@database Samplitude.guide @Node Main "Samplitude" @NEXT Preface @TITLE "SamplitudeOpus.guide v1.0 © 1997 Albrecht Computer Technik" @{bg shine}@{b}SamplitudeOpus.guide v1.0 © 1997 Albrecht Computer Technik@{bg back}@{ub} @{" Preface " Link Preface} @{" Requirements " Link Requirements} @{" Installation " Link Installation} @{" Menus " Link Menus} @{" What Is" link "WHATIS_this"} @{" Hot Keys" link KEYLIST } @{" Software Updates/Upgrades " Link Software} @{" Developer Notes " Link Developer} @{" The Future " Link Future} @{" Mailing List " Link Mailing} @{" SEK'D " Link SEKD} @{" A.C.T. " Link ACT} @{" Copyright " Link Copyright} @EndNode @NODE Preface @NEXT Requirements @PREV Main @TITLE "Preface" @{u}Preface@{uu} Thank you for purchasing SamplitudeOpus v3.5. SamplitudeOpus has been extensively revised to incorporate the latest AmigaOS look and feel (OS 3.x), while retaining the full functionality of previous versions of Samplitude. In addition, many new features have been added or improved to make SamplitudeOpus the most powerful audio editing program currently available for the Amiga. Some of the changes and new features are listed below: · Integrated 256 color system · Improved range detection/bouncing routine · Abort function for all time consuming modules · New keyfile registration system · New fade parameter with graphical fade display · New norm control · New parameter system · New 1.5dB step mixing routines · New user-configurable toolbar · Rewritten record parameter with asynchronous level meter · Rewritten message system · Rewritten menu system using GadTools · CDDA Import and Export (MSB first and LSB first) · MPEG Layer I and II Export · ADPCM Import and Export · High quality FFT filter/denoiser · Full duplex integrated Although there are technically three separate versions of Samplitude for the Amiga (Samplitude SMPTE, Samplitude Pro, Samplitude Prelude), the release of Samplitude Opus supercedes these previous versions, and there will @{i}be only one version for all Amigas, including clones like Draco @{ui}(and others yet to come). Originally invented and developed by @{"SEK'D" Link SEKD} Software in Dresden, Germany, A.C.T. took over development of Samplitude Amiga in the summer of 1997 to allow SEK'D to concentrate on their PC ports and the development of high quality DSP functions (which Samplitude Amiga will benefit from as well) and move Samplitude Amiga even closer to the major sound application on Amiga. Currently involved in programming, editing, testing and marketing of Samplitude Amiga are Marc Albrecht and Thomas Wenzel. If you should discover any problems do not hesitate to contact us at either our @{"postal or electronic addresses." Link ACT} @ENDNODE @NODE Requirements @NEXT Installation @PREV Preface @TITLE "Requirements" @{u}Requirements@{uu} SamplitudeOpus requires at least a 68030 CPU and 68881/2 math co-processor/FPU in order to run. Faster processors are recommended, and optimized versions are currently available for 68030 with 68881/2, 68040, and 68060 processors. While a hard drive is not required in order to run SamplitudeOpus, it is highly recommended, since without one operation will be impaired. @ENDNODE @NODE Installation @NEXT Menus @PREV Requirements @TITLE "Installation" @{u}Installation@{uu} Installing SamplitudeOpus is a simple procedure thanks to the standard Installer utility. Simply double-click the Samplitude-Install icon, and follow the instructions. @ENDNODE @NODE Menus @NEXT MENU_Project @PREV Installation @TITLE "Menus" @{b}@{u}Menus@{ub}@{uu} @{"Project" Link MENU_Project} @{"Edit" Link MENU_Edit} @{"Object" Link MENU_Object} @{"Effects" Link MENU_Effects} @{"Range" Link MENU_Range} @{"Preferences" Link MENU_Preferences} @{"ARexx" Link MENU_ARexx} @{"Help" Link MENU_Help} @ENDNODE @Node MENU_Project "Project Menu" @Next MENU_New @{b}@{u}Project Menu@{ub}@{uu} This menu accesses the main IO routines of Samplitude. You can open or save @{"projects" link "WHATIS_Project"} here, import or export sample formats and access the managers. @{"New » RAM, HD, Virtual" Link PROJECT_New} @{"Close" Link PROJECT_Close} ~~~~~~~~~~~~~~~~ @{"Open » RAM, HD, Virtual" Link PROJECT_Open} @{"Save As..." Link PROJECT_SaveAs} @{"Save" Link PROJECT_Save} ~~~~~~~~~~~~~~~~ @{"Disk Functions » Rename, Delete" Link PROJECT_DiskFunctions} @{"Import » General, CDDA, ADPCM" Link PROJECT_Import} @{"Export » AIFF, WAVE, IFF 8SVX" Link PROJECT_Export} @{"CDDA MSB, CDDA LSB, DUMP" Link PROJECT_Export} @{"Maud, Maestro" Link PROJECT_Export} @{"MPG, ADPCM" Link PROJECT_Export} @{"MIDI" Link PROJECT_MIDI} ~~~~~~~~~~~~~~~~ @{"Record" Link PROJECT_Record} ~~~~~~~~~~~~~~~~ @{"Manager for » Project, Range" Link PROJECT_Managerfor} @{"Playlist » Open, Save As..., Edit, Delete" Link PROJECT_Playlist} ~~~~~~~~~~~~~~~~ @{"About..." Link PROJECT_About} @{"Quit" Link PROJECT_Quit} @EndNode @Node MENU_New "New Project" @Next MENU_Close @{b}@{u}New Project@{ub}@{uu} If you want to genereta a new @{"Project" link "WHATIS_Project"} without opening or importing data first you can access all three project formats here. @{"RAM" link "WHATIS_RAP"} - generates a project in RAM. Advantage is the high speed of all cutting and editing functions. Drawback is that you are limmited to the amount of RAM you have. @{"HD" link "WHATIS_HDP"} - generates a project on your HDP: assign. Advantage is that you have room for @{"sample" link "WHATIS_Sample"} data as long as your partition lasts. Drawback is the slower speed which depends heavily on your system settings and the way you formatted your HD. Use large block sizes, correct Maskings and MaxTransfers and - if possible - an own (physical) drive for your audio data to get away from fragmentation problems or accesses to the HD when you are working @{"Virtuell" link "WHATIS_VIP"} - generates a VIRTUAL PROJECT (VIP) based on your VIP: assign. Depending on the HD space you have you have (nearly) unlimited space for mixing. You can chose the number of tracks when generating a new project. Note that you can @{"join" link "Join_Projects"} several projects to a new (bigger) one, giving you the opportunity of "unlimited" (not really) tracks. @EndNode @Node MENU_Close "Close Project" @Next MENU_Open @{b}@{u}Close Project@{ub}@{uu} This action closes the active @{"Project" link "WHATIS_Project"}. @EndNode @Node MENU_Open "Open Project" @Next MENU_SaveAs @{b}@{u}Open Project@{ub}@{uu} Open existing @{"Projects" link "WHATIS_Project"} from this menu entry. There are keyboard shortcuts for each Open Routine: RAM - use "l" to open an existing RAM project HD - use "L" to open an existing HD project VIRTUELL - use "o" to open an existing VIP project and the used Sub Projects @EndNode @NODE PROJECT_SaveAs "Menus/Project/Save As..." @NEXT PROJECT_Save @{b}@{u}Save As Project@{ub}@{uu} Lets you save your current @{"Project" link "WHATIS_Project"} under a different file name. @ENDNODE @Node MENU_Save "Save Project" @Next MENU_DiskFunctions @{b}@{u}Save Project@{ub}@{uu} Save your work or the actual data from your VIP to HD or RAM using this menu entry. Please note that you cannot save a @{"HDP" link "WHATIS_HDP"} as RAM or a @{"RAM project" link "WHATIS_RAP"} as HDP project currently. Use the bouncing routines for this or use the clipboard! @EndNode @Node MENU_DiskFunctions "Disk Functions" @Next MENU_Import @{b}@{u}Disk Functions@{ub}@{uu} Since a @{"HD Project" link "WHATIS_HDP"} consists of several files that belong to the main project and you have to rename all parts of such a project there is an easy way to rename a complete project by using Project/DiskFunctions/Rename. The same applies to the Delete function which takes care to delete all elements of a HD project. @EndNode @Node MENU_Import "Import filters" @Next MENU_Export @{b}@{u}Import Sample Data@{ub}@{uu} These functions will grow with nearly each new Samplitude being released. Currently the following sample formats are either automatically recognized or can be chosen from seperate requesters: CDDA - meant is the raw audio data you get from reading in audio tracks from a CD. There are in fact four ways these data could be arranged. Samplitude currently imports MSB or LSB signed data. CDDA is always interleaved, 16 Bit, stereo. The project being generated will be set at 44100 Hz which is the logical frequency since we assume you are importing CD data... You have to chose whether you are importing LSB (Least Significant Bit First) or MSB (Most Significant Bit First) data. Most CD drives will support MSB only but there are some INTEL compatible drives that output LSB data. If you are unsure which format you got just test import data and listen to the generated project. If you only get unuseable noise, you propably chose the wrong format. This filter can also be used for all kind of interleaved data as long as the above settings are met. WAVE - This Windows(tm) native format is automatically recognized. There are several possible settings for frequency, Mono, Stereo or resolution which will be all set correctly. MAUD - Invented and used by Macro System this format is obsolete. Support is just being continued for backwards compability. Main drawback of MAUD is that it is not correctly defined. Two interpretations of track_length are possible which result in either a correctly imported project - or a too short (half the original length) or too long (twice the length) depending on how you or the other application interepreted the format definitions. You should NOT use this format if you have a choice. AIFF - This format is already standard in the musicians world since it allows adjustments of all needed data as well as the number of tracks. AIFF is currently implemented very basically but support will improve since it is the format of choice for all professional applications. MAESTRO - Native format of the digital IO card made by MacroSystems IFF - All known IFF are being recognized and automatically imported. ADPCM - Unfortunately there are several standards for ADPCM as well. The format currently supported by Samplitude is the proposed standard system recommended by the IMA Digital Audio Technical Working Group. It is somehow compatible to the ADPCM output or input Crystal uses on their codecs (so it is compatible to the Prelude) @EndNode @Node MENU_Export "Export SampleData" @Next MENU_Midi @{b}@{u}Export SampleData@{ub}@{uu} The following sample formats are being currently supported and exported by Samplitude. As well as the Import list the number of formats included here will get longer. CDDA - meant is the raw audio data you get from reading in audio tracks from a CD. Depending on the CD writer you are using you need LSB (Least Significant Bit First) or MSB (Most Significant Bit First). If the documentation of your writer does not give any hints you MIGHT expect it to use the "correct" format MSB. But there are some INTEL compatible writers as well as some WinTel software that requires LSB. So if you don't know better there's no other way but trying. If you hear only noise from your freshly burned CD - it has been probably the wrong format. WAVE - This Windows(tm) native format is supported. Nuff said. MAUD - Invented and used by Macro System this format is obsolete. Support is just being continued for backwards compability. Main drawback of MAUD is that it is not correctly defined. Two interpretations of track_length are possible which result in either a correctly imported project - or a too short (half the original length) or too long (twice the length) depending on how you or the other application interepreted the format definitions. You should NOT use this format if you have a choice. AIFF - This format is already standard in the musicians world since it allows adjustments of all needed data as well as the number of tracks. AIFF is currently implemented very basically but support will improve since it is the format of choice for all professional applications. MAESTRO - Native format of the digital IO card made by MacroSystems IFF - So you want to use IFF? Well, go ahead - and do Modules with it :) ADPCM - Unfortunately there are several standards for ADPCM as well. The format currently supported by Samplitude is the proposed standard system recommended by the IMA Digital Audio Technical Working Group. It is somehow compatible to the ADPCM output or input Crystal uses on their codecs (so it is compatible to the Prelude) DUMP - MPG - You can produce MPG Layer I or Layer II currently with this exporter. Please refer to the MPG documentation for more detailed information about how to set the different elements best for your needs. MPG is rather CPU intensive so don't expect to have 5 minutes of music exported after 5 minutes! @EndNode @Node MENU_Midi @Next MENU_Record @{b}@{u}Midi Connection@{ub}@{uu} You can send or receive MIDI Sample Dumps to Sampler from these menu entries. @EndNode @Node MENU_Record "Record Sample Data" @Next MENU_Manager @{b}@{u}SoundCard Record@{ub}@{uu} Currently these capture devices are being supported: MAESTRO - gets data from Macro System's digital IO card @{"TOCCATA" link "RECORD_CARDS"} - records data from Macro System's analogue soundcard @{"PRELUDE" link "RECORD_CARDS"} - uses A.C.T.'s "prelude.library" to make use of Prelude's more advanced features SAMPLER - uses an 8 Bit parallel port sampler @{"MPro" link "RECORD_MPRO"} - uses MacroSystem's MaestroPro digital IO card for recording. @EndNode @Node RECORD_MPRO "Record from MPro" @Next MENU_Manager @{b}@{u}Record from MacroSystem's Maestro Pro@{ub}@{uu} Note that you have to set preferences from the Preferences/MPro menu entry (this is a relict from elder Samplitude versions). Support for Maestro Cards will improve slightly when better software is available for implementation. @EndNode @Node RECORD_CARDS "Record from Soundcards" @Next RECORD_MPRO @{b}@{u}SoundCard Record@{ub}@{uu} The window you get when chosing this function will be the main record GUI for all soundcards we will support. It will grow with new features being added. When opening the new GUI will always show input signals (Left/Right) on the barlevels to the right. Using the slider gadgets below the levelmeter you can adjust the Input Gain (assuming the soundcard you use supports this). Depending on the soundcards capabilities you can switch the Input selector to the desired