 493 Append Projects 451, 462 Apple Macintosh 454 Application Examples 485 Arrange Icons 559 Artefacts on Cleaning Effects 413 Assign new Shortcut 548 Attack 415, 421 Audio CD tracks 377 Audio data 392, 394, 398 Audio file 444 Audio Marker 472 Auto 412 Auto Crossfade active 465 Auto-Crossfade-Mode 443 Automatic CD Track Recognition 535 Automatic Recording Stop 535 Autoscroll 528
B
Bar Definitions 468 Basics 532 Beat Marker-Mode 507 Beginning of Range < 0 511 Beginning of Range > 0 511 Bouncing 522, 523 Bouncing (Internal Mixdown) 524 BPM 382, 530, 544 Buffer 553 Buffer Number 553 Buffer size 384 Build Loop Object 481 Build Physical Loop 508
610
Index audio studio

Burn On the Fly 519 Burn Project Backup 449 Burning CDs in MAGIX audio studio 436 Button bar 560 Button Crossfade Off 465 Buttons/Slider 472 Bypass 412
C
Calculate Maximum Amplitude 524 Cascade 559 CD arrange mode 542 CD bar 559 CD bar (deLuxe version) 559 CD Disc Options 521 CD ROM Drive Configuration Dialog 447 CD Title 521 CD Track Manager 525 CD Track Options 521 Change Bit Resolution 451 Change Mouse Cursors 473 Change Play Direction 527 Change Sample Rate 507 Change Toolbar style 548 Changing a Range 402 Changing Object Borders 399 Changing Range Ends 403 Check Space Key for Playback Stop 557 Clip 392 Close all Windows 565 Close Project 458 Colors 549 Comparisonics colors 471 Complete Project 524 Compressor 415, 420 Compressor (only Object FX) 415 Connect to the Internet 458 Context Help 567 Context Help mode 547 Context sensitive pop-up menu 382 Convert > 2Mono >Stereo/LR-Wave 451, 452 Convert > Append Projects 451 Convert > Change Bit Resolution 451 Convert > Link Projects 450 Convert > Mono 451, 452 Convert > Stereo 451, 452 Convert > Stereo Wave> 2 Mono 451 Convert > Unlink Project 450
611
Index audio studio

Convert Audio>Save in Format 450 Copy 461 Copy as 463 Copy Mode Burst 448 Copy Mode Normal 448 Copy Mode Sector Synchronization 448 Copy Objects 478 Copy Track(s) 475 Create Audio Copy 540 Create AVI 540 Create complete new file 438 Crossfade Editor 383, 400, 464 Crossfade Position 464 Curve Mode 546 Cut 460 Cut mode 547, 572 Cut object 378 Cut Track(s) 475 Cutting Objects 478, 479, 480 Cutting Objects > Copy Objects 478 Cutting Objects > Cut Objects 478 Cutting Objects > Delete Objects 478 Cutting Objects > Duplicate Objects 479 Cutting Objects > Duplicate Objects multiple 479 Cutting Objects > Extract Objects 479 Cutting Objects > Insert Objects 478 Cutting Objects > Split Objects on Marker position 480
D
Data Transfer 436 De-Selecting a Range 402 Decay % 418 Decibel 419 Declipping 504 Declipping (deluxe Version) 504 Default color settings 470 Dehisser 413 Delate Track(s) 475 Delate virtual Projects 450 Delay ms 418 Delete 461 Delete all Markers 515, 519 Delete all markers 515 Delete Marker 515 Delete marker 515 Delete Objects 478 Delete Panorama Handle 463
612
Index audio studio

Delete prefixed Markers 518 Delete Undo Levels 465 Delete Volume Handle 463 Delete Wave Project(s) (HDP) 458 Delta Time 479 Denoiser 411 Destructive Editing 398, 421 Destructive Wave Edit Mode 542 Device 405, 528, 534 Digital Transfer 407 DirectX Plug-Ins 493 DirectX plug-ins 410, 422 Disable Fade In/Out 481 Disable invisible Object Handles 473 Disable Length changes 481 Disable Menus and Buttons 556 Disable Moving 481 Disable Volume changes 481 Disk Space 536 Display Filter 486 Display Mode dialog 383 Download audio material 376 Draw Envelope 470 Draw Panorama Mode 572 Draw Samples 469 Draw Setup 551 Draw Volume 547 Draw Volume Mode 546, 572 Draw Wave 547 Drive List Dialog 446 DSP Display 438 DSP display 438 Duplicate Objects 479 Duplicate Objects multiple 479 Duplicating Objects 399 Duration 480 Dynamics 497
E
Ean Code 521 Edit Keyboard Shortcuts 547 Edit Range 510, 511, 512 Edit Range > 0> Range < 0 511 Edit Range > Beginning of Range < 0 511 Edit Range > Beginning of Range > 0 511 Edit Range > End of Range < 0 512 Edit Range > End of Range > 0 511 Edit Range > Flip Range left 511
613
Index audio studio

