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Demos Samplitude/ Sequoia V8 Doc

Samplitude_Demo_2004

This represents a complex demo of a multitrack rock production.


The details are described in the project info (open with “I”
key, select “Info” on left.

Note for all surround demos

The surround devices must be set first. To do this, for


example, you can right-click on the “P” (panorama) button
(first surround bus) in the second track. The Surround panning
module opens.
The “Setup” button that opens the dialog is located at the
bottom left of the panning dialog. This lets you assign the
devices.
Or you can open the Mixer (key: “M”) and can click on the
“Out” button at the bottom right corner of the surround master
channel. This also opens the surround setup dialog.

Surround Demo 5.1 Roomsim (Tutorial Demo)

Description
4 Objects are routed to four different surround busses using
the Object surround send function. A surround room simulator
is active on each surround bus. This lets you add different
surround reverbs to different surround Objects.

Instructions
- Create a new project using the “Surround” preset
- Create 3 surround busses (the commands can be found in
the menu (“Track –> Insert new track”)
- Set the surround devices (as described above)
- Route the Objects to the surround busses using the Object
Editor (select the output bus in the surround send
section of the Object Editor)
- Route the surround busses to the surround master (right
mouse-click on the “M” button at the left of the track
control elements, then select the entry for the surround
master channel)
- Set surround panning for the Object. The panning is
opened by clicking on the “Edit” button in the surround
group of the surround send group of the Object Editor
- Activate the room simulator in the track control elements
at the left of the VIP. Alternatively, activate the mixer
channel strip
- Load and adapt presets or make changes to the surround
channel grouping for the surround effect. The effect

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settings for the individual surround channel groups can
be changed analogously with regard to the use of the
effects for stereo tracks

Surround Demo 7.1 Roomsim (Tutorial Demo)


(Sequoia only)

Description
1 Object of a track has been routed to a 7.1 surround master.
A surround room simulator is active in the surround master.

Instructions
- Create a new project with the “Surround” preset and the
7.1 configuration
- Set the surround devices (as described above)
- Route the audio tracks (stereo tracks) to the surround
master (right mouse-click on the “M” button at the left
of the VIP in the track control elements, then select the
entry for the surround master channel)
- Set surround panning for the stereo tracks. The panning
module is opened after clicking on the “P” button in the
track control elements to the left of the VIP (or in the
mixer channel strip)
- Activate the room simulator in the track control elements
surround master bus at the left of the VIP (alternatively
you can activate the surround master in the mixer channel
strip)
- Load and adapt presets or make changes to the surround
channel grouping for the surround effect. The effect
settings for the individual surround channel groups can
be changed analogously to the use of the effect for
stereo tracks

Surround Demo 5.1 FX (Tutorial Demo)

Description
3 Objects are routed to three different surround busses using
the Object surround send function. Different surround effects
are active in each surround bus.

These effects are:


- Surround room simulator with different reverb for the
channels
- FFT filter with different frequency curves for the
surround channels and the surround room simulator
- Surround delay + surround room simulator

Instructions
The steps are identical to those of the 5.1 room simulator demo

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

Surround Demo 5.1 FX (Tutorial Demo)

Description
3 Objects are routed to three different surround busses using
the Object surround send function. Different surround effects
are active in each surround bus.

These effects are:


- Surround room simulator with different reverb for the
channels
- FFT filter with different frequency curves for the
surround channels and the surround room simulator
- Surround delay + surround room simulator

Instructions
The steps are identical to the 5.1 room simulator demo. The
difference is that different surround effects are used.
The surround delay is activated via the Mixer.

Surround Demo 5.1 Roomsim AUX (Tutorial Demo)

Description
2 Objects in two tracks are on the one hand routed to the
surround master and on the other hand to the AUX bus. A
surround room simulator is active in each surround AUX bus.
The share of the surround reverb can be set individually for
each channel by using the AUX sends of the audio (stereo)
tracks.