input. Set RAM/HD, 8/16 Bit and frequency according to your needs before recording. If you record a @{"HD Project" link "WHATIS_HDP"} the new project's name will "test#" where "#" stands for a number starting with 0 and running as high as you want. New in Samplitude3.5 is that it does NOT start with 0 again if there is such a project already on HD. In other words: no existing "Test" project will be replaced by a new one - there will always be a new test generated. You can still use syncronisation ways but to allow the new Full Duplex features there is now a PAUSE/StandBy function. If you press on "Start" the LevelMeter will stop and the wait window pops up, asking you to actually start the recording (there is a small gap between the start and the window popping up due to some organisation being made in the background). Pressing PAUSE the first time changes the window's title to "Pause On" and actually starts record. But data will not be written to RAM or HD until you "release" Pause again - which then starts record immediately without any delay. You will need this function to make use of the new @{"Full Duplex" link "FullDuplex"} functions. Any time you press PAUSE while recording data will stop flowing until you release PAUSE again. A cursor will be automatically set at the position you released PAUSE - so when recording long @{"samples" link "WHATIS_Sample"} you can easily find your breaks afterwards. @EndNode @Node MENU_Manager "Manager functions" @Next MENU_PlayList @{b}@{u}Drag'nDrop Managers@{ub}@{uu} Both Manager windows will have to be rewritten in the future of this program. A Manager allows you to control all currently open @{"Projects" link "WHATIS_Project"} or stored @{"ranges" link "WHATIS_Range"} for easy access when working with VIPs. The Manager window will show that a Project's window is just hidden so a DoubleClick on the name entry here pops up the Project's window. Drag'nDrop features are being implemented allowing you to "grab" a Range or Project(Name) with the left MouseButton and dragging it somewhere into your VIP. @EndNode @Node MENU_PlayList "PlayList Functions" @Next MENU_About @{b}@{u}PlayList Functions@{ub}@{uu} One of Samplitude's most used functions is the PlayList Manager which allows you to use a single, long @{"sample" link "WHATIS_Sample"} as a resource for even longer cuts. Suppose you have the recording of some well known music and want to do your own edit on it - so you just create a few ranges (some of them allowing loops) and edit a completely new lineup from within the PlayList Manager. Each @{"Range" link "WHATIS_Range"} you define can have it's own color and name, giving you better control over the complete sample set. The long gadget on the lower part of the PL Manager allows editing of the name. The smaller gadget left of tells you how often that specific range should be played in the finnished playlist. You can delete, edit or add new ranges with the buttons on the lower part of the Manager window. You even have Drag'nDrop possibilities to change the sorting of Ranges. @{"PlayLists" link "WHATIS_PlayList"} are being saved seperately from the Projects they belong to. In fact they are completely independent. So that's why you have load/save and delete functions for Playlists seperately from the Project's functions. @EndNode @Node MENU_About "About Samplitude" @Next MENU_Quit @{b}@{u}Samplitude - what is it all about?@{ub}@{uu} Samplitude is obviously not the first sampling program for Amiga, but it differs from the other programs by the possibility of editing different @{"samples" link "WHATIS_Sample"} with different sampling resolutions. Any number of @{"Projects" link "WHATIS_Project"} can be administered simultaneously in windows of optional size. This is an easy way to exchange data between several samples. Samplitude offers another option: zooming with any depth desired is not only possible along the time axis (horizontal) but also in the amplitude range (vertical), an urgent need for higher sampling resolutions in particular. Mono, stereo, and quadro @{"samples" link "WHATIS_Sample"} can be used and converted into each other. Up to three different @{"Sections" link "WHATIS_Section"} per @{"sample" link "WHATIS_Sample"} can be displayed and edited at the same time, and any number of ranges (loops) and locator points per sample can be defined and called in real time mode. The majority of functions can be executed in real time mode, i.e. while playing. Samplitude supports quite different screen resolutions (such as PAL, NTSC, Interlace, ECS, AGA, and A2024) as well as graphic cards. User defined color settings are being saved with the prefs file. Samplitude contains a comfortable time-line-editor, which makes it possible to edit your multi-track @{"samples" link "WHATIS_Sample"} non-destructive like in a DTP program. Being invented and developed by SEK'D Software in Dresden, Germany, A.C.T. has taken over development of Samplitude Amiga in summer 1997 to allow SEK'D to concentrate on their PC ports and the development of high quality DSP functions (which Samplitude Amiga will benefit from as well) and move Samplitude Amiga even closer to the major sound application on Amiga. Currently involved in programming, editing, testing and marketing of Samplitude Amiga are Marc Albrecht and Thomas Wenzel. Since the question about support for third party soundcards arises from time to time we should state once and for all: ALL soundcards can be supported from Samplitude at no cost for the manufacturors. Required are well defined functions for STOP, PLAY, RECORD and some control tasks along with clear definitions what the hardware is able to do and what not. A.C.T. will work closely with all manufacturors being interested in serious support of their products. A.C.T. will not download any obscure and propietary documentation of each and every new soundcard available to implement it into Samplitude. @EndNode @Node MENU_Quit "Quitting Heaven" @Next MENU_Edit @{b}@{u}Quit@{ub}@{uu} So - if you are really done with it... leave Samplitude alone on your HD and do something different... @EndNode @Node MENU_Edit "Edit Menu" @Next EDIT_Cut @{b}@{u}Edit Menu@{ub}@{uu} The Edit Menu grants access to the usual cut/copy/paste as well as some additional, more Samplitude native functions. Click on the link to learn more about the functions: @{"Cut" link "EDIT_Cut"} Cut data (store into clip) @{"Copy" link "EDIT_Copy"} copy data into clip @{"Paste" link "EDIT_Paste"} copy data from clip into actual Project ~~~~~~~~~~~~~~~~ @{"Stamp" link "EDIT_Stamp"} replace ranged data with data from clip @{"Delete" link "EDIT_Delete"} delete ranged data ~~~~~~~~~~~~~~~~ @{"Add Mem" link "EDIT_Add"} add space @{"Insert Mem" link "EDIT_Insert"} insert space at current posistion ~~~~~~~~~~~~~~~~ @{"Extract Range" link "EDIT_Extract"} create new project with only ranged data @{"Mix Clip" link "EDIT_Mix"} mix data from clip with ranged data @{"Multiple Insert" link "EDIT_Multiple"} paste clip data several times @EndNode @Node EDIT_Cut "Cut Data" @Next EDIT_Copy @{b}@{u}Cut Data@{ub}@{uu} This is the usual CUT function every program will have. It removes the ranged data from the active project and puts it into a @{"clipboard" link "About_ClipBoard"}. You can @{"paste" link "EDIT_Paste"} these clipboard data into your active project on another place or even @{"multiple insert" link "EDIT_Multiple"} it. Remember that "Cut" means removing the data at the current position. @EndNode @Node EDIT_Copy "Copy Data" @Next EDIT_Paste @{b}@{u}Copy Data@{ub}@{uu} This is the usual COPY function every program will have. It copies the ranged data and puts it into a @{"clipboard" link "About_ClipBoard"}. You can @{"paste" link "EDIT_Paste"} these clipboard data into your active project on another place or even @{"multiple insert" link "EDIT_Multiple"} it. "Copy" does not remove the data at the current position. @EndNode @Node EDIT_Paste "Paste Data" @Next EDIT_Stamp @{b}@{u}Paste Data@{ub}@{uu} This function inserts the data you have in the @{"clipboard" link "About_ClipBoard"} at the current cursor position (once). The data also remains in the clipboard. Remember that your project gets longer whenever you insert data. @EndNode @Node EDIT_Stamp "Replace Data" @Next EDIT_Delete @{b}@{u}Stamp Data@{ub}@{uu} Instead of inserting data this function replaces the data you have actually ranged with the data from the @{"clipboard" link "About_ClipBoard"}. @EndNode @Node EDIT_Delete "Delete ranged data" @Next EDIT_Add @{b}@{u}Delete Data@{ub}@{uu} This function just deletes the ranged data without touching data currently in the clipboard. Your project gets shorter when deleting data of course. If you want to "silence" ranged data use @{"Null" link "AMPLITUDE_Null"}. @EndNode @Node EDIT_Add "Add Space" @Next EDIT_Insert @{b}@{u}Add Space@{ub}@{uu} You will be asked how many @{"samples" link "WHATIS_Sample"} you want to add to your active project. This way you gain new space for cut/copy/paste functions. @EndNode @Node EDIT_Insert "Insert Space" @Next EDIT_Extract @{b}@{u}Insert Space at current position@{ub}@{uu} You have to have ranged some data. By chosing this function you add space at the beginning of your currently active range with the length of your current range. Assume you have ranged one quarter beat of a @{"sample" link "WHATIS_Sample"} and want to lengthen the complete project by one, two, three or four beats you just chose this function and get space as much as you need. @EndNode @Node EDIT_Extract "Extract ranged data" @Next EDIT_Mix @{b}@{u}Extract Data@{ub}@{uu} This function is used in graphic enviroments to reduce the complete picture to the chosen size without stretching (removing unwanted data). So if your @{"sample" link "WHATIS_Sample"} has got noise at its beginning and end you just range the data you want to keep and use this function to "extract" it and get rid of the rest. @EndNode @Node EDIT_Mix "Mix Clip into current data" @Next EDIT_Multiple @{b}@{u}Mix Data@{ub}@{uu} This function mixes data you keep in your clip into your active project at the current cursor position. Both inputs (clip and project data) will be set to 50 percent. @EndNode @Node EDIT_Multiple "Multiple Insert" @Next MENU_Object @{b}@{u}Multiple Insert@{ub}@{uu} This function is used to insert @{"clipboard" link "About_ClipBoard"} data at the current position several times. You will be asked how often to insert the data. @EndNode @Node About_ClipBoard "What is the clipboard?" @{b}@{u}Clipboard technique@{ub}@{uu} Samplitude naturally has a temporary memory (clipboard) with which data from various @{"samples" link "WHATIS_Sample"} can be cut out, copied, and inserted. The clipboard content can be permanently displayed by pressing the ESCape key. The data stored in the clipboard is swapped into a file. You can choose the place of this file (such as RAM disk, hard disk, or floppy disk). In earlier Samplitude versions, the clip of physical @{"Projects" link "WHATIS_Project"} was always of the same type as the original. Now the clip can optionally be generated in the RAM or on the disk. This is an easy way to convert @{"RAM projects" link "WHATIS_RAP"} into @{"HD projects" link "WHATIS_HDP"} and vice versa if the corresponding clip type is selected before copying and the clip renamed after this. The data in the clipboard always has the same properties as the project from which the data has been taken (sample resolution and mono, stereo, or quadro mode). The clipboard is represented on the screen by a window having the word Clip in its title bar (open with ESC-Key). The window shows the topical content on the clip. The text reads EMPTY if the clipboard has no content. The Clipboard is a normal project, that means, you can edit, playback, and save it. @EndNode @Node AMPLITUDE_Null "Silence ranged data" @EndNode @Node MENU_Object "Object menu" @Next xxx @{b}@{u}Object Menu@{ub}@{uu} This menu grants access to Object manipulations. An Object in Samplitude is a set of @{"samples" link "WHATIS_Sample"} @{"objects" link "WHATIS_Project"} - it may be mono, stereo, quadro or whatever. It may be constructed or collected from several single elements. Objects only exist in Virtual Projects. Functions mainly targeted to object manipulation are: @{"Cut" link "OBJECT_Cut"} Cut an entire object out of the current project @{"Copy" link "OBJECT_Copy"} Copy an entire object into the clipboard @{"Paste" link "OBJECT_Paste"} Paste an object from the clipboard into the current project ~~~~~~~~~~~~~~~~ @{"Kill" link "OBJECT_Kill"} Kill selected entire object @{"Divert" link "OBJECT_Divert"} split up object @{"Duplicate" link "OBJECT_Duplicate"} duplicate entire object ~~~~~~~~~~~~~~~~ @{"Hotspot" link "OBJECT_HotSpot"} @{"Select" link "OBJECT_Select"} @{"Switch Select" link "OBJECT_Switch"} @{"Extract" link "OBJECT_Extract"} @{"Freeze" link "OBJECT_Freeze"} @{"Free" link "OBJECT_Free"} @{"Group" link "OBJECT_Group"} Group operations @{"Make" link "OBJECT_GroupMake"} Make a group from selected objects @{"Split" link "OBJECT_GroupSplit"} Split a group into several objects ~~~~~~~~~~~~~~~~ @{"Color" link "OBJECT_Color"} change the color of the selected object(s) @{"Name" link "OBJECT_Name"} name the selected object(s) @EndNode @Node OBJECT_Cut "Cut Object" @Next OBJECT_Copy @{b}@{u}Cut Object@{ub}@{uu} The selected objects are removed from the current project and transferred to the Virt Clip. The length of the current project is not varied; objects that have not been selected remain in their positions. The former content on the Virt Clip is lost. @EndNode @Node OBJECT_Copy "Copy Object" @Next OBJECT_Paste @{b}@{u}Copy Object@{ub}@{uu} The selected objects are copied into the Virt Clip and can again be inserted from there. The former content of Virt Clip is lost. @EndNode @Node OBJECT_Paste "Paste Object" @Next OBJECT_Kill @{b}@{u}Paste Object@{ub}@{uu} Objects in the Virt Clip are inserted into the project at the marked cursor position. The position of objects in the project is maintained. Please note that this leads to overlapping (covering) of objects. @EndNode @Node OBJECT_Kill "Kill Object" @Next OBJECT_Divert @{b}@{u}Kill Object@{ub}@{uu} The selected objects are removed from the current project. The length of the latter is not varied; objects that have not been