Edit Range > Flip Range right 511 Edit Range > Range to beginning 510 Edit Range > Range to end 510 Edit Timedisplay 515 Edit Toolbars 548 Enable VIP Tooltips 549 End of Range < 0 512 End of Range > 0 511 Equalizer 414, 493 Equalizer + Briliance Enhancer 414 Exit 458 Expander 420 Export 381 Export a midi studio sample instrument 455 Export audio> 16 Bit AIFF 454 Export audio> 16 Bit AIFF (deLuxe version) 454 Export audio> AIFF file with Quicktime 454 Export audio> AIFF file with Quicktime (deLuxe ver 454 Export audio> Export as Dump 454 Export audio> MP3 453 Export audio> MPEG 453 Export audio> MS Audio File 453 Export audio> MS Audio File (deLuxe version) 453 Export audio> Real Audio 454 Export audio> Real Audio (deLuxe version) 454 Export audio> Wave 452, 453 Export audio> WaveConvert > Stereo 452 Export MAGIX playR files 455 External Program 1, 2 526 Extract 462 Extract audio from AVI 540 Extract Objects 479
F
Fade 393 Fade Handle 393 Fade in/out 394, 399, 481, 492 Feedback 418 FFT-Filter 384, 422 File Name / Browse 535 Fix Vertically 395 Fix vertically 466 Fixed Bar Snap 468 Flip Range left 511 Flip Range right 511 Font for Time Display 549 Font Selection 549
614
Index audio studio

Frequency 419 FTP connection 442 FTP Download 441, 458 FTP-Download 458 Full-duplex 375 FX 541, 545
G
Gate 420 Generate a complete new file 520 Get Marker 514 Get Noise Sample (deLuxe version) 502 Get position and zoom level 473 Get Range 465, 513 Get Range Length 513 Global Get 465 Global Set 465 Graphic Refresh 466 Grid 443 Grid Lines 467 Grid Setup 467, 549 Group created Objects 479 Group Number 472 Group Objects 482
H
Half Height 565 Halftones 530 Halve 469 Handles (Tabs) 378, 393 Hard drive Recording 406 HD BUFFER 553 HD RECORD BUFFER 554 HD Wave (HDP) 444 HD Wave Project 444 HD-Projects 554 HDP 383 Help 567 Help Index 567 Hide all physical projects 565 Hide all wave projects 565 Horizontally 474 Host Adapter Number 447
I
Iconise all physical projects 565 Iconise all waveprojects 565
615
Index audio studio

Im/Export 554 Import Audio 450 Important tips regarding the effects functions 490 Individual Mouse Modes 569 Insert new track 475 Insert Objects 478 Insert Silence 462 Insert Track(s) 475 Insert Workspace 464 Integrating a range 398 Integrating a WAV File 397 Integrating a WAV File Range 398 Integrating an audio file as a VIP Object 397 Internal Mixdown 524 Internet 441 Invert Phase 509
L
Large Object Handles 472 Lasso Function 569 Latency 533 LED peakmeters 374 Length 393, 413 Length changing 481 Length Handle 393 Link Bands 414 Link Projects 450 Live Effect Processor 533 Live Input Mode 532 Load Always New 540 Load Audio CD 445, 517 Load audio CD track(s) 517 Load Audio CD Track(s)... 445 Load Shortcuts 548 Load/Save 415 Loading a File into a VIP 397 Lock Definitions 481 Lock Objects 382, 480, 481 Lock Objects > Lock Definitions 481 Lock Objects > Unlock Objects 480 Lock Recorded Objects 443 Lock VIP size against ZoomOut 473 Loops 394 Loops / Songs / Speech 507 Lower toolbars 575 LR-Wave>1 Mono 452 LR-Wave>2 Mono 452 616
Index audio studio

