Xara Music Studio Generation User Guide

Manual

The present documentation is protected by law. All rights, especially the right of duplication, circulation and translation is reserved.

No part of this publication may be reproduced in form of copies, microfilms or other processes, or transmitted into a language used for machines, especially data processing machines, without the express written consent of the publisher.

All copyrights reserved. MAGIX is a registered trademark of MAGIX Entertainment Corp. All other product names

VST™ is a Registered Trademark of Steinberg® Soft- und Hardware GmbH. All other trademarks are property of their respective owners. Technical specifications subject

to change without notice. Correct as of July 2000.

Preface 9 Contents of packaging 10 System Requirements 12 Installation 13

Our copy protection for your safety 15 Notes on the electronic manual 15

Introduction 16

What is MAGIX music studio generation 6? 16 Sound Cards 17 Testing the Sound Card 18 The MIDI Interface 18 Reading the Manual 19 Digital Audio Basics 19 CD Sound 20 Direct-to-disk Recording 20 Setting up Your Equipment 20 Setting up Your Audio Devices 21

PART 1 - MIDI STUDIO: TUTORIAL 25

Audio Cabling 26

Just Like a Multitrack 26 Mixing Desk without Sub Groups 26 Mixing Desk with Sub Groups 27

MIDI Installation 28

Interface Connection 28 MIDI Cable Connections 28 Tape Synchronization 30

Audio: Recording and Playback 31

Concept: Tracks, Audio Files, and Regions 31 Audio Recording 35

Sample Editor and Digital Factory 38

The Sample Editor Window 38 Digital Factory 39

The Waveplayer 40

The Waveplayer Window 40

Mixdown with MAGIX midi studio generation 6 44

The Mixer and HyperDraw 44 The Track Mixer 44 Audio Channel Strips 45 MIDI Channel Strips 46

Table of Contents

Automated Mixing 48 Graphical Mixdown with HyperDraw 49

Audio Instruments 51 MIDI: Recording and Playback 53

Flow of MIDI Signals 53 Recording Notes and Playing Them Back with Sound Generators 55 … if there still is no sound… 56 Recording, Playing Back, and Deleting Sequences 57 Fine or Rough Copying and Shifting of Sequences 58 Sequence Play-Back Parameters 58 The Autoload Song 60

Event Editor 61

The Event Float Window 63

Transport Functions 64 Score Editing and Printout 67

Interactive Score Editor 67 Editing Sequences in the Score Editor 67

Matrix Editor 69 Preparing files for CD burning 71

File Format 71 Mixdown by Track Bouncing 71 Post-Production 72

Troubleshooting 74

PCI Faults 75 SCSI and IDE Faults 76 Faulty Cables 76 Hardware Conflicts 77 Sound Cards 78 Viruses 79 Graphic Cards 79 Re-installing the Operating System 79 Updating the Operating System 80 Formatting the Hard Disk 80

ART 2 - MIDI STUDIO: REFERENCE 81

Using MAGIX midi studio generation 6 82

Conventions of this Manual 82 The Mouse 82 Window Functions 86 Selection Techniques 93 Edit Operations 95 General Functions of the Editors 96 Key Commands 100 Global Functions 103

Song Administration 103

Transport Functions 106

The Transport Window 106 Bar Ruler 111 Cycle Mode 112 Recording 114 Chase Events 117

Arrange Window 119

Overview 119 Tracks 120 The Patch Name Editor 122 The Track Parameters 124 Sequences 126 Sequence Playback Parameters 131 Quantization 135 Groove 137 Hyper Draw in the Arrange window 137 Altering the Display 140 Reset Functions 141

Using Audio in the Arrange Window 142

Regions in the Arrange Window 142 Audio Recording 149 Functions 153

Mixers and Audio Objects 155

The basics 155 The Track Mixer 156 EQ’s, Effects and Plug-Ins 157 Audio Instruments 165 The Synthesizers—Audio Instruments 166 Faders and Level Adjustment 175 Routing 176 Automation 178

The Audio Window 180

Layout 182 Display 183 Operation 185 File Administration 189 Other Functions 195

Audio Driver 196

EASI/ASIO 196

The Sample Edit Window 197

Layout 198 Display 198 The Sample Edit Window In Use 201

Table of Contents

Functions 205

The WavePlayer 211

The WavePlayer window 211

The Event List 216

Display 217 Operation 217 Event List Structure 220 Event Type Structure 222 Event Float Window 225

The Drum Editor 227

Event Definitions 228 Event Definition Parameter Box 229 Operation 232

The Matrix Editor 236

Display 236 Editing Notes 237 Functions 240

Score Edit Window 241

Opening the Score Editor 241 Layout and Printing 244

Tempo 260

Tempo List Editor 260 The Graphic Tempo Editor 262 Tempo Functions 262

Synchronization 263

Synchronization Window 263 Special Functions 267 Synchronizing Video Files 269 The Basics 270