Instructions
- Create a new project using the “Surround” preset
- Create 3 additional surround busses (the commands can be
found in the menu (“Track –> Insert new track”)
- Set the surround devices (as described above)
- Route the audio tracks (stereo tracks) to the surround
master (right mouse-click on the “M” button at the left
of the VIP in the track control elements, then select the
entry for the surround master channel)
- Route the surround AUX busses to the surround master
(right mouse-click on the “M” button at the left of the
track control elements in the VIP, then select the entry
for the surround master channel)
- Set surround panning for the stereo tracks. The panning
module is opened by clicking on the “P” button in the

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

Surround Demo 7.1 Roomsim AUX (Tutorial Demo)


(Sequoia only)

Description
1 Object in a stereo track is on the one hand routed to the
surround master and on the other hand to the AUX bus. A
surround room simulator is active in each surround AUX bus.
The share of the surround reverb can be mixed into the
surround master by using the AUX send of the audio (stereo)
track.

Instructions
- Create a new project with the “Surround” preset and the
7.1 configuration
- Create 3 additional surround busses. The commands can be
found in the menu (“Track –> Insert new track”)
- Set the surround devices (as described above)
- Route the audio track (stereo track) to the 7.1 surround
master (right mouse-click on the “M” button at the left
of the VIP in the track control elements, then select the
entry for the surround master channel)
- Route the surround AUX busses to the 7.1 surround master
(right mouse-click on the “M” button at the left of the
track control elements in the VIP, then select the entry
for the surround master channel)
- Set surround panning for the stereo tracks. The panning
module is opened after clicking on the “P” button in the
track control elements at the left of the VIP (or in the
mixer channel strip)
- Activate the room simulator in the track control elements
surround AUX bus at the left of the VIP (alternatively

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

Surround Demo 5.1 Dry/ RS

Description
Audio objects from four stereo tracks are mixed down to a
short surround play, partially statically and partially
automatically, for simulating movements on 5.1 surround
channels.
The Object at the back including thunderstorm noise in track
four has been played back with the help of the object surround
function only.
In the RS version the surround room simulator can be used in
surround AUX, so that the surround reverb share can be set for
each stereo track via the AUX sends.

Real-time Timestretching Demo (Tutorial Demo)

Description
Four one-bar audio objects are played at different tempos
because real-time timestretching abilities are employed.
The algorithms were selected according to the audio type of
the objects to obtain good audio quality even for greater time
changes.
Different algorithms were used for the drum loops on the
second track at a time compression of 1.4 – Beat Marker
Slicing in the first case that cutting the drumbeats and
combining them on a new timescale, and Beat Marker Stretching
in the second case, where the beats are extended (stretched).
Slight echo effects occur at higher time compression rates.
Beat markers were added to the drum loop beats for Beat Marker
Slicing, as automatic detection did not yield perfect results
in this case.

Instruction for Object real-time timestretching


- Creating a new VIP (arrangement): Keyboard shortcut: “E”

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

Performance Tip
The “Smooth” or “Monophonic Voice” algorithms considerably
increase the CPU load of the PC. The “Freeze” function is
quite useful in such a case (Keyboard shortcut: “Ctrl + Alt +
F” or “Freeze” checkbox in the upper section of the Object
Editor)

How to use Beat Marker Patching for WAV files


The “Beat Marker Slicing” and “Beat Marker Stretching”
algorithms require beat markers that can be detected
automatically or can be extracted from the wave. Automatic
detection is usually sufficient for “Beat Marker Stretching”.
“Beat Marker Slicing” sometimes may require manual correction
of the automatic beat marker detection.

- The WAV files have to be loaded into the program before


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

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Remix Demo

Description
A track in MP3 format has been split into separate bars using
the Remix agent and has been quantized to the beat grid snap
of the virtual project.
Some of the objects acquired this way have been used as Loops
for the new remix track.
We have used many Object real-time effects besides
timestretching for quantization we have also used
pitchshifting for smaller tonal variations of the loops, as
well as filters and vocoders.
The lower track includes a track delay. The combination of
resonance effects due to FFT filtering or vocoders, vario
pitch effects due to use of Elastic Audio and track delay
result in character distortions.
We have used the multiband compressor in the master to try to
improve the slightly “splurgy” sound of the initial material
due to the use of MP3 data compression.