M
MAGIX web publishing area 441 Make CD 519 Marker 393 Marker / CD Track Manager 525 Marker Manager 394, 525 Markers on Range Borders 514 Master Normalization 384 Match Time 486 Maximize Track 476 Maximum (Minimum) Pause level 550 Media 537 Media link 538 Menu CD (deLuxe version) 517 Menu Edit 459 Menu Effects 490 Menu File 443 Menu Help 567 Menu Object 478 Menu Options 538 Menu Playback 527 Menu Range 510 Menu Tools 523 Menu View 466 Menu Window 559 MIDI Clock 544 MIDI Clock Input Device 544 MIDI Time 544 MIDI Time Code 544 Minimize none 476 Minimize Track 476 Minimum pause length 550 Minimum track length 550 Mix Master Section 422 Mixer 384, 422, 561 Mixer Effects: Echo 417 Monitor 373, 375, 535 Mono 451, 452 More >Copy as 463 More> Set Silence 462 More>Copy and Silence 463 More>Mix with Clip 463 More>Overwrite with Clip 463 Mouse 389 Mouse Behaviour 473 Mouse Mode 546, 547 Mouse Mode bar 574
617
Index audio studio

Mouse Mode Toolbar 559 Move Play Cursor > to beginning 510 Move Play Cursor > to end 510 Move Play Cursor > to range end 510 Move Play Cursor > to range start 510 Move Play to beginning 510 Move Play to end 510 Move Play to range end 510 Move Play to range start 510 Move Thresh 473 Moving 481 Moving a Range Horizontally 402 Moving and Duplicating Objects 399 Moving Objects 399 Moving of Ranges 402 MTC Output Device 545 Multirate file 454 Mute objects 481
N
New Multitrack Project 443 New Object 478 Noise Level 412, 413 Noise Reduction 412, 414 Noise Sample Presets 413 Noise Sample Section 412 Normalize 491, 492, 493 Normalize File (phys.) 491 Normalize Object (virt.) 492 Number of first CD Track 521 Number of Objects 479
O
Object 445 Object and Curve Mode 398 Object Background Color 482 Object Foreground Color 482 Object Lasso 398, 516 Object Lock Button 472 Object Lock Definitions 548 Object Manager 485, 525 Object Mode 398 Object Name 471, 483 Object Properties 472 Object Volume 399 Objects 394, 471, 569 Offset 539 On-The-Fly 519, 530
618
Index audio studio

Online registration 567 Open > Audio file 444 Open > HD Wave (HDP) 444 Open > Object 445 Open > RAM Wave (RAP) 444 Open > Session 445 Open > Virtual Project 444 Open Project 444, 445 Opens VIP and Record Window on Program Start 557 Output modus 405 Overlapping Objects 400 Overview 392 Overwrite with Clip 463
P
Panorama Draw Mode 547 Parameters for the Compressor 421 Parameters for the Distortion Editor 421 Parameters for the Gate 421 Paste/Insert Clip 461 Paste/Invert Clip 461 Peak Meters 472 Pentium III Optimizations 557 Performance 384 Performance Display 556 Pitch Factor 530 Pitch Shifting 505, 506 Pitch-shift/Time stretch mode 571 Play 412, 486 Play (Preset) 413 Play Always 539 Play in Range 527 Play loop 527 Play once 527 Play Video without sound 540 Play with Preload 527 Play-Cursor 394, 570 Playback 385 Playback of a range 403 Playback Options 528, 538 Playback parameter 405 Playback while Recordin 534 Playback while Recording 374 Position bar 559 Position objects 377 Positionbar 560 Positioning bar 575 Prefix 518
619
Index audio studio

Preload 534 Preview 542 Preview Time (Seconds) 557 Print TOC 520 Problems & Solutions 577 Process only left stereo channel 509 Processing 378 Program Preferences 546, 547, 548, 549, 551 Program Preferences > Change Toolbar style 548 Program Preferences > Colors 549, 555 Program Preferences > Edit Keyboard Shortcuts 547 Program Preferences > Enable VIP Tool tips 549 Program Preferences > Font for Time Display 549 Program Preferences > Font Selection 549 Program Preferences > Grid Setup 549 Program Preferences > Object Lock Definitions 548 Program Preferences > Undo Definitions 551 Program Preferences > Video Height 549 Program Preferences > VIP Mouse Mode 546 Program Preferences > Wave Mouse Mode 547 Program Preferences>Object Lock Definitions 551 Project Information 542 Project Name 471 Project Properties 538, 542 Project Properties > CD arrange mode (deLuxe versi 542 Project Properties > Media link 538 Project Properties > Playback Options 538 Project Properties > Snap and Grip Setup 542 Project Properties > Text Comments 542 Project Properties > Units of Measurement 542 Project Properties>Mixer Setup 538 Project-patterns 443 Publish to Web 458 Punch In 530, 532 Punch In > Punch In Mode active 530 Punch In > Punch In Record 532 Punch In > Remove Punch In / Punch Out Markers 532 Punch In > Set End Marker 532 Punch In > Set Start Marker 532 Punch In Mode active 530 Punch In Record 532 Punch Out Markers 532 Punch-In/Out 530, 531 Punch-In/Out with Markers 531
Q
QDesign 453 620
Index audio studio