Song Settings and Preferences 278

Song Settings 278 Preferences 283

Standard MIDI Files 288

Basics 288

Glossary 290

ART 3 - AUDIO STUDIO: TUTORIAL 299

New features in the generation 6 version 300 Quickstart 301

The first recording 301 The first arrangement 304

Terminology 307

Overview 307 Clip 307 Handle 308 Marker 308 Objects 308 Range 309 Section 309 Virtual Projects (VIPs) 310 Wave projects 311

Virtual Editing Concepts 313

Working with Objects 313 Working with Ranges 316 Volume 319 Output modus 320

Tips & Tricks 321

Working in Projects 321 Mixer 323 Performance 323 Recording/Playback 324

The Effects 325

Effects in the VIP 325 Mixer-Effects 326 Effect Calculations and Signal Manipulations 326

Internet-Functions 328

Web Publishing (Upload) 328 FTP Download 329

Burning of CDs (deluxe version only) 330

RedBook 330 Data Transfer 330 Burning CDs in MAGIX Audio Studio 330 DSP Display 332

The Individual Mouse Modes 334

Universal Mode 334 Range Mode (Secure Mode) 335 Draw Volume Mode 335 Draw Panorama Mode 335 Curve Mode 336

Table of Contents

Context Help mode 336 Cut mode 336 Zoom mode 336 Object separator mode 337 Pitch-shift/Time stretch mode 337 Draw wave mode (only wave projects) 337

Shortcuts 338

General 338 Range 339 Function keys 339 Mouse 340

Button overview 341

Upper Toolkit bar 341 Lower toolbars 342 Range bar 343

Problems & Solutions 344

ART 4 - AUDIO STUDIO: REFERENCE 349

Menu File 350 Menu Edit 363 Menu View 371 Menu Object 378 Menu Effects 387 Menu Range 404 Menu CD (deLuxe-Version) 410 Menu Tools 416 Menu Playback 420 Menu Options 431 Menu Window 447 Menu Help 455

INDE

X - MIDI STUDIO 457

INDEX - AUDIO STUDIO 479

Preface

Congratulations on your purchase of MAGIX music studio generation 6! Creating your own music or video soundtracks in a home studio has become more and more popular. But the wide variety of available equipment and software often confuses beginner and professional musicians alike. MAGIX music studio generation 6 offers the perfect solution by allowing you to create high quality productions in a quick and easy manner. MAGIX music studio generation 6 transforms your PC into a complete, virtual sound studio. It allows you to arrange and produce on the highest level—with any 16bit sound card. Of course, you can also integrate other studio equipment without any problems. This program ensures professional production results which can be integrated with existing and future musical studio equipment. The following pages will introduce you in detail to the various functions and possibilities of MAGIX music studio generation 6. Experience music like never before—turn your PC into your own home studio.

Preface

Enjoy!

Your MAGIX Entertainment Team

Contents of packaging

Please make sure that the objects indicated here are included in your packaging.

Program-CD

This CD contains the MAGIX Music World with the installation program of MAGIX music studio generation 6.

Manual

For a quick intro with MAGIX music studio generation 6 or to learn in-depth about the program, we recommend that you take a look at the manual.

Registration card

Please send us your registration card today! MAGIX provides e-mail and phone support to its registered users. We will also keep you up-dated on new products, up-grades, etc.

MAGIX music network

Become a MAGIX networker! Your avantages: – the Mega-NetWork items on offer on the MAGIX

Homepage

– The latest info and demos will be sent to you free of

charge.

– There is a Sound and Song Exchange for all

NetWorkers on the MAGIX Homepage. Here you can swap sounds, songs and experiences and chat with other NetWorkers.

– You can participate in MAGIX soundpool raffles.

Simply fill in the enclosed Winnings Card and send it back to us as quickly as possible! Or join in online:

http://www.magix.com/network/

– Charts to join in on: MAGIX music studio generation 6

is not only multimedia software, but also the key to participating in the MAGIX music network charts on the Internet. Send in your masterpieces! You can upload them directly from the program via the new web publishing wizard!

Support

If you are unable to correct your problem with MAGIX midi studio generation 6 contact MAGIX support:

U.S.A. Europe Info info-usa@magix.net info@magix.net Webpage http://www.magix.com/ Fax (310) 656-0234 ++49 - (0)89-7691041 Telephone — 0181 968 1554

Contents of packaging

Please supply the following information: – Configuration of your system (Processor, RAM, hard

disk, etc.) – Sound card configuration (Type, Driver) – Information on whether other audio components are

operating properly

Legal Notice

Most chart hits and whole CDs can be downloaded from the Internet as MP3 files. However, many of these downloads are illegal. Works protected by copyright may not be downloaded or presented on your own homepage without the express knowledge and consent of the copyright owner. Free transfer and trade with such music files is punishable by law. There are, however, many sites offering free MP3 for downloading. A selection of them can be accessed directly via the MAGIX homepage (http://www.magix.com/). Your own compositions can be presented as you wish on homepages and in the network.