selected remain in their positions. The state of the Virt Clip is not modified. @EndNode @Node OBJECT_Divert "Divert Object" @Next OBJECT_Duplicate @{b}@{u}Split selected Objects@{ub}@{uu} Object splitting is a kind of cutting to pieces so that parts can be deleted or shifted after this. All selected objects are split into two autonomous objects at the cursor position. If a hidden project is separated, the newly generated object covers the object which was originally behind. @EndNode @Node OBJECT_Duplicate "Duplicate Object" @Next OBJECT_HotSpot @{b}@{u}Duplicate selected Object@{ub}@{uu} All selected objects are duplicated which means that a copy is generated in the same position in the ORIGINAL PROJECT. The original object is then placed behind (covered). The duplicate can be shifted with the mouse to the new position desired. If several objects had been selected before duplicating, activate the Shift key before shifting so that all objects remain selected and can be moved together. This is a way of multiplying objects without detour through the Virt Clip. @EndNode @Node OBJECT_HotSpot "Set Hotspot" @Next OBJECT_Select @{b}@{u}Set a HotSpot@{ub}@{uu} This function defines the current cursor position as reference point for the raster function in a selected object. It is thus possible to use the hot spots (synchronization points) instead of object front edges for orientation in the different rasters. Hot spots are represented by dashed lines. They can also be outside an object, i.e. before or behind. This function is useful if the object part to be synchronized is not identical with its front edge. @EndNode @Node OBJECT_Select "Select Object" @Next OBJECT_Switch @{b}@{u}Select Object@{ub}@{uu} All objects are selected if they are, completely or partially, in the marked range. @EndNode @Node OBJECT_Switch "Switch Selection" @Next OBJECT_Extract @{b}@{u}Switch Object Selection@{ub}@{uu} All non-selected objects are selected whereas selection of selected objects is cancelled. @EndNode @Node OBJECT_Extract "Extract Object" @Next OBJECT_Freeze @{b}@{u}Extract selected Object@{ub}@{uu} All not selected objects are removed from the project. @EndNode @Node OBJECT_Freeze "Freeze Object(s)" @Next OBJECT_Free @{b}@{u}Freeze selected Object@{ub}@{uu} This protects objects against accidental shifting. Locking of all selected objects is cancelled. @EndNode @Node OBJECT_Free "Free frozen Object(s)" @Next OBJECT_Group @{b}@{u}Free Objects@{ub}@{uu} This frees @{"frozen" link "OBJECT_Freeze"} objects. @EndNode @Node OBJECT_Group "Group operations" @Next OBJECT_GroupMake @{b}@{u}Groups@{ub}@{uu} Groups operations are easier to handle, exspecially if you are have grouped objects together that are split over a long area. @EndNode @Node OBJECT_GroupMake "Make a group" @Next OBJECT_GroupSplit @{b}@{u}Generate a group of selected objects@{ub}@{uu} All selected objects are connected to a group. They can be moved and manipulated together. If you create stereo-objects, the two @{"samples" link "WHATIS_Sample"} are still a group. @EndNode @Node OBJECT_GroupSplit "Split a group" @Next OBJECT_Color @{b}@{u}Split current group into several objects@{ub}@{uu} The objects of a group are disconnected. @EndNode @Node OBJECT_Color "Change Object color" @Next OBJECT_Name @{b}@{u}Change Object Color@{ub}@{uu} Select a color for the selected objects. This way you get a better control over your complete project. @EndNode @Node OBJECT_Name "Name an object" @Next MENU_Effects @{b}@{u}Name the Object@{ub}@{uu} All selected objects get the specified name. You can switch between "Named Objects" and "Wavedrawn Objects" by pressing the "Tilde Key" above the TAB-Key. @EndNode @Node MENU_Effects "Effects Menu" @Next EFFECTS_Backwards @{b}@{u}Sample Effects@{ub}@{uu} Since Samplitude's capability of effects will grow continuously we have made up this special menu which diverts effects into DSP, Sample or common effects. Remember that there is currently no "UNDO" function available so you should always keep a copy of your work BEFORE applying an effect. Currently these effect groups are available: @{"Sample »" link "EFFECTS_Sample"} Change sample structure @{"Amplitude »" link "EFFECTS_Amplitude"} Change Amplitudes @{"DSP »" link "EFFECTS_DSP"} complex operations @EndNode @Node EFFECTS_Sample "Common Sample Effects" @Next EFFECTS_Invert @{b}@{u}Sample Effects@{ub}@{uu} Common Sample Effects are those that do not require high CPU power or do only affect amplitude changes (since those "enveloping functions" can be found under Effects/Amplitude). So you will find plug ins here that do simple geometrical calculations with a complete project or a selected range. Effects available here are @{"Invert" link "EFFECTS_Invert"} - invert sample data @{"Backwards" link "EFFECTS_Backwards"} - invert playback direction @{"Half" link "EFFECTS_Half"} - divide sample length by two @{"Double" link "EFFECTS_Double"} - double sample length @EndNode @Node EFFECTS_Invert "Invert Sample Data" @Next EFFECTS_Backwards @{b}@{u}Sample Inversion@{ub}@{uu} The sample data within the marked range are inverted along the amplitude axis. This phase inversion means that negative values become positive ones and vice versa. This function, too, is reversible. This function permits samples with differing phase lengths to be matched to each other. Along with the available mixing functions (which are, from the mathematical viewpoint, adding functions), preceding use of this functions allows you to subtract samples. This function can be used to generate a simple "SurroundSound" effect by generating a "Surround Signal" (a @{"sample" link "WHATIS_Sample"} that should be played from the back side of the listening room), adding (mixing) this sample to the right channel of the final output signal and substracting it from the left. Substraction is achieved by inverting the signal with this function and mixing it to the left channel. When played back by a SurroundSound-Decoder the signal mixed this way will be played "from the back". NOTE: This is NOT real surround sound. It is just a very cheap trick to achieve some kind of surrounding noise. Usually a correct surround signal is encoded far more complex. @EndNode @Node EFFECTS_Backwards "Backward Sample" @Next EFFECTS_Half @{b}@{u}Change playdirection of samples@{ub}@{uu} The @{"sample" link "WHATIS_Sample"} data in the marked range are reversed along the time axis. Playing is then from the end to the beginning. This allows very interesting effects, not to mention the "hidden messages" frequently referred to in various songs. This function is reversible: if you do not mark a new range, calling this function once more leads to the original material. @EndNode @Node EFFECTS_Half "Halve Sample Length" @Next EFFECTS_Double @{b}@{u}Length of sample / 2@{ub}@{uu} This function removes every alternate @{"sample" link "WHATIS_Sample"} value; the complete sample is reduced to half its length. The audible pitch is doubled, i.e. raised by one octave. When halving the sampling rate you will notice that the pertaining upper harmonics are missing. This is the result of halving the memory demand. You can use this function if you work with programs for DMA output only but want to hear on your AMIGA samples recorded with higher sampling rate than 28,000 Hz. @EndNode @Node EFFECTS_Double "Double Sample Length" @Next EFFECTS_Amplitude @{b}@{u}Length of sample * 2@{ub}@{uu} This function inserts a new value between two adjacent sampling values. It is the mean of the two adjacent values. The complete @{"sample" link "WHATIS_Sample"} becomes twice as long; the resultant pitch of the sample is halved. You must double the playing rate for getting the former pitch. Thus you can match samples using half the sampling rate each. You should note that the higher possible playing rate does not lead to new upper harmonics. @EndNode @Node EFFECTS_Amplitude "Amplitude operations" @Next AMPLITUDE_Normalize @{b}@{u}Changing the Amplitude of sample data@{ub}@{uu} Amplitude operations usually leed to volume changes. This is why you find fading functions here as well as silencing. @{"Normalize" link "AMPLITUDE_Normalize"} - set Maximum Amplitude to percentage @{"Null" link "AMPLITUDE_Null"} - silence a selected range @{"Fade In/Out" link "AMPLITUDE_Fade"} - improved fading controller @{"Crossfade" link "AMPLITUDE_CrossFade"} - CrossFading functions @{"Half" link "AMPLITUDE_Half"} - decrease amplitude by 50 percent @{"Double" link "AMPLITUDE_Double"} - increase amplitude by 100 percent @EndNode @Node AMPLITUDE_Normalize "Normalize Amplitude" @Next AMPLITUDE_Null @{b}@{u}Set the Maximum Amplitude of sample data to a percentage value@{ub}@{uu} This function modifies the sample data in their amplitude. They are amplified that the maximum amplitude occuring in a range is set to 100% (or any value between 1% and 400%) of the value range. First the maximum is detected and correlated to the percentage chosen. After this all values are weighted with the new factor. This function is destined to fully modulate or to overmodulate @{"samples" link "WHATIS_Sample"}. It is suitable in particular before conversion from high sample resolutions to lower ones. You can thus ensure that the dynamics range, which is small anyhow in cases of low resolutions, can be fully utilized. If working with sounds from one single instrument, you should set the factor to 100%. If, however, your piece of music has background percussions, for example, you will be able to overmodulate the sample to 120% to 200% since only the few percussion peaks are cut off. The same method allows you to intentionally alienate natural instruments by overmodulation. @EndNode @Node AMPLITUDE_Null "Set Amplitude to NULL" @Next AMPLITUDE_Fade @{b}@{u}Silence a selected range@{ub}@{uu} This functions sets the amplitude in a selected range to NULL. The direct effect of this is of course silence in the selected range. @EndNode @Node AMPLITUDE_Fade "Fade Control" @Next AMPLITUDE_CrossFade @{b}@{u}Fade In / Out a selected range@{ub}@{uu} The improved fader window allows you to fade in (coming from NO sound) or out (going to NO sound) within the selected range on a linear, logarithmic or exponential algorithm. Linear fading will be used in special cases only since Audio Amplitudes are being recogniced as exponential functions. This means that you will usually have to divide an amplitude by four if you want to have HALF volume. So when fading in or out the "usual way" you will select "Logarithmic" control. The graphical preview shows how your settings will affect the selected @{"samples" link "WHATIS_Sample"} @{"range" link "WHATIS_Range"}. You don't have to use 100% as start or end value - you are completely free to even fade from 102% to 98% - if you should need this. @EndNode @Node AMPLITUDE_CrossFade "CrossFading functions" @Next AMPLITUDE_Half @{b}@{u}CrossFading two sample elements@{ub}@{uu} This function "cross fades" the sample data you are keeping in your clipboard with the selected range. The CLIP data's end will get 50% mixing weight at the current cursor position, it's start values will have 0% mixing weight. So if you want to cross-overlap your current data with the clip data you will have to move the range END to where the mixing shall be finnished. @EndNode @Node AMPLITUDE_Half "Half the Amplitude" @Next AMPLITUDE_Double @{b}@{u}decrease Amplitude by 50%@{ub}@{uu} This function reduces the amplitude of the selected sample data by 50%. This is not exactly half the volume of course but is a good help if you want to reduce the volume of a specific sample part. @EndNode @Node AMPLITUDE_Double - increase amplitude by 100 percent @Next EFFECTS_DSP @{b}@{u}increase ranged amplitudes by 100%@{ub}@{uu} This function loudens up the selected range. It is not exactly doubling the volume of course but gives a good help if you want to get some sample data louder. @EndNode @Node EFFECTS_DSP "Complex Operations" @Next @{b}@{u}Complex filter and resampling functions@{ub}@{uu} Starting with V3.5 Samplitude offers even more high quality resampling functions which now often can be selected instead of the older (partly faster) functions. Usually the higher the quality of a DSP (Digital Signal Processing) function is the more CPU power it needs. Currently these functions are being offered to users of the full version: @{"Echo" link "DSP_Echo"} - Echo function @{"Reverb" link "DSP_Reverb"} - Reverb (multiple echo) @{"Pitch/Time" link "DSP_Pitch"} - Pitch Changer / Time Stretcher @{"Resample" link "DSP_Resample"} - simple or complex Resampler @{"Compressor" link "DSP_Compressor"} - High quality Compressor @{"EQ" link "DSP_EQ"} - 3band Equalizer with graphic control @{"FFT Filter" link "DSP_FFT"} - absolute high quality FFT Filter @{"Denoiser" link "DSP_Denoiser"} - FFT based Denoiser function @{"Convolution" link "DSP_Convolution"} - Use one sample's characteristics on another @EndNode @Node DSP_Echo "Echo function" @Next DSP_Reverb @{b}@{u}Echo function@{ub}@{uu} This echo is a way to fade an echo effect into a sample. The effect always refers to the entire sample, irrespective of marked ranges. To avoid overmodulation of the @{"sample" link "WHATIS_Sample"}, a certain modulation reserve should still be available. This means that the sample data must not yet reach the maximum/minimum. If needed, this can be done by the Normalize function (about 70%). Selection of the echo function opens the following editor: Delay ms: This gadget specifies the delay between the single echoes or the original signal and the first echo in milliseconds. Default is 500ms, half a second. You should consider that the delay depends on the sampling rate: a variation of the sampling rate after generation of an echo naturally varies the echo delay. Decay %: This gadget specifies attenuation between the single echoes in percent. A value close to 100% makes the echo delay decay slowly, values below 40% lead to a rapid decay. @EndNode @Node DSP_Reverb " Reverb (multiple echo)" @Next DSP_Pitch @{b}@{u}Reverb function@{ub}@{uu} This editor is used to insert a reverberation-like effect into the @{"sample" link "WHATIS_Sample"}. To avoid overmodulation of the sample, a certain modulation reserve should still be available. This means that the sample data must not yet reach the maximum/minimum. If needed, this can be done by the Normalize function (about 70%). This effect has a suitable quality if 16-bit projects are processed, since comprehensive calculation quickly exhausts the accuracy of 8-bit samples. This becomes audible by a high noise level. If the effect is applied to an 8-bit sample, preceding conversion to 16 bits is advisable (Samplitude allows it). The corresponding editor is as follows: Effect %: This gadget specifies the quantity of the effect share relative to the share of the original. 