R
RAM Buffer 553 RAM Wave (RAP) 444 RAM-Projects 554 Range 394 Range, <0, 0> 511 Range all 510 Range bar 559, 576 Range Commands 402 Range Editor 515 Range length to 512 Range Manager 515, 525 Range Mode 570 Range Mode (Secure Mode) 546 Range to beginning 510 Range to end 510 Ranges 401 Ranges Mode 547 RAP 383 Ratio 421 Real-time Processing 421 Realtime Buffer 553 Rebuild Graphic Data 466 REC-Button 373 Recall last range 515 Record 533, 537 Record mode 534 Record Offset 536 Record Otions 533 Record side or CD Identification 550 Record Time 536 Record to RAM 476 Recording 384 Recording Source 406 Red/Blue alternation 470 RedBook 436 Redo 459 Release 415, 421 Remove all Indices 519 Remove DC offset 505 Remove Index 519 Remove Link 542 Remove Punch In 532 Remove Punch Markers 532 Remove unused Samples 524 Removed Hiss 414 Removed Noise 412
621
Index audio studio

Rename Project 449 Replace 486 Replace Audio in existing AVI 540 Resample / Time stretching / Pitch shifting 505 Resampling 505, 506 Resampling to 44.1 kHz 534 Reset 415 Reset Toolbars 548 Resonance 418 Restart Play 527 Reverse 508 Room Simulator 501
S
Same File Only 486 Same Track Only 486 Sample Rate 443, 528, 534 Sample rate 372, 405 Save 413 Save complete VIP to 449 Save Object 449 Save Project 448 Save Project as 448 Save Project as Base Project 449 Save Session 449 Save Shortcuts 548 Saving Ranges 402 Scale with Fades/Curves 469 Scrubbing 385, 529 Scrubbing mode 547 SCSI-ID 447 SCSI-LUN 448 Section 395 Sections 466 Secure Mode 570 Select Objects 482 Selected Range 524 Selecting a Range 401 Selecting an Object 398 Selecting Multiple Objects 398 Selecting the Correct Mouse Mode 401 Sensor-Field 415 Separate Stereo 470 Session 445 Sessions 555 Set CD end 518 Set CD Track Marker 535 Set End Marker 532
622
Index audio studio

Set Hotspot 482 Set Markers on Silence 514 Set Pause 517 Set Pause Time 522 Set Punch In Marker 532 Set Punch Out Marker 532 Set Start Marker 532 Set Start Pause Time 522 Set Sub-index 517 Set Track 517 Set Track Indices on Object Edges 519 Set Track Indices on Silence 518 Set Zero 493 Shortcuts 387 Shortcuts for range 403 Show Border 472 Show CD-R Disc Information 521 Show CD-R Drive Information 521 Show Grid 467 Show Shortcut list 548 Show TOC 520 Show Video Track 541 Signal Manipulations 421 SMPTE code 544 SMPTE Offset 539, 545 SMPTE/MTC Input Device 545 Snap Definition 382 Snap Setup 467, 542 Snap to Grid 467 Snap to Objects 443 Solo Instruments 507 Special CD Arrange-Mode 522 Spectrum 419 Split Objects 480 Split Objects on Marker position 480 Split Range 512 Split Range for Video 512 Starting number 518 Statistic 486 Status bar 560 Statusbar 561 Stereo 451, 452 Stop 527 Stop and go to current position 527 Store Marker 513 Store Range 513 Submixing Tutorial 417 Surround Mode 476
623
Index audio studio