System Requirements

To run MAGIX music studio generation 6 you require the following: – Pentium PC running at a minimum speed of 200

MHz, preferably faster. A Pentium II or III is strongly recommended. General rule of thumb: The faster the machine, the more number of Audio tracks and virtual instruments are obtainable.

– Windows 95/98/2000, 64 MB of RAM (recommended

128 MB RAM). – 16 bit sound card – A minimum of 100 MB of hard disk space for the

program plus additional hard disk space to store digital

audio files. CD-quality stereo sound (16 Bit, 44.1 kHz)

uses ≈10MB of hard disk space per stereo minute’s

worth of recording. – A Super-VGA resolution monitor or better with a

minimum resolution of 800 × 600 pixel and 16 Bit

High Color. – A CD-ROM drive and a MS-compatible mouse. – A MIDI interface or PC sound card with a MIDI inter-

face. If you want to use MAGIX music studio genera-

tion 6’s digital audio playback facilities, you will also

need a sound card which supports digital audio. See the

sound card section for more information.

Installation

Put the Installation CD in your CD-ROM drive.

With Windows 95/98/2000 the installation manager starts automatically. If it doesn’t, open the Explorer and click on the letter corresponding to your CD ROM drive and double click on Mworld.exe.

To start the installation process, click on Install MAGIX music studio generation 6.

Installation

Put the Installation CD in

your CD ROM drive

Autostart of the installation or Activation of the CD-ROM and

double click on Mworld.exe

The Installation Wizard appears. Simply follow the instructions and click on “NEXT” to continue. When all files are copied on the hard disk, a program group will be established and the installation is completed. Confirm with “Finish”. The program automatically starts with a Demo Project. Later you can start the program with the icon in the Windows start menu.

Installation

STA

LL Click here to install MAGIX music studio generation 6

The MAGIX Music World is the starting point for everything that you’ll find on the Installation CD such as information about other MAGIX products and our website. You will always find the latest & greatest about MAGIX music studio generation 6.

DEM Get demo versions and information about other MAGIX programs.

BROWSE CD Browse through the file structure of the CD ROM.

WWW Visit our website at www.magix.net to get updated information about MAGIX and to order additional products and sound or videopools on-line.

playR jukebox To install the MAGIX playR jukebox, click on this button.

EXIT Click here to exit the MAGIX Music World.

Our copy protection for your safety

MAGIX music studio generation 6 is copy protected in order to stop software piracy. For your convenience, the copy protection is very simple to use: just make sure that the original program CD is in its drive while booting MAGIX music studio generation 6 for the very first time that’s all. Please remember that you will have to insert the original CD as described above whenever you launch the program for the first time after a reinstall.

Notes on the electronic manual

The manual in the packaging only contains an introduction into the elementary functions of MAGIX music studio generation 6. If you wish to learn more about the program, please refer to the complete user manual in the form of an electronic document. Please make sure that the objects indicated here are included in your packaging! Before you can start using the electronic manual you must first install Adobes ACROBAT READER. To do so, simply click on the “Install Manual” icon in the MAGIX music studio generation 6 program group. If ACROBAT READER is installed on your system already, then you dont need to install it again, of course. The ACROBAT READER installation program requires you to Restart Windows! We therefore recommend you close all Windows applications before you install ACROBAT READER. After installation, you launch ACROBAT READER by simply clicking on its program icon. The complete electronic manual file is stored in the MAGIX music studio generation 6 program root directory! In the folder that contains the MAGIX music studio generation 6 programs, you’ll find the electronic manual file with the ending .PDF. Open this file in Acrobat Reader and you’ll have access to the complete manual.

Installation

Introduction

What is MAGIX music studio generation 6?