100% means effect only, while 0% leads to the original signal. Decay %: This specifies the decay time of the reverbation effect. Values close to 100% result in an effect with slow decay, lower values in a shorter effect. Values above 90% involve the risk of overmodulation or initial transient. Consequently, the original material should be saved prior to effect generation. Room ms: This gadget specifies the time (im milliseconds) after which the first reflections of the original signal shall occur. After all, it influences the size of a fictitious reverberant room. The higher the value in this gadget, the larger this reverberant room. @EndNode @Node DSP_Pitch "Pitch Changer / Time Stretcher" @Next DSP_Resample @{b}@{u}Pitch Shifter and Timer Stretcher@{ub}@{uu} @EndNode @Node DSP_Resample "Resampler" @Next DSP_Compressor @{b}@{u}Complex or simple/fast Resampling@{ub}@{uu} The complete new Resample function allows quick and easy resampling of a whole project to a new sampling frequency. This is needed if you have let's say Amiga Sound data in 22kHz and want to burn it to CD (44.1kHz). Usually you would simply double the length of the @{"sample" link "WHATIS_Sample"}, keeping the same sample data. This way you don't get a real 44.1kHz sample but a normal 22.05kHz sample played at double speed. Resampling means that the data is being analized for it's frequency range and completely new generated at the desired new frequency. This way you get the needed resolution. Depending on the quality you want and the time you have for waiting you can select different qualities. @EndNode @Node DSP_Compressor "Compressor" @Next DSP_EQ @{b}@{u}Compressor functions@{ub}@{uu} The high end compressor Samplitude features consists of several independant modules "Compressor", "Limiter", "Expander" and "Noise-Gate". They all share one control window. @{b}@{u}Compressor@{ub}@{uu} The compressor increases low amplitude values and decreases high values to an average band which can be set up using Ratio, Threshold, Attack and Release values. Have a close look at the graphical hint in the lower right part of the window that shows you how the selected data affect your @{"sample" link "WHATIS_Sample"}. Compressors are being used to narrowing the dynamics of a complete sample. @{b}@{u}Limiter@{ub}@{uu} The Limiter sets a maximum dB output value which acts as a "high border". Amplitudes ranging above this value will be set back to keep below. Limiters are being used to make sure the dynamics of a @{"sample" link "WHATIS_Sample"} to get higher than the chosen maximum. @{b}@{u}Expander@{ub}@{uu} The Expander reduces low amplitudes and increases higher ones. The effect is a widening of the @{"sample's" link "WHATIS_Sample"} dynamics. It's in fact the oposite of a compressor, making soft parts even softer - and loud ones even louder. {b}@{u}Noise-Gate@{ub}@{uu} The Noise Gate simply cuts off all sample data that are not "loud enough". Suppose you have some noisy tape recording where unwanted @{"samples" link "WHATIS_Sample"} are being heared even if nothing should be there. So you'd set the Noise Gate to some reasonable value and remove everything below a certain volume. All Compressor functions can use the Noise-Gate level to set some starting value at which they shall respond. @EndNode @Node DSP_EQ "3band Equalizer" @Next DSP_FFT @{b}@{u}Equalizing@{ub}@{uu} The original EQ gives you a high-quality 3 Band Filter tool with three frequency offsets, band widths and weights. Each frequency can be specified to have a certain width (BW) and weight. Have a look at the graphical output to see how the frequency bands overlap. You can even put a 3d view on your selected sample data to get an insight into how the EQ will affect your sample. Use the Volume slider to change the general overall-volume of the filter. When using an EQ you often use a bit of overall amplitude (volume), so this slider is there to compensate. @EndNode @Node DSP_FFT "FFT Filter" @Next DSP_Denoiser @{b}@{u}FFT Filter@{ub}@{uu} The brand new, shiny FFT filter uses high quality filter functions to get the best out of your sample data. The drawback is that you need quite some CPU power to make the best use of it... You have to have a selected range on which the spectrum analysis will be based. After tables have been calculated you will see the spectrum of your selected range and have the possibility to adjust the filter by simply drawing an offset graphic on top of it. So if you have some "cracking" noise in your sample you will surely find it here, popping in at some decent frequency. Just "draw down" that specific frequency range - and of you go, letting your CPU do some work. There are readymade settings for removing 50Hz or 60Hz (power supply) disturbances. These filters will remove the 50Hz (60Hz) peaks as well as the multiples leaving a clean, superb sample. Try it! The quality of this filter is absolutely best on the Amiga. @EndNode @Node DSP_Denoiser "Denoiser function" @Next DSP_Convolution @{b}@{u}FFT based Denoiser@{ub}@{uu} The Denoiser uses the FFT Filter routines to remove the frequencies found in your clip from the @{"sample" link "WHATIS_Sample"} data you currently selected within the active range. Suppose you have sampled some background noise from your old tape. So you just put this noise into your clipboard (press "c"). Now select the range in the sample you want to denoise (maybe the complete sample) and call the Denoiser. You can now adjust the filter, if you need to - and afterwards click on OK to let go. It will take some time, depending on the resolution you chose. @EndNode @Node DSP_Convolution "Convolution" @Next SHIFT_LEFT @{b}@{u}Use one sample's characteristics on another@{ub}@{uu} This is another unique Samplitude feature. Use the amplitude characteristics of one sample on another - get a flute drumming! Simply copy some (short) characteristic @{"sample" link "WHATIS_Sample"} to the clipboard (take the rev_1.rap sample as a start) using "c" and load the sample on which the function shall be tried. Select a range and call "Convolution" - the result is incredible! There are some more examples in the RAP directory of your CD. Sample "reverb characteristics" of your favorite effects machine! @EndNode @Node SHIFT_LEFT "Shift Left" @Next SHIFT_RIGHT @{b}@{u}Shift Left@{ub}@{uu} A @{"sample" link "WHATIS_Sample"} of a stereo or quadro project is shifted to the left. The length of shift results from the length of the current range, not its position. If you notice that your sample begins a little late, mark a range between its present beginning and the desired one and call this function. Shifting to the left adds zeroes on the right, whereas data shifted out to the left will be lost. @EndNode @Node SHIFT_RIGHT "Shift Right" @Next SHIFT_UP @{b}@{u}Shift Right@{ub}@{uu} This is equivalent to Shift Left function. The difference is shifting to the right, i.e. to the rear. Zeros are added in the beginning, data in the rear part will be lost. @EndNode @Node SHIFT_UP "Shift Up" @Next SHIFT_DOWN @{b}@{u}Shift Up@{ub}@{uu} Sample data are shifted upward by the height of the range, not its vertical position. In physical terms, a dc voltage is added to the entire sample. Please note that sampling values at the upper bound of the value range may be cut off. This operation is useful in particular in combination with the function Range over dc offset in the Range menu. @EndNode @Node SHIFT_DOWN "Shift Down" @Next PROJECT_SPECIAL @{b}@{u}Shift Down@{ub}@{uu} Sample data is shifted downward by the height of the range, not its vertical position. In physical terms, a dc voltage is subtracted from the entire sample. Please note that sampling values at the lower bound of the value range may be cut off. This operation, too, is useful in particular in combination with the function Range over dc offset in the Range menu. @EndNode @Node PROJECT_SPECIAL "Project Special Functions" @Next PROJECT_Join @{b}@{u}Special Project Functions@{ub}@{uu} You find special functions that apply to complex @{"Projects" link "WHATIS_Project"} here. @{"Join Projects" link "PROJECT_Join"} - joins two project into one new. @{"Split Project" link "PROJECT_Split"} - splits a project into two new. @{"Length Double" link "PROJECT_DoubleLength"} - doubles a project's length @{"Length Half" link "PROJECT_HalfLength"} - halfs a project's length @{"Project Mono" link "PROJECT_Mono"} - remixes a project to Mono @{"Project Stereo" link "PROJECT_Stereo"} - remixes a project to Stereo @{"Project Quadro" link "PROJECT_Quadro"} - remixes a project to Quadro @{"Bounce" link "PROJECT_Bounce"} - remixes a multi-track project to a Stereo HDP @{"Mix Projects" link "PROJECT_Mix"} - mixes two projects @{"Mixing Volume" link "PROJECT_Volume"} - controls volume settings @{"Change Resolution (Bits)" link "PROJECT_Resolution"} - changes a project's resolution @{"SMPTE Offset" link "PROJECT_SMPTEOffset"} - adjusts the SMPTE Offset @{"Clip To Front" link "ClipToFront"} - pops up the current clip @EndNode @Node PROJECT_Join "Join two projects" @Next PROJECT_Split @{b}@{u}Join Projects@{ub}@{uu} This unites two mono @{"Projects" link "WHATIS_Project"} as one stereo project and two stereo projects as one quadro project. Common operations in all @{"samples" link "WHATIS_Sample"} are then possible. You will now be requested to activate the partner project (the project with which you want to unite the current one). Do so by clicking on the title bar of the corresponding window. Please consider linking restrictions: link mono with mono and stereo with stereo projects only. Sample resolutions of the two projects are matched to each other in the same way as their lengths. Shortcut: v @EndNode @Node PROJECT_Split "Split a project" @Next PROJECT_DoubleLength @{b}@{u}Split Projects@{ub}@{uu} This function is suitable to divide stereo @{"Projects" link "WHATIS_Project"} into two independent mono projects and quadro projects into two stereo projects. This eliminates the invariable connection of @{"samples" link "WHATIS_Sample"} which can be processed as single ones after this. Shortcut: t @EndNode @Node PROJECT_DoubleLength "Double Project Length" @Next PROJECT_HalfLength @{b}@{u}Doubles a project's length@{ub}@{uu} This function is not implemented yet. Please report. @EndNode @Node PROJECT_HalfLength "Half Project Length" @Next PROJECT_Mono @{b}@{u}halfs a project's length@{ub}@{uu} This function is not implemented yet. Please report. @EndNode @Node PROJECT_Mono "Mono " @Next PROJECT_Stereo @{b}@{u}mixes a project to Mono@{ub}@{uu} The current @{"Project" link "WHATIS_Project"} is set into the mono mode. If it was a stereo project before, both channels will be mixed. The pertaining samples are first added with 100% each and the total divided by two to prevent overmodulation. You can call the Mix function in the same menu if you like different mixing ratios. Quadro projects must be converted into stereo projects before. Shortcut: [ (top left in the numerical block) @EndNode @Node PROJECT_Stereo "Stereo " @Next PROJECT_Quadro @{b}@{u}mixes a project to Stereo@{ub}@{uu} A mono @{"Project" link "WHATIS_Project"} is made a stereo project with two identical @{"samples" link "WHATIS_Sample"}. This means duplication of the original project. A quadro project is made a stereo project again by adding and dividing by two. Shortcut: ] (top in the numerical block) @EndNode @Node PROJECT_Quadro "Quadro " @Next PROJECT_Bounce @{b}@{u}mixes a project to Quadro@{ub}@{uu} The current @{"Project" link "WHATIS_Project"} is set to the quadro mode. If it was a mono project before, the new quadro project will consist of four identical @{"samples" link "WHATIS_Sample"}. If the original was a stereo project, channels 1 and 3 are generated from the right, channels 2 and 4 from the left channel of the stereo block. Shortcut: / (top right in the numerical block) @EndNode @Node PROJECT_Bounce "PROJECT Bounce " @Next PROJECT_Mix @{b}@{u}mixes a multi-track project to a Stereo HDP@{ub}@{uu} This function mixes a MultiTrack project @{"(VIP)" link "WHATIS_VIP"} to a (new generated) @{"HDP" link "WHATIS_HDP"} just as a Two-Channel (Stereo-) SoundCard would playback. This way you can mix down finnished cuts to HDPs for further use in larger VIPs. @EndNode @Node PROJECT_Mix "Mix" @Next PROJECT_Volume @{b}@{u}mixes two projects@{ub}@{uu} Two or four @{"samples" link "WHATIS_Sample"} can be mixed with each other. Sample A is added to sample B. Sample A is maintained as before, sample B contains the total of both samples. You can specify factors with which the samples shall be weighted in addition. If both samples are fully modulated, you should specify 50% each for the source and destination. If, however, one sample should be dominant, give this a higher weighting and the other sample a lower one (70% and 30%, for example). You can even specify weighting factors whose total is more than 100%, provided that the two samples have their maximum modulation in different positions. The optimum result should be found by experiments. In quadro projects, channels 1 and 2 and channels 3 and 4 are mixed with each other. @EndNode @Node PROJECT_Volume "Volume " @Next PROJECT_Resolution @{b}@{u}controls volume settings@{ub}@{uu} Specify a general attenuation for a project here. @EndNode @Node PROJECT_Resolution "Project Resolution" @Next PROJECT_SMPTEOffset @{b}@{u}changes a project's (BIT)resolution@{ub}@{uu} You now have the chance to select the desired sample resolution by actuation of the corresponding gadget. The desired resolution can be read in the window title. Click on convert to begin converting or Cancel to leave the editor. Resolutions between 1 and 8 bits occupy one byte per sample value, resolutions between 9 and 16 bits occupy two bytes each. The conversion process usually