Instructions
Step 1: Disassemble an original track into remix objects.
- The original track must be an in object form in the VIP
- The play cursor at the start of the range should be
before the object or at a starting point suitable for
rhythm detection, for example, at the end of an intro.
- The Remix Agent can be found in the “Tools” menu bar
- Hints on how to correct the beat and 1/4 note recognition
can be found in the program help or in the help texts in
the Remix Agent window
- The “Audio quantization” and “Apply object tempo to
arrangement” options in the “Create Remix objects –
options” dialog must be active

Step 2: Arrange a new track


- Activate the beat grid and select the “Snap to Grid/bars”
option (“View” menu).
The remix objects should be positioned precisely in the
grid
- The remix objects selected specifically for the remix
should be arranged vertically, duplicated and muted in
the tracks
- Unmuting the objects lets you quickly test simultaneously
strings of remix objects that make sense from a musical
perspective

Tips:
- You can preview objects in Scrubbing Mouse Mode by
clicking when holding the “Ctrl key” – even when the
objects are muted

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

Step 3: Creating tracks for objects that contain effects…

Elastic Audio Tutorial Demo

Some areas of application of Elastic Audio are demonstrated


here.

EADemo_Choir_Resample_Vs_PitchShifting

Description
Changing the pitch of choir sample. When automatic re-sampling
is used, the length changes with regard to the original. This
is not the case when pitchshifting is used.

Instructions
- Open the Object Editor by double-clicking on the object
- Select the pitchshifting and timestretching group (see
below)
- Select the Elastic Audio button – the Elastic Audio
Editor opens
- The pitch can be changed continuously by editing or
sketching the orange curve
- The algorithm can be selected in the combo box on the
left
- Re-sampling should not be used for small pitch changes so
that the changes to the length are not too great
- The “Smooth” algorithm is most suitable for pitching a
choir sound without changing the length

EADemo_Hands-Demo

Description
The pitch of a sample of a female voice has been hard-
quantized in the first object. This causes a characteristic
distortion of the voice. In the second Object the pitch is
altered in such a manner that the same sample can be used as
second vocals.

Instructions
- Open the Object Editor by double-clicking on the object
- Select the pitchshifting and timestretching group (see
below)
- Select the Elastic Audio button – the Elastic Audio
Editor opens
- Switch to Direct Mode

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

Object 1
- Select all slices (“A” key)
- Trigger the Tune! Function for the pitch (button at the
center left)
- The “Curve smooth” and “Cont. smooth” buttons should be
set to 0
- You can make corrections in “Relative Mode” if artifacts
should occur due to uncertainties in the pitch detection
(smooth the curve with the mouse)

Object 2
- The pitch slices can be moved vertically with the mouse –
the pitch is changed according to the piano keyboard on
the left

EADemo_Klarinette

Description
The pitch of a solo clarinet melody phrase recording has been
changed. The first two objects in the upper track are
variations of the original tune. In the third object we have
attempted to play the clarinet on a single note only. This
requires considerable manipulation of the signal depending on
the deviation from the original note.

Instructions
Described in the “Hands” demo for the first two objects as
well as the second object.

Instructions for quantizing the pitch to a third note (third


object):

- Open the Object Editor by double-clicking on the object


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

EADemo_Rap
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Description
Additional vocals are added to a rap recording to create a
variation and intensification. The changes to the melody have
been created with the Elastic Audio feature, like in the other
examples.

Instructions
The same as the second object in the “Hands” Demo (creating
additional vocals).

EADemo_Saxophon

Description
A saxophone phrase has been varied. Some additional voices
have been added.
In addition to the pitch change the second object has been
compressed with regard to time (timestretching).
Timestretching was added by changing the time factor by means
of the controller in the Object Editor. The pitch changes set
for the object in Elastic Audio should be retained.
Not only have we added new notes to the variations further at
the back, but we have also added glissandos.

Impulse Response Recording Demo (Tutorial demo)


(Sequoia only)

Description
The first track of the virtual project containing a chirp
(sweep sine) of a length of 47 seconds is played back through
a loudspeaker in a room.
The second track contains a recording of the chirp in the room
with added reverb.
The impulse response has been calculated and is behind the
object containing the chirp including the reverb.
Even though the recording is partially disturbed by bell
ringing and hiss, a good SNR was obtained during re-
conversion: The chirp process is robust with regard to
background noise.

Instructions

– Open “Impulse Response Extraction” from the tools menu. The


options for creating the chirp can be found on the right side
of the dialog.
– Insert an impulse response at the upper track of a VIP.
– Playback the track with the chirp through a loudspeaker in a
room.
– Record the reverbed chirp on the second track.

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

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