Switch Channels 509 Switch Selection 482 Sync Velocity 545 Synchronization 581 Synchronization (deLuxe-version only) 543 Synchronization (deluxe-version only) 543 Synchronizing MAGIX Audio Studio projects 538, 539 System 551 System > Colors 555 System > Paths/Skins 554 System > Playback / Record Devices 551 System > Program Options 556, 558 System > View options 555 System dialog 384 System Information 567
T
Take Manager 485, 526 Target groups 454 Terminology 392 Test Realtime 507 Text Comments 542 The Channel Strips 423 The Master Sektion 427 Threshold 415, 421 Threshold db 518 Thumb controls 414 Tile 559 Time Display 560 Time stretch mode 571 Time Stretching 506 Timestretching 505 Tips & Tricks 382 Tips and Tricks (Mixer) 435 Toolbar 559 TOOLS bar 574 Touch-screen (right EQ-Section) 415 Track Bouncing 523 Track Delay 418 Track index 437 Track Information 545 Track Informations 475 Track List Dialog 446 Track Number 443 Track Properties 475 Transport Control 563 Trim Objects 480 624
Index audio studio

U
Undo 459 Undo Definitions 551 Undo History 460 Ungroup Objects 482 Units of Measurement 443, 467, 542 Universal Mode 546, 569 Universal Tool Mode 398 Unlink Project 450 Unlock Objects 480 Untile 559 UPC 521 Upgrade MP3 Coder 551 Upper Toolkit bar 574 Use ASCII Code for TOC 520 Use Record Buffer Size 554 Use Uni Code for TOC 520
V
Varipitch 529 Vertical slider 530 Vertically 474 Video Height 549 VIP 472 VIP Border Scroll 473 VIP Buffer 553 VIP Display Mode 468 VIP Mouse Mode 546 VIPs and Waves 376 VirtClip 392, 393 Virtual Project 393, 395 Virtual project 392 Virtual Projects 395, 444, 460, 464, 554 Virtual Working 535 Visualization 561 Visualizer 561 Vocoder 417 Volume 393, 394, 405, 419 Volume and Panorama graduations 571 Volume changing 481 Volume Handle 393
W
Wave Editing 486 Wave Mouse Mode 547 Wave Project 392 Wave project 392
625
Index audio studio

Wave Projects 444, 460, 464 Waveform Colors 470 Waveform Display 469 Waveform Generator 525 Web Upload 440 Wet-/ Dry Balance % 418 Working with Objects 397 Working with Ranges 401 Workspacebar 559 WPA 441 Write on the fly 438 Writing Speed 439
Z
Zoom 395, 570 Zoom levels 383, 395, 473 Zoom mode 547, 573
626

MAGIX Music Studio 2005 Deluxe Manual

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MAGIX Music Studio 2005 Deluxe Manual

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19942004 MAGIX Computer Products Int. Corp.

Table of Contents Table of Contents

PART 1MIDI STUDIO: TUTORIAL 15

PART 4AUDIO STUDIO: REFERENCE

INDEXMIDI STUDIO 583 INDEXAUDIO STUDIO 610

Contents of packaging Contents of packaging

Welcome to the MAGIX network area!

System Requirements System Requirements

Our Copy Protection for Your Safety

About MIDI and Audio

About Bits and Sampling Rates

About MIDI and Audio File Sizes

Hardware and Drivers MIDI Devices and Drivers

Audio Hardware and Drivers

Multi Purpose Hardware

Audio Installation Sound Card

Full Duplex or Overdub Mode

Input Source and Level

Handling Different Drivers

Common Audio Hardware Options

MIDI Installation Interface Connection

About the PDF Manual

The Tutorial Chapter

The Basics of midi studio The Basics of midi studio

The Basics of midi studio

The Arrange Window

The Basics of midi studio

The Parameters Area

The Basics of midi studio

Figure 3The Toolbox

The Basics of midi studio

Figure 5 The TrackList

The Basics of midi studio

Figure 7Arrange Area

The Basics of midi studio

The Transport Bar

The Basics of midi studio

The Basics of midi studio

The Menu Bars

The Basics of midi studio

The Edit Windows

The Matrix Editor

The Basics of midi studio

The Event List Editor

The Score Editor

The Basics of midi studio

The Drum Editor

The Sample Editor

The Basics of midi studio

The Sample Editor plus several of the Factory Tools.

The Audio Mixer

The Basics of midi studio

The Basics of midi studio

The Basics of midi studio

The Basics of midi studio

Adapting the Tutorial Song

Load the Tutorial Song

Arrange window with tutorial song

General MIDI Tone Generator

Sounds and MIDI Channels

GM-compatible GM Kit drum set

Starting the Song

Tracks and Sequences

Tracks with sequences