happens in the main memory if the RAM capacity is large enough. If there is not enough memory, a bypass through directory TEMP: will be necessary. Conversion may then be longer accordingly. If you like to manipulate an 8-bit sound in defferent ways, you better convert it to 16 bits in the beginning. The computing inaccuracies occuring during the functions will then happen in the 16-bit range and thus be smaller. At the end the sample is reconverted to 8 bits. You should also experiment with smaller sample reolutions. You will find a certain recognition effect even with 4 or 5 bits. (Dresden obviously has a digital telephone network - with resolution of 4 bits...). It is astonishing that even one bit leads to a certain (but of course faint) similarity to the original sound. Shortcut: k @EndNode @Node PROJECT_SMPTEOffset "SMPTEOffset" @Next ClipToFront @{b}@{u}adjusts the SMPTE Offset@{ub}@{uu} Please report (documentation hole) @EndNode @Node ClipToFront "ClipToFront " @Next Change_Parameter @{b}@{u}pops up the current clip@{ub}@{uu} This function (which is also called by pressing the ESC-Key) pops up the contents of the actual @{"clipboard" link "About_ClipBoard"}. @EndNode @Node Change_Parameter "Project Parameter" @Next MENU_Range @{b}@{u}allows control over the Project's general parameters@{ub}@{uu} You have the chance of specifying the @{"sample" link "WHATIS_Sample"} playing rate and the volume of the audio channels. The volume controllers have a resolution of 1.5dB now, the mixing quality depends on your (system) settings. The Panning function also has a high resolution. So beware: if you are able to playback 16 channels on your (probably 60) CPU, it is very likely that your system goes down (unstable playback) if you activate (meaning: change) panning or volume control. This is due to the mixing functions which detect a "no setting" and don't use FPU intense calculations then. Sample rates above 28kHz sent through the AMIGA outputs are today not directly supported because the DMA processors can no longer operate correctly in this range. Output through the processor would be possible, but parallel editing operations then become impossible. Of course this is no problem on modern Amigas which will have a Soundcard in nearly all cases... Users of an AMIGA with ECS or AGA chips (processors from 68020) can play sample rates up to almost 50kHz. The time behaviour of the DMA slot is modified in the Productivity mode that output up to 56kHz through audio DMA would be theoretically possible. This requires that the Workbench is switched to the Productivity mode (provided that a multisync monitor is available). For this purpose use the ScreenMode program if the Prefs drawer of System 2/3.x or higher. Now Samplitude must be forwarded through menu item Screen in the Setting menu to this Workbench screen (Use Workbench or Workbench copy). And from now on you can utilize the higher sample rates. But those who have a "mere" Amiga 2000 need not abandon hope: if the desired sample rates are above 28kHz, Samplitude detects automatically whether the Productivity mode is active. If this is not the case, every alternate sample only is put out and the necessary sample rate halved (as if you would halved the sample with Sample data / 2 before). This means that, for example, 44kHz are put out with 22kHz only and upper harmonics, according to the sampling theorem, are audible up to 11 kHz only. You should keep in mind that Samplitude can convert any sampling resolution to 8 bits while playing, so that the processor has to do its work if DMA output is active. Furthermore, the processor has to copy data in FAST RAM, if any, into CHIP RAM, so that the DMA can have access to them. You will notice this in the case of high output sample rates escpecially if you work with an AMIGA with 68000 processor and the normal clock frequency. Extreme cases can overstrain the AMIGA that the mouse pointer cannot be moved any longer. You must then keep both mouse buttons depressed at the same time--playing is stopped immediately. @EndNode @Node MENU_Range "Range" @Next @{b}@{u}Range operations@{ub}@{uu} Access various range operations from this menu. A range will be understood hereafter as a certain portion of the sample marked by you. When a range has been marked, it can be played by actuation of the space bar. A range is defined by its beginning and end (horizontal) and by its upper and lower edges (vertical). A range is used on one hand for the specification of parts with which certain operations should be performed (such as cutting, inserting, normalizing, fading in/out, shifting upward, and deleting). Another function of a range is the definition of loops considered when samples are played. The third function is the determination of bounds of sections within which the data are represented graphically. Mainly the upper and lower edges of a range are interpreted here, which is not so in all cases with the first groups of functions. Up to ten ranges can be determined by a single keystroke, more per menu-command. Changeover between them is possible by key actuation. There are some keypad functions available for range manipulation. Have a look at the corresponding @{"docs" link "WORKWITH_Ranges"}. @{"Select All" link "RANGE_SelectAll"} - select a complete project @{"Split" - link "RANGE_Split"} - Split range over three views ~~~~~~~~~~~~~ @{"Store" - link "RANGE_Store"} - store the current range @{"Get" - link "RANGE_Get"} - retrieve one of the stored ranges @{"Remove Range" link "RANGE_Remove"} - step back to previous range ~~~~~~~~~~~~~ @{"Cursor Start" - link "RANGE_CursorStart"} - set Cursor to start of sample @{"Cursor End" - link "RANGE_CursorEnd"} - set Cursor to end of sample @{"Cursor Store" - link "RANGE_CursorStore"} - store current Cursor @{"Cursor Get" - link "RANGE_CursorGet"} - retrieve on of the stored Cursors ~~~~~~~~~~~~~ @{"Over Data" - link "RANGE_OverData"} - generate a range over "active data" @{"Over Equal" - link "RANGE_OverEqual"} - get range from DC offset @{"Start -> Null" - link "RANGE_StartNull"} - set Range start to next NULL value @{"End -> Null" - link "RANGE_EndNull"} - set Range end to next NULL value @{"Start <- Null" - link "RANGE_StartNullBack"} - set Range start to previous NULL value @{"End <- Null" - link "RANGE_EndNullBack"} - set Range end to previous NULL value ~~~~~~~~~~~~~ @{"To Raster" - link "RANGE_ToRaster"} - set raster size to range size @{"BPM Raster" - link "RANGE_BPMRaster"} - get BPM value for raster @{"Raster On" - link "RANGE_RasterOn"} - switch Raster on or off ~~~~~~~~~~~~~ @{"Color" - link "RANGE_Color"} - change color of range @{"Editor" - link "RANGE_Editor"} - call numeric editor for range settings @EndNode @Node RANGE_SelectAll "RANGE_SelectAll" @Next RANGE_Split @{b}@{u}select a complete project@{ub}@{uu} The range covers the complete @{"sample" link "WHATIS_Sample"}. It is necessary if you want to perform certain operations with the whole sample, but these operations are usually efficient in the current range only. Shortcut: a @EndNode @Node RANGE_Split "RANGE_Split" @Next RANGE_Store @{b}@{u}Split range over three views@{ub}@{uu} This function is useful in particular for loop searching. It does not operate unless the project has three sections. If needed, the project is first changed over to this mode. The upper section then displays the complete @{"sample" link "WHATIS_Sample"}, the section bottom left the data near the beginning of the range, and the section bottom right the data near the end of the range. The range bounds can be specified very exactly n the lower section, while the upper section gives you a survey where the range is situated. You should also use the chance of defining ranges over several sections. Shortcut: b @EndNode @Node RANGE_Store "RANGE_Store" @Next RANGE_Get @{b}@{u}store the current range@{ub}@{uu} One of Samplitude's options is saving of different @{"range" link "WHATIS_Range"} coordinates. This allows you, for example, to set different loops and to compare their quality. In addition, they are, together with the cursor points, the basis of playlists. If you select this menu item, you have to specify a number with which the current range is to be defined. Shortcuts: Shift + F1 to F0 @EndNode @Node RANGE_Get "RANGE_Get" @Next RANGE_Remove @{b}@{u}retrieve one of the stored ranges@{ub}@{uu} You can make one of the ten defined ranges the current range. There is the interesting option to get the range even while playing. The range obtained then becomes the current one and audible. Thus you can change over between two different ranges for acoustical comparison. @EndNode @Node RANGE_Remove "RANGE_Remove" @Next RANGE_CursorStart @{b}@{u}Remove Range Entry@{ub}@{uu} This removes the active Range Entry from the Range List. Useful for removing accidantly added or obsolete ranges from a track list. @EndNode @Node RANGE_CursorStart "RANGE_CursorStart" @Next RANGE_CursorEnd @{b}@{u}set Cursor to start of sample@{ub}@{uu} This functions sets the Cursor to the start of the sample. @EndNode @Node RANGE_CursorEnd "RANGE_CursorEnd" @Next RANGE_CursorStore @{b}@{u}set Cursor to end of sample@{ub}@{uu} This function sets the Cursor to the end of the sample. @EndNode @Node RANGE_CursorStore "RANGE_CursorStore" @Next RANGE_CursorGet @{b}@{u}store current Cursor@{ub}@{uu} This function stores the current cursor to one of the memory positions. Up to ten cursor positions can be defined. You can thus set marks (locator points). Shortcuts: Shift + 1 to 0 (above the alphabetic keyboard) @EndNode @Node RANGE_CursorGet "RANGE_CursorGet" @Next RANGE_OverData @{b}@{u}retrieve on of the stored Cursors@{ub}@{uu} The defined position with the pertaining number becomes the current cursor. The cursor becomes immediately efficient while playing. You should keep in mind that, whenever a cursor has been defined, the range between the cursor and the end of the sample is played. Shortcuts: 1 to 0 (above the alphabetic keyboard) @EndNode @Node RANGE_OverData "RANGE_OverData" @Next RANGE_OverEqual @{b}@{u}generate a range over "active data"@{ub}@{uu} It is possible during sampling or dividing ranges that the beginning or end is filled with a long sequence of zeros. This function allows you to mark the non-zero data in the middle. The new range begins with the first and ends with the last value differing from zero. The current range dissapears, the new one is inverted. You can now call, for example, the function Keep range from the Cutting menu whereby all leading and added values with zeroes are cut off. @EndNode @Node RANGE_OverEqual "RANGE_OverEqual" @Next RANGE_StartNull @{b}@{u}get range from DC offset@{ub}@{uu} Sampling is sometimes accompanied by a constant dc voltage (offset) over the @{"sample" link "WHATIS_Sample"}. Calling this function leads to the mean value over the complete sample. This is, from the viewpoint of Fourier analysis, the dc voltage. Next is the generation of a range whose height is identical with this dc voltage. If this range is ABOVE zero, the value must be subtracted from all sample values, which can be done with the Shift downward function from the Editing menu. If the range is BELOW zero, this dc voltage should be added to the sample by the Shift upward function. @EndNode @Node RANGE_StartNull "RANGE_StartNull" @Next RANGE_EndNull @{b}@{u}set Range start to next NULL value@{ub}@{uu} This function shifts the beginning of range to the right to the next zero. The function can be called from the keyboard by simultaneous actuation of the left Shift and Alt keys and of key 6 (->) on the numerical block. @EndNode @Node RANGE_EndNull "RANGE_EndNull" @Next RANGE_StartNullBack @{b}@{u}set Range end to next NULL value@{ub}@{uu} This function shifts the end of range to the right to the next zero (change in polarity). "Zero" is hereby understood as the next sample value with ZERO value or the boundary between a positive and a negative sample value (or vice versa). This function is very useful for searching loop points in particular. The function can be called from the keyboard by simultaneous actuation of the Shift and Alt keys and of key 6(->) on the numerical block. @EndNode @Node RANGE_StartNullBack "RANGE_StartNullBack" @Next RANGE_EndNullBack @{b}@{u}set Range start to previous NULL value@{ub}@{uu} This function shifts the beginning of range to the left to the next zero. The function can be called from the keyboard by simultaneous actuation of the left Shift and Alt keys and of key 4 (<-) on the numerical block. @EndNode @Node RANGE_EndNullBack "RANGE_EndNullBack" @Next RANGE_ToRaster @{b}@{u}set Range end to previous NULL value@{ub}@{uu} This function shifts the end of range to the left to the next zero. The function can be called from the keyboard by simultaneous actuation of the right Shift and Alt keys and of key 4 (<-) on the numerical block. @EndNode @Node RANGE_ToRaster "RANGE_ToRaster" @Next RANGE_BPMRaster @{b}@{u}set raster size to range size@{ub}@{uu} The range raster can be generated with this function. This means that raster points are set with spacing of the length of the range used. @EndNode @Node RANGE_BPMRaster "RANGE_BPMRaster" @Next RANGE_RasterOn @{b}@{u}get BPM value for raster@{ub}@{uu} After selection of this function, a numerical requestor is used to put in the desired BPM figure for the raster. @EndNode @Node RANGE_RasterOn "RANGE_RasterOn" @Next RANGE_Color @{b}@{u}switch Raster on or off@{ub}@{uu} This function is used to activate and deactivate the raster. Virtual projects (Samplitude Professional v2.0 only) can employ the Object raster (Samplitude-Pro II only) with which objects can only be shifted to the beginning, the end or the hot spot of another object. The reference point is usually the front edge of the object to be shifted. A hot spot is considered when it has been defined for the object. If several objects have been defined, alignment is in any case relative to the front edge or hot spot of the object which was last selected (and is under the mouse pointer). The distance between selected projects remains constant which means that not all objects are aligned along the raster. The function Object raster is an easy way to rearrange audio patterns as desired and nonetheless to produce cutting edges that are exact by samples. @EndNode @Node RANGE_Color "RANGE_Color" @Next RANGE_Editor @{b}@{u}change color of range@{ub}@{uu} You can give the onjects of your virtual project different colors, too. It is then necessary to use this function to assign a background color to a range already defined in a physical object. The color requestor will be displayed. Click on the desired color and then on the OK gadget. All objects arising from this range will have the background color which was active when you left the color requestor. This is the reason why black (color no. 1) should not be chosen as the background color. @EndNode @Node RANGE_Editor "RANGE_Editor" @Next MENU_Prefs @{b}@{u}call numeric editor for range settings@{ub}@{uu} Here you can edit start, end and length of the current range in various units. change start -> end is constant change end -> start is constant change length -> start is constant Base of a measure is a 4/4 measure with 96 clicks per quarter. @EndNode @Node MENU_Prefs "Preferences" @Next PREFS_Screen @{b}@{u}Preference settings@{ub}@{uu} You'll find preference settings in this menu that apply to general program settings. @{"Screen » Open On Public..., Clone WB" Link PREFS_Screen} @{"Own Public..." Link PREFS_Screen} @{"Colors" Link PREFS_Colors} @{"Window » Refresh, Arrange" Link PREFS_Window} ~~~~~~~~~~~~~~~ @{"·Grid" Link PREFS_Grid} @{"DrawMode" Link PREFS_DrawMode} @{"Views » 1, 2, 3" Link PREFS_Views} @{"Units » Samples, Milliseconds, SMPTE, BPM" Link PREFS_Units} @{"Display » Toolbar, Statusbar" Link PREFS_Display} @{"·Vertical Fix" Link PREFS_VerticalFix} @{"·Respect Info" Link PREFS_RespectInfo} ~~~~~~~~~~~~~~~ @{"·Filter On" Link PREFS_FilterOn} ~~~~~~~~~~~~~~~ @{"MPro" Link PREFS_MPro} @{"System" Link PREFS_System} @{"Paths" Link PREFS_Paths} @{"Save Setup" Link PREFS_SaveSetup} @EndNode @Node PREFS_Screen "Screen preferences" @Next PREFS_Colors @{b}@{u}Change Screen settings@{ub}@{uu} Since Samplitude is now able to work on graphic cards as well you are free to chose any kind of screen. Of course you can still work on Workbench as well. - Open On Public... lets you open Samplitude's windows on a public screen - Clone WB ... makes a copy of Workbench's settings for an own custom screen - Own Public... opens a new Public Screen @EndNode @Node PREFS_Colors "Color preferences" @Next PREFS_Window @{b}@{u}Change Color settings@{ub}@{uu} This function pops up a color requester to enable you to change Samplitude's color settings. Note that the color settings are now being saved when chosing @{"Save Setup" link "PREFS_Save"}. @EndNode @Node PREFS_Window "Window refreshing" @Next PREFS_Grid @{b}@{u}Refresh or arrange windows@{ub}@{uu} By chosing "Refresh" all windows currently visible will be redrawn. Helpful if you are using a buggy graphic cards software... By chosing "Arrange" all windows currently opened will be arranged in a way that lets you see each one. Drawback is that when you have opened MANY windows you will get very small single ones. As usual this function (Arrange) can be called by pressing the "Return" key. @EndNode @Node PREFS_Grid "Grid On/Off" @Next PREFS_DrawMode @{b}@{u}Switch Grid on or off@{ub}@{uu} This function draws in the @{"Project" link "WHATIS_Project"} window coordinate-grids. These lines are combined with figures specified their coordinates; thus you will not be confused even in the case of several sections. Shortcut: # @EndNode @Node PREFS_DrawMode "Draw Mode" @Next PREFS_Views @{b}@{u}Chose Drawing Mode@{ub}@{uu} Samplitude offers two variants of the graphic representation of @{"samples" link "WHATIS_Sample"}. They differ on the one hand in their quality, on the other in their speed. Every pixel gets several sampling values if the number of digitized values in a section is greater than the number of pixels available on the screen. The fast mode utilizes only the first of these values for representation which will then be sometimes really strange. The mode with closer accuracy calculates the minimum and maximum of all these values and uses them for representation. The picture will be very expressive, especially in cases of very long samples. The time for newly generating the picture, however, is longer. This function only has an effect when used in VIPs. Shortcut: ' (under the Esc key) @EndNode @Node PREFS_Views "Number of views" @Next PREFS_Units @{b}@{u}Specify number of sections@{ub}@{uu} Samplitude allows the optional display of one, two or three sections of the @{"samples" link "WHATIS_Sample"} belonging to one @{"Project" link "WHATIS_Project"}. Other sample programs usually show one section of a sample. This, of course, can also be done with Samplitude. If you select the option 2 sections, two pictures (one above the other) are opened and can be dealt with irrespective of each other. It is possible, for example, to represent the complete samples in one section and a high magnification of a certain range in the other. The mode 3 sections is very useful in searching loop points in particular. The whole sample can be shown in an upper large picture, while the picture bottom left displays the beginning of the loop range and the picture bottom right the end of the range. Use the Split range function for this purpose. But this is a mere offer; the base values of the three pictures can be set irrespective of each other. You can drag ranges over picture bounds, which means determine the starting points of a range by clicking, then keep the mouse button depressed, change over to another section, and there release the left mouse button to determine the end of this range. The Option 1 section is accessible through key 0 (Ins) in the numerical block. The Option 2 section is accessible through key . (Del) in the numerical block. The Option 3 section is accessible through key Enter in the numerical block. @EndNode @Node PREFS_Units "Chose resolution unit" @Next PREFS_Display @{b}@{u}Measurement choice@{ub}@{uu} This submenu is used to set different units of measurement. They act on specifications of start and length of the current range in the @{"Project" link "WHATIS_Project"} window, grid dimensioning, and playlist moments. Usual units of measurement are samples, milliseconds, and SMPTE. BPM (beats per minute) is mainly employed for tempo recognition. If, for instance, a quarter of a bar is marked as the current range, the tempo of the piece can be read in BPM at L: in the first line of the project window. Chose on of (currently) these resolutions: - Samples display measurement in samples - MilliSeconds display measurement in ms - SMPTE display measurement in SMPTE format NOTE: you will now be asked which resolution your SMPTE timing has. There are several predefines (24, 25 or 30 frames a second). Yet you are enabled to use any define you want. This way syncing to other sources is possible (imagine 320 frames/second for syncing to some obscure MIDI surrounding e.g.) - BPM display measurement in beats per minute @EndNode @Node PREFS_Display "Display Preferences" @Next PREFS_VerticalFix @{b}@{u}Switch windows on or off@{ub}@{uu} With further control windows coming in the future this menu entry will grow. You can specifiy which Tool window to display here: - Toolbar (top gadgets accessing most needed functions) - Statusbar (displaying helpful information on-the-fly) @EndNode @Node PREFS_VerticalFix "Vertical Fix" @Next PREFS_RespectInfo @{b}@{u}Switch on or off vertical fix@{ub}@{uu} If enabled ranges you draw with the mouse will not by amplitude sensitive. @EndNode @Node PREFS_RespectInfo "Respect project view information" @Next PREFS_FilterOn @{b}@{u}Define whether to respect *.inf files@{ub}@{uu} Samplitude Opus stores window information as well as window hidden state (whether or not a project window is hidden) in ".inf" files on your HD. Enable this menu entry to respect the stored settings - the project window will then be resized to the stored size after being opened or even been hidden. Disable this function if you want the behaviour as in former Samplitude versions. @EndNode @Node PREFS_FilterOn "Filter" @Next PREFS_System @{b}@{u}Switch CIA Filter on or off@{ub}@{uu} When using PAULA for playback it is possible to switch on or off the hardware filter built into the Amiga. This filter removes higher frequencies from the signal, giving you less noise - but worse dynamics as well. @EndNode @Node PREFS_System "System Preferences" @Next PREFS_Save @{b}@{u}Control overall program settings@{ub}@{uu} The following general settings can be changed from this window: @{b}RAM-Project Buffersize@{ub} - size of audio buffers allocated for playback in RAM projects. The larger this buffer is the less buffer changes appear (leaving more CPU time for other things) but the more memory consuming Samplitude works. @{b}HD-Project Buffersize@{ub} - size of audio buffers allocated for playback in HD projects. The larger this buffer is the less disk accesses appear but the more memory is used. @{b}NOTE@{ub}: it is of importance to set this to a value depending on your personal system. Remember that some poorly designed HD controlers require 100% CPU time, leaving NO time for soundcard data transfer e.g. - when using such controlers you should set this value @{u}down@{uu} (in order to keep disk access as SHORT as possible, leaving time for other tasks). This also applies to "DMA able controlers" which totally block the bus system of your Amiga in order to achieve high performance (it's a mess to get high transferrates by completely blocking a bus!). On the other hand when using slow HDs it is important to @{u}increase@{uu} this value in order to reduce disk access times. Usually the pure data transfer from HD is fast enough - it's just the access time that spoils the fun. Another word about HDs and controlers: of course it is important to use a larger block size on partitions for audio data to increase access speed when working with HD projects. But you have to measure out how large the block size on your system may get before your controler blocks out the system - the biggest block is not always the fastest (this also depends on your HD of course). @{b}HD-Playlist Buffersize@{ub} - size of audio buffers allocated for playback from HD playlists. The same words that have been said above for HD projects apply here - with a special weight on disk access time since playlists tend to move the HD's heads more often. @{b}HD-Record Buffersize@{ub} - whereas RAM projects use a fixed buffer size for recording you have to adjust the value for HD projects yourself since this again depends on your controler, HD, system speed (CPU) and more details. @{b}Disk Access Method@{ub} - former Samplitude versions only allowed DOS or DEVICE access. This was ok in ancient Amiga days since you either had a fast system and could use DOS access - or wanted to improve performace on a low level basis and switched to DEVICE access. Unfortunately DEVICE access only allowed 512 Byte blocks (it still does in the current version, this will be changed!) so working with HD projects was nearly impossible with DEVICE access. We now implemented ASyncIO access using the freely available ASyncIO.library. This gives faster data access (and therefor faster HD project handling) than simple DOS access since data is being prefetched - but has got some drawbacks: you need a fast CPU and more RAM than without this function. On modern systems this should be no problem. @{b}Create Clip@{ub} - specifiy whether the @{"Clipboard" link "About_ClipBoard"} should be generated as a project just like the one you are actually working with (Original setting), a HD project or a RAM project. @{b}Mixing precision@{ub} - you get more control over CPU usage of Samplitude here. The higher you set mixing or bounce precision the less data is lost while mixing and panning samples (usually high speed mixing is done by adding two sample data to each other and dividing the result by two. This way you always lose one Bit - more bits when mixing more samples.) Advanced settings give you high resolution panning functions which of course need SOME decent CPU power. @EndNode @Node PREFS_Save "Save Setup" @Next MENU_ARexx @{b}@{u}Save the current Setup@{ub}@{uu} This function stores your current settings to disk. The following data are being saved (note that older Samplitude settings are NOT compatible!) - Fade operator - Mix operators - Reverb / Echo - Bit resolution of a new project - HD, RAM, Playlist, Record buffer sizes - Clipboard - Disk Access method - Play and Bounce precisions - Directory - Screen - Color Settings (256 colors) - Vertical Fix - Window Display - DrawMode, Grid - default soundcard These values are being used when starting Samplitude again. Note that some of the values are also stored with HD projects or playlists. @EndNode @Node MENU_ARexx "ARexx Functions" @Next MENU_Help @{b}@{u}ARexx Commands@{ub}@{uu} Note that these functions have not been completely implemented yet. @{"Commando » Select From Disk, PopUp, Manually" Link AREXX_Commando} @{u}Command List:@{uu} @{b}@{u}ABOUT@{ub}@{uu} opens a window with informations about the program @{b}@{u}AMPDIV2 PROJECTNAME/A@{ub}@{uu} halfes the amplitude of the complete project @{b}@{u}AMPMUL2 PROJECTNAME/A@{ub}@{uu} doubles the amplitude of the complete project @{b}@{u}CLOSEPROJECTWINDOW PROJECTNAME/A@{ub}@{uu} closes the window of the named project @{b}@{u}CLOSEWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S@{ub}@{uu} closes one of these windows: - HELP: the window with the shortcuts - PMANAGER: the project-manager - RMANAGER: the range-manager - WORK: the display of DOS-Calls @{b}@{u}COPY PROJECTNAME/A@{ub}@{uu} copies the marked range into CLIP @{b}@{u}CREATESMPTERANGE Start/A, End/A, Name/A@{ub}@{uu} This creates a named "Name" range in SMPTE format, depending on your active SMPTE settings (note that Samplitude Opus allows ANY resolution for SMPTE from 1 to xxxx frames/second). @{b}@{u}CUT PROJECTNAME/A@{ub}@{uu} cuts the marked range out of the project @{b}@{u}ERASE PROJECTNAME/A@{ub}@{uu} deletes the marked range in the project @{b}@{u}EXPORTAIFF FILENAME/A@{ub}@{uu} Exports the actual Project as AIFF file to "filename" @{b}@{u}EXPORTWAV FILENAME/A@{ub}@{uu} Exports the actual Project as WAV file to "filename" @{b}@{u}GETSMPTELENGTH@{ub}@{uu} returns the actual length (of a range if selected) in SMPTE format @{b}@{u}GETSMPTESTART@{ub}@{uu} returns the actual SMPTE start position (of a range, if selected) in SMPTE format @{b}@{u}KEEP PROJECTNAME/A@{ub}@{uu} extracts the marked range @{b}@{u}INSERT PROJECTNAME/A@{ub}@{uu} inserts the CLIP into the project @{b}@{u}INVERSE PROJECTNAME/A@{ub}@{uu} inverts the marked range @{b}@{u}LASTERROR@{ub}@{uu} outputs last error-message @{b}@{u}LOADRAM PROJECTNAME/A@{ub}@{uu} loads a RAM-project, the complete path-name is required. In case of succes the function returns the project-name. @{b}@{u}LOADHD PROJECTNAME/A@{ub}@{uu} loads a HD-project, the complete path-name is required. In case of succes the function returns the project-name. @{b}@{u}LOADVIPPROJECT FILENAME/A@{ub}@{uu} Loads the specified VIP from disk @{b}@{u}OPENPROJECTWINDOW PROJECTNAME/A@{ub}@{uu} opens the window of the named project @{b}@{u}OPENWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S@{ub}@{uu} opens one of these windows: - HELP: the window with the shortcuts - PMANAGER: the project-manager - RMANAGER: the range-manager - WORK: the display of DOS-Calls @{b}@{u}OVERWRITE PROJECTNAME/A@{ub}@{uu} overwrites the marked range with the CLIP @{b}@{u}PLAY PROJECTNAME/A@{ub}@{uu} playback of the marked range in the project @{b}@{u}REVERSE PROJECTNAME/A@{ub}@{uu} reverses the samples in marked range @{b}@{u}SAVEHDPROJECT FILENAME/A@{ub}@{uu} Saves the actual Project (must be a HDP) to disk @{b}@{u}SAVERAMPROJECT FILENAME/A@{ub}@{uu} Saves the actual Project (must be a RAP) to disk @{b}@{u}SAVEVIPPROJECT FILENAME/A@{ub}@{uu} Saves the actual Project (must be a VIP) to disk @{b}@{u}SCREENTOBACK@{ub}@{uu} brings the screen to back @{b}@{u}SCREENTOFRONT@{ub}@{uu} brings the screen to front @{b}@{u}SETRANGE PROJECTNAME/A,LEFT/N,RIGHT/N@{ub}@{uu} sets range-borders to defined values @{b}@{u}SORTWINDOWS@{ub}@{uu} sorts all windows on the Samplitude-screen @{b}@{u}STARTPLAY@{ub}@{uu} starts Playback using the actual output preferences @{b}@{u}STOPPLAY@{ub}@{uu} stops the currently running output @{b}@{u}ZERO PROJECTNAME/A@{ub}@{uu} sets the marked range to zero (silence) @{b}@{u}ZOOMALLHORI PROJECTNAME/A@{ub}@{uu} shows complete project @{b}@{u}ZOOMALLVERT PROJECTNAME/A@{ub}@{uu} shows complete range vertically @{b}@{u}ZOOMINHORI PROJECTNAME/A@{ub}@{uu} zooms in horizontally @{b}@{u}ZOOMINVERT PROJECTNAME/A@{ub}@{uu} zooms in vertically @{b}@{u}ZOOMOUTHORI PROJECTNAME/A@{ub}@{uu} zooms out horizontally @{b}@{u}ZOOMOUTVERT PROJECTNAME/A@{ub}@{uu} zoomt out vertically @{b}@{u}ZOOMRANGEHORI PROJECTNAME/A@{ub}@{uu} shows the marked range horizontally @{b}@{u}ZOOMRANGEVERT PROJECTNAME/A@{ub}@{uu} shows the marked range vertically @EndNode @NODE AREXX_Commando @NEXT MENU_Help @{b}@{u}Using ARexx Commands@{ub}@{uu} The following commands are available when using ARexx: - Select From Disk - PopUp - Manually @ENDNODE @Node MENU_Help "Help Menu" @Next CopyRight @{b}@{u}Access Help functions@{ub}@{uu} You can access the standard keyboard help available in older Samplitude versions or the complete AmigaGuide (tm) help file from this menu. @{"Keyboard Layout" Link HELP_KeyboardLayout} @{"General" Link HELP_General} @ENDNODE @NODE HELP_KeyboardLayout @NEXT HELP_General @{b}@{u}Keyboard Layout Help@{ub}@{uu} In future releases some user definable keys will be possible. Currently you can use the @{"predefined hotkeys" link KEYLIST}. @ENDNODE @NODE HELP_General @NEXT Software @{b}@{u}General Help@{ub}@{uu} @ENDNODE @NODE Software @NEXT Developer @PREV HELP_General @TITLE "Software Updates/Upgrades" @{u}Software Updates/Upgrades@{uu} There will be constant updates (meaning bugfixes, function improvements and functionality enhancements) which will be either free of charge to registered users (of new versions) or settled at reasonable prices. Also continued upgrades (including new functions, external modules and other major feature changes) will show up from time to time widening the usability of Samplitude. These will be available at the following web page: http://www.act-net.com/Samplitude/ Should you find any bugs, please report them to: @ENDNODE @Node CopyRight "Copyright" @{b}@{u}Some words about who, when, where, why@{ub}@{uu} Samplitude has originally been written and programmed by the people of @{"SEK'D" link "SEKD"}. When in 1996 it became clear the the Amiga port of this software would not pay the costs evolving from a pure software company SEKD decided to concentrate on the PC port of Samplitude in order to improve the already good quality of that product. V3.0 (SMPTE) was released to the public, offering many new functions - and some bugs. Still Samplitude (on the Amiga) was a powerful application that could even be used in high end professional surroundings. Being Samplitude users for some time and already having written some routines before @{"A.C.T." link "ACT"} asked whether SEKD was interested in cooperating to continue work on Samplitude Amiga. In July 1997 a contract was made between SEKD and A.C.T. in order to guarantee continued support, improvement and bug fixing of one of the few remaining larger applications on the Amiga platform. Samplitude was and is (C) by SEK'D Software Dresden (Germany). Samplitude Opus is maintained, majorly rewritten and partly (C) by A.C.T. Albrecht Computer Technik (Lamstedt, Germany). Support for all Samplitude versions starting with 3.5 (Samplitude Opus initial release) is done by A.C.T. No part of the software or its accompaning documentation may be changed, redistributed or reproduced without written permission by A.C.T. The (release version of the) software has been tested in detail. Still there may be problems resolving from the use of Samplitude or its external tools. Loss of data, hard- or software faults or any problems directly following these are responsibility of A.C.T. or SEKD. BETA versions are being released for interested users on their own risks. @EndNode @Node SEKD @TITLE "Studio fuer Elektronische Klangerzuegung Dresden (SEK'D)" @{b}@{u}Studio fuer Elektronische Klangerzuegung Dresden (SEK'D)@{ub}@{uu} SEK'D, the Studio fuer elektronische Klangerzeugung Dresden, emerged from Dresden conservatory's electronic studio founded in 1984. One permanent centerpiece has been the development of innovative Amiga software tailor-made for the demands of musicians and music lovers. All programs allow active multi-tasking and thus seamlessly complement each other. Our most successful piece of software is Samplitude. It is the basis of sampling, disk recording, and MIDI sample processing with Amiga computers. The easily learned intuitive surface of Samplitude is esteemed in particular since it permits even beginners quickly to utilize many professional features. Junior versions of Samplitude and of the MIDI sequencer, favorably priced and convertible into professional versions whenever desired, are destined for beginners and younger computer freaks in particular. For further information, contact: SEK'D Schmalwiesenstr. 21 D-01219 Dresden Germany Phone: +49-351-2815405 Fax : +49-351-2815476 EMail: 100116.2352@compuserve.com WWW : http://www.sekd.com @EndNode @Node ACT "A.C.T. - Albrecht Computer Technik" A.C.T. is based in Lamstedt, North Germany. This small company concentrates completely on Amiga hard- and software development, reacting to popular demands of the market. One of the further products manufactured by A.C.T. is the well known ZorroII soundcard Prelude which will experience upgrades in the near future. A.C.T. - Seth 2 - 21769 Lamstedt - Germany Phone: +49-4773-891073 Fax : +49-4773-891072 EMail: info@act-net.com WWW : http://www.act-net.com @EndNode @Node WHATIS_Sample "What is a Sample?" @Next WHATIS_Project @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} Though the term "Sample" may be used to talk of a single "sampled" value, a representation of a voltage offset from 0 (no signal), @{b}Sample@{ub} in Samplitude generally means a @{b}stream@{ub} of single "sampled values" making up a complete sound. A sample is characterized by its length (the number of sampled values) and the (BIT) resolution (per sampled value). Of course quality gets higher the higher the resolution is. @EndNode @Node WHATIS_Project "What is a Project?" @Next WHATIS_HDP @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} A project consists of one or several @{"samples" link "WHATIS_Sample"}. All samples of a project are processed in common. They have the same sample rate, the same sample resolution, and the same length. The access to a project is possible through the corresponding window. The title bar of the window contains the project's name, sample resolution, sample length, and the resultant memory needed. A project is activated if the mouse is used to click on the respective window. If single samples must be edited individually, stereo and quadro projects have to be unlinked. Samplitude can administer an unlimited number of projects on the screen. In Real Life you will have some limitations due to the limited height of your screen. As long as you have all projects open "one lying behind another" there won't be a problem as long as you have enough ChipMem. But when displaying many projects lined up (by pressing RETURN e.g.) sample values may become nearly unreadable - and in VIPs the control bars on the left may be removed to get more tracks on the screen. There are different kinds of Projects used in Samplitude: @{"HardDisc Projects" link "WHATIS_HDP"} - Projects residing on your HD @{"RAM Projects" link "WHATIS_RAP"} - Projects residing in the RAM @{"Virtual Projects" link "WHATIS_VIP"} - Projects consisting of other projects @EndNode @Node PREFS_PATHS "Paths Preferences" @{b}@{u}Change general path prefs@{ub}@{uu} You can change the overal settings for HDPs, RAPs, VIPs and other pathes used in Samplitude here. @EndNode @Node WHATIS_HDP "What is a HDP?" @Next WHATIS_RAP @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} When generating HDPs (Hard Disc Projects) all @{"Samples" link "WHATIS_Sample"} are stored on your HardDisc (usually in a directory named "HDP:" though this may be changed from the @{"Preferences/paths" link PREFS_PATHS} menu. As long as your HardDisc has enough space a HDP may grow, no matter how much RAM you actually have. Only those parts of a @{"Sample" link "WHATIS_Sample"} needed for displaying or playback are loaded into RAM. Note that you need lots of HD space since HDPs tend to grow quickly. You will also need some decent HD speed (a good controller and usually SCSI equipment are an absolute must for HD editing). If you should discover problems using HDPs please check whether your SCSI controller might block DMA when accessing the disc drive. Lower the MaxTransfer if you encounter "block outs" while playing from disc (or single parts being repeated). You should use a @{b}large@{ub} block size for your HDP partition to speed up Seeks on the drive (use some test software to find out which block size gives best throughput on your system!). Larger block sizes generally speed things up a lot. The major drawback, that this way small files would occupy lots of space on the drive, can be ignored since you simply won't @{b}have@{ub} small files on a HDP partition... @EndNode @Node WHATIS_RAP "What is a RAM Project?" @Next WHATIS_VIP @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} VIPs (Virtual Projects) normally reside in the "VIP:" assign on your HardDisc. This path preference can be changed in the preferences menu. They can contain @{"RAM projects" link "WHATIS_RAP"} or @{"HD Projects" link "WHATIS_HDP"} - or both in mixed form. Samplitude1.xx has had @{"PlayLists" link "WHATIS_PlayList"} (which still do exist in Samplitude Opus) that have been extended to a more flexible project format named "VIP". A VIP can have unnumbered Tracks (in the full version, Samplitude LITE is restricted to 4 tracks) comparable to tracks on a Tape. Each track can be amplified (Amplitude controled), panned (left - right mixed), muted or "solo". Imagine you would be able to place single tape pieces on a large "major tape" whereever you want, using any number of tracks. This is what a VIP offers you in fact (and more). A @{"project" link "WHATIS_Project"} used in one or more tracks of a VIP is called an "Object" meaning that it can be moved freely, reused and generally handled as a stand alone piece used in several different VIPs. An Object is displayed as a rectangular shape on a track. You can change the @{"Name" link "OBJECT_Name"} and @{"Color" link "OBJECT_Color"} of an object giving you a better overview over large VIPs. If you don't like the display of minimized sample data in a VIP just change the display style using the "Tilde" key (above the TAB key) which switches from "Named Display" to "Draw Display" and vice versa. Please have a look at the @{"Objects menu descriptions" link "MENU_Object"} for further information. @EndNode @Node WHATIS_VIP "What is a VIP?" PLEASE REPORT - this entry has still to be done! @EndNode @Node WHATIS_PlayList "What is a Playlist?" @{b}@{u}Playlists - one of the major features of Samplitude...@{ub}@{uu} Samplitude provides the option of defining a lot of different ranges and cursor points in every project. While playing, these ranges can be changed over by key actuation. Several repetitions of identical sections permit very comprehensive sound collages to be generated on the basis of no more than one sample. Recording of the key actuations leads to their reproductability as well. The operation with playlists can be compared with that of a sequencer. A @{"playlist" link "MENU_PlayList"} is a list containing the ranges and cursor points belonging to one project and the keys pressed during recording. Playlists can be saved and loaded as files. Several playlists can be generated within one project. @EndNode @Node WHATIS_Range "What is a range?" @Next WHATIS_Cursor @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} A range will be understood hereafter as a certain portion of the sample marked by you. When a range has been marked, it can be played by actuation of the space bar. A range is defined by its beginning and end (horizontal) and by its upper and lower edges (vertical). A range is used on one hand for the specification of parts with which certain operations should be performed (such as cutting, inserting, normalizing, fading in/out, shifting upward, and deleting). Another function of a range is the definition of loops considered when samples are played. The third function is the determination of bounds of sections within which the data are represented graphically. Mainly the upper and lower edges of a range are interpreted here, which is not so in all cases with the first groups of functions. Up to ten ranges can be determined by a single keystroke, more per menu-command. Changeover between them is possible by key actuation. There are some @{"ARexx" link "AREXX_FUNCS"} functions exspecially made for ranges like showing SMPTE start and length or generating SMPTE controlled (named) ranges. Have a look at the @{"Range Menu descriptions" link "MENU_Range"} for further information! There are also some hints about @{"handling ranges" link "WORKWITH_Ranges"}. @EndNode @Node AREXX_FUNCS "ARexx functions implemented in Samplitude" NOT YET WRITTEN! @EndNode @Node WHATIS_Cursor "What is a Cursor?" @Next WHATIS_Section @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} Cursor points (locator points) are employed to mark certain positions in the sample. They are generated by a single click with the left mouse button on a sample. The cursor is a special type of range, i.e. a range whose beginning is identical with its end. If a cursor has been defined, it will not be possible, for example, to cut or copy the range. The content of the clipboard, however, can be inserted there. Up to ten points per @{"project" link "WHATIS_Project"} can be defined by a single keystroke, more per menu-command and changed over by key impressions. If the cursor has been set and the space bar is pressed, you can hear the portion between the cursor and the end of the sample. @EndNode @Node WHATIS_Section "What is a section?" @{b}@{u}Terms used in the Guide - and in Samplitude@{ub}@{uu} Samplitude offers representation of up to three portions of a project at the same time. One section, for example, permits representation of the complete sample, while another section merely shows a small part being edited. Sections are similar to ranges, since they are defined by their beginning and end and their upper and lower edges as well. The length of a section equals the difference between the end and beginning, its height the difference between the upper and lower edges. The use of several sections permits very efficient work to find loop points. Active section It was for reasons of space saving that some operating functions which can be applied to all sections have been arranged on ONE gadget bar. If a section has to be determined by means of position gadgets (right or lower gadget bar on the screen margin of Samplitude) and keyboard instructions, this must begin with the specification of the section to which the corresponding positioning is to apply. This is done by clicking on the right or lower proportional gadget of the section. This changes the color of the section's margin, and it will be the active section from now on. Please, consider that also the positioning of sections bounds by means of the cursor keys acts on the active section only. @EndNode @Node WORKWITH_Ranges "Working with ranges" @{b}@{u}Some general remarks about ranges@{ub}@{uu} To mark a range, move the mouse pointer to one of the sections shown and press the left mouse button. Keep the button pressed and move the pointer in the section. You will see how an inverted rectangle is represented between the start point and the topical mouse pointer position. Now release the left mouse button. The limits of the chosen range appear in the text line below the title bar. If you want to mark a different range, click on a position OUTSIDE the inverted range but INSIDE the section. The old range disappears, and you can now mark a new range. If you only want to vary a bound of a range already existing (i.e. beginning, end, upper edge or lower edge), click with the left mouse button inside the existing range. Keep the mouse button pressed and leave the range in the direction of the bound to be changed. When you have left the boundary line, this edge (and no other but this) will follow the movement of the mouse pointer. Release the mouse button when you have reached the position desired. This is a way of maintaining appropriate bounds and to change the desired edge only. If you should have covered the complete display with a range and now need to "deselect" all, just press "1" or "7" on the numeric key pad. These keys stand for "Home" (1) or "End" (7). The actual range disapears and a single cursor-range remains leaving space for a new range. There is another possibility: the limits of the topical range can be varied with the keys 4 (<-) and 6 (->) on the numerical block. Key 4 moves to the left (beginning of the sample), key 6 to the right (end of the sample). These functions are available on the keypad: @{b}<- 4@{ub} - move range further to the left. @{b}<- 4 LEFT SHIFT@{ub} - move left (start) limit of range to left. @{b}<- 4 ALT@{ub} - Cursor to beginning of range (range is killed) @{b}<- 4 R-SHIFT@{ub} - move right limit of range to left (end to left) @{b}<- 4 L-SHIFT L-ALT@{ub} - move left limit of range (start) to @{b}preveious@{ub} NULL crossing (either a NULL value or the position between positive and negative sample values) @{b}<- 4 R-SHIFT R-ALT@{ub} - move left limit of range (start) to @{b}next@{ub} NULL crossing (either NULL or crossing) @{b}6 ->@{ub} - move range further to the right. @{b}6 -> LEFT SHIFT@{ub} - move right (end) limit of range to right. @{b}6 -> ALT@{ub} - Cursor to end of range (range is killed) @{b}6 -> R-SHIFT@{ub} - move right limit of range to right (end to left) @{b}6 -> L-SHIFT L-ALT@{ub} - move right limit of range (end) to @{b}preveious@{ub} NULL crossing (either a NULL value or the position between positive and negative sample values) @{b}6 -> R-SHIFT R-ALT@{ub} - move right limit of range (end) to @{b}next@{ub} NULL crossing (either NULL or crossing) It is a general statement that the direction of movement is specified by keys 4 and 6 in the right numerical block. The right or left Shift key determines whether the beginning or end is moved. Special functions are assigned to keys Home and End: 7 (Home) Cursor to beginning of sample 1 (End) Cursor to end of sample Ranges and cursors can also be saved by means of the menu or a function key. Samplitude is able to save an unlimited number of ranges and cursors. These and further special functions for defining, varying, and using ranges can be found in the @{"Range menu" link "MENU_Range"}. Samples being processed can be made audible if you press the space bar. If a range has been defined, it will be played from beginning to end over and over again. Varying the range changes to playing the new range immediately. If nothing but a cursor has been specified, you will hear your sample from the current cursor position to the end of the sample. If you first press the Shift key and the space bar in addition, you will hear your sample from its beginning up to the beginning of a defined range or cursor. A range, if defined, will be repeated permanently after this. If a cursor has been defined, the section between this cursor and the end of the sample will be repeated. Sample playing can be interrupted by pressing the space bar once more. It is very useful that almost all Samplitude functions can be executed while the sample is played. You should know that all sample resolutions can be played immediately. Data are converted in realtime mode, i.e. while playing. This means that the processor is partly occupied by the conversion of data, so that the capacity for data processing is reduced. This is certainly no problem is you use an Amiga 3000 or 4000; it has sufficient computing capacity even in such cases. It can become somewhat critical if your Amiga is the 500 type. You can see it by a considerable reduced working speed of the system. It is advisable to interrupt playing before other operations are executed. Short ranges and high sampling rates in particular can overstrain the system so that the mouse pointer cannot be moved any longer and the program fails to respond to actuation of the space bar. In such cases press both mouse buttons at the same time to abort playing. @EndNode @NODE Developer @NEXT Future @PREV Software @TITLE "Developer Notes" @{u}Developer Notes@{uu} ALL soundcards can be supported from Samplitude at no cost to the manufacturers. All that is required are well defined functions for STOP, PLAY, RECORD and some control tasks along with clear definitions what the hardware is, and is not able to do. A.C.T. will work closely with all manufacturers who are interested in serious support of their products. @ENDNODE @NODE Future @NEXT Mailing @PREV Developer @TITLE "The Future" @{u}The Future@{uu} We will be updating all function GUIs to a modern look with graphical help step by step. What else? Well, we are working on all internal functions as well, so the complete message system has undergone a major rework, removing some bugs or forgotten system calls that may have vanished over the years. The ARexx port is one of the projects we have assigned a high priority--there will be calls to nearly all functions of Samplitude, as well as the proposed "FX" standard port for linkage to external software DSPs, importer and exporters or other PlugIn modules. Depending on the availability of full duplex capable drivers for your soundcard and the support we get from the soundcard manufacturers we will try to give you the opportunity to record new tracks while you play back other ones! This needs some decent CPU power of course--but Samplitude's heading towards '040+ anyway... There will be PPC support one day (which currently depends on whether actual manufacturers of PPC cards for the Amiga are interested in this product or not). @ENDNODE @NODE Mailing @NEXT SEKD @PREV Future @TITLE "SamplitudeOpus Mailing List" @{u}SamplitudeOpus Mailing List@{uu} @{i}To Join @{ui} @{i}To Leave @{ui} Email To: ListServer@act-net.com Email To: ListServer@act-net.com InMsgBODY: subscribe Samplitude InMsgBODY: unsubscribe Samplitude @{i}To Contribute @{ui} @{i}For Help @{ui} PostMsgToList: Samplitude@act-net.com Email To: Samplitude-Help@act-net.com @{i}Please Note @{ui} - Samplitude has been developed by SEK'D. From July 1997, A.C.T. Germany has taken over development of the Amiga version. In order to bring out a new, shiny and full featured version this list has been set up to allow users and interested people to share their thoughts about what THE sampling software for Amiga should do/should be able to do, or what could still be improved in existing areas. - Questions about setup, fine tuning or tricky operations of Samplitude in its different versions may be asked here. - This list ONLY deals with the Amiga version of Samplitude. Please refer to corresponding mailing lists for the PC version. - Please be courteous. All Samplitude developers either take part in this list or have important e-mail forwarded to them for their response. - All messages posted must be in English, and must pertain to Samplitude. @ENDNODE @Node WHATIS_this @{"What is a Sample?" link WHATIS_Sample } @{"What is a Project?" link WHATIS_Project } @{"What is a HDP?" link WHATIS_HDP } @{"What is a RAM Project?" link WHATIS_RAP } @{"What is a Playlist?" link WHATIS_PlayList } @{"What is a range?" link WHATIS_Range } @{"What is a Cursor?" link WHATIS_Cursor } @{"What is a section?" link WHATIS_Section } @EndNode @Node KEYLIST "List of defined Hotkeys" @{b}@{u}These keys are defined by default (no qualifier!)@{uu}@{ub} There is also a list sorted by function, not key (following the menu order) @{"here." link KEYLISTF} @{b}Key@{ub} Function ---------------------------------------------------------------------------- @{b}Space@{ub} Play/Stop @{b}Shift-Space@{ub} STOP: set cursor at current position PLAY: start from the very beginning @{b}Crsr Keys@{ub} Scroll View up/down left/right @{u}Numeric pad:@{uu} @{b}Left/Right:@{ub} ( 4/6 ) move cursor/range left/right @{b}Shift-Left/Right@{ub} mark range left/right @{b}Ctrl-Left/Right@{ub} mark range from cursor position to beginning/end @{b}Alt-Left/Right@{ub} move cursor to beginning/end of range and deselect it @{b}Amiga-Left/Right@{ub} move range left/right by its own length @{b}[@{ub} @{"make project mono" link PROJECT_Mono} (only physical projects) @{b}]@{ub} @{"make project stereo" link PROJECT_Stereo} (only physical projects) @{b}/@{ub} @{"make project quadrophonic" link PROJECT_Quadro} (only physical projects) @{b}0@{ub} @{"one view" link PREFS_Views} @{b}.@{ub} @{"two views" link PREFS_Views} @{b}Enter@{ub} @{"three views" link PREFS_Views} @{u}Alphanumeric keys:@{uu} @{b}Del@{ub} delete marked range @{b}a@{ub} @{"range all" link RANGE_SelectAll} @{b}b@{ub} @{"display marked range in three views" link RANGE_Split} @{b}c@{ub} @{"copy marked range to clip" link EDIT_Copy} @{b}d@{ub} @{"MPro record" link RECORD_MPRO} @{b}e@{ub} new @{"VIP" link WHATIS_VIP} @{b}f@{ub} @{"fade in/out marked range" link AMPLITUDE_Fade} @{b}g@{ub} @{"system prefs" link PREFS_System} @{b}h@{ub} @{"add workspace" link EDIT_Add} @{b}j@{ub} @{"join single-track projects to multitrack project" link PROJECT_Join} @{b}l@{ub} open @{"RAP" link WHATIS_RAP} @{b}k@{ub} @{"change bit resolution" link PROJECT_Resolution} @{b}m@{ub} @{"mix with clip" link EDIT_Mix} @{b}o@{ub} @{"open VIP" link WHATIS_VIP} @{b}p@{ub} @{"sample paramters" link Change_Parameter} @{b}r@{ub} @{"soundcard record" link PROJECT_Record} @{b}s@{ub} @{"save" link PROJECT_Save} @{b}t@{ub} @{"split multitrack project into separate tracks" link OBJECT_Divert} @{b}v@{ub} @{"paste from clip at current cursor position (insert)" link EDIT_Paste} @{b}x@{ub} @{"cut marked range to clip" link EDIT_Cut} @{b}y@{ub} @{"extract marked range (crop)" link EDIT_Extract} @{b}z@{ub} @{"zero marked range" link AMPLITUDE_Null} @{b}E@{ub} @{"range editor" link RANGE_Editor} @{b}L@{ub} open @{"HDP" link WHATIS_HDP} @{b}S@{ub} @{"save as" link PROJECT_SaveAs} @{b}ß@{ub} new @{"RAP" link WHATIS_RAP} @{b}|@{ub} new @{"HDP" link WHATIS_HDP} @{b}#@{ub} @{"grid on/off" link PREFS_Grid} @{b}Return@{ub} @{"rearrange windows" link PREFS_Window} @EndNode @Node KEYLISTF "Hot keys sorted by function" sorry - not yet done. @EndNode