MAGIX music studio generation 6 uses your PC as a complete, virtual sound studio. Your hard drive becomes a highly sensitive recording tool. The sound chip of your sound card, a microphone, your instruments or the soundtrack of your video become the sound sources. You have access to two highly optimized programs that are compatible with each other: MAGIX music studio generation 6 combines a hard disk recording program with a MIDI Sequencer. Harddisk-Recording means digital recording of audio signals directly to the hard drive. Through the analog/digital transformer, analog audio signals are transformed into digital information that are saved to the hard drive as WAV files. MIDI means “Musical Instruments Digital Interface” and controls the sound sources such as synthesizers or sound cards. A MIDI file only contains information which note is played when and how whereas WAV files are digital representation of real audio signals. That’s why MIDI files are much smaller than WAV files. MAGIX audio studio generation 6 allows the perfect recording and editing of sounds in WAV format. On 24 audio tracks (48 with MAGIX audio studio generation 6 deluxe), you can work with professional effects and editing tools—even for real-time editing of video sound tracks. Per FTP connection you can use the internet as a boundless image and sample pool and load the multimedia building blocks from the World Wide Web directly into your arrangement. The MAGIX web publishing area is there for the publishing of your work—one mouse click takes you into the charts. Every surfer is entitled to vote, the best songs and videos will receive attractive prices… MAGIX midi studio generation 6 controls the synthesizer-chip on your sound card (or of external MIDI instruments). In addition you get a polyphonic Waveplayer with filter and envelope capabilities, allowing you to play your WAV files as if you were using them in an external sampler. Furthermore the MAGIX midi studio generation 6 features 256 MIDI tracks (1.000 with MAGIX midi studio generation 6 deLuxe) on which you can simultaneously record and playback. And finally you get 4 (6 with MAGIX midi studio generation 6 deLuxe) audio instrument tracks, on which you can play and record the built-in two (three with MAGIX midi studio generation 6 deLuxe) syn-

thesizers. As an alternative to the MAGIX synthesizers, you can also use VST™2.0-instruments. You can record WAV files both in MAGIX audio studio generation 6 and MAGIX midi studio generation 6, and soon you’ll appreciate both possibilities. You can, for instance, draft a song in MAGIX midi studio generation 6, play it back and simultaneously record sounds with a microphone. You can transform the MIDI files into WAV files by using the recording function. Both studios are only a mouse click apart! Take your audio tracks from MAGIX midi studio generation 6 to MAGIX audio studio generation 6 and vice versa. MAGIX music studio generation 6 lets you do all this and more with a very user-friendly interface. Right after the first steps, you’ll be able to use the programs intuitively.

Sound Cards

There are dozens different PC sound cards on the market. MAGIX music studio generation 6 works with all Windows compatible sound cards, i. e. with all that have a driver for Windows 32 Bit Operating Systems. These drivers are listed in “Multimedia” of the Windows Control Panel. It’s safe to assume that all modern sound cards are Windows compatible. Most sound cards have a synthesizer-chip for the playback of MIDI. Additionally, most sound cards support the play back of digital audio data. If you work with MAGIX music studio generation 6, your sound card must have separate drivers for MIDI and Audio playback (which most modern sound cards do). MAGIX music studio generation 6 supports all sound cards that can be addressed via an ASIO or EASI driver. The available options depend on the specific ASIO or EASI driver you will be using. Please refer to the instructions that came with your driver. MME and DirectSound drivers are supported via so-called MME-to-EASI respectively DirectSound-to-EASI wrapper. Please note: If you want to use the Waveplayer, you must use a DirectSound driver. And only DirectSound drivers allow the simultaneous use of the Waveplayer and digital audio tracks. MAGIX music studio generation 6 supports sound cards with a stereo output. Digital interfaces such as S/PDIF or AES-EBU are also supported. MAGIX music studio generation 6 deluxe supports sound cards with up to four audio outputs.

Introduction

But please note: Some older sound cards cannot play back digital audio data. As long as you have Windows drivers, you can use such sound cards with MAGIX music studio generation 6; however not for playing back audio data. Some other older sound cards use only one driver for both Audio and MIDI. In that case, you can you MAGIX music studio generation 6 only for MIDI or Audio but not for MIDI and Audio simultaneously.

Testing the Sound Card

Make sure your sound card is installed correctly and the drivers are set up properly before using MAGIX midi studio generation 6. The software which comes with the sound card should include routines to test the card. You must make sure it is running correctly under Windows, not just DOS. An easy way to test the card is with the Media Player which you will find in Windows’ Accessories Program Group. Look in the Device menu and you should see MIDI Sequencer… and, if your card supports digital audio, Sound… Try playing the CANYON.MID file which Windows installs automatically in the Windows directory. Then try playing a .WAV file. Again, there should be some in the Windows directory. If either of these items is missing from the Device menu it means the drivers have not been loaded. Go back to the Drivers Control Panel and install the correct drivers. Refer to your sound card’s manual and the Windows Users’ Guide for more information.

The MIDI Interface

Many sound cards have a built-in MIDI interface which is accessed from a joystick connector on the back of the card. To use it you need a MIDI adapter. One end plugs into the joystick socket and the other terminates in MIDI plugs or sockets which you connect to your MIDI equipment. Some sound card packs include the adapter but many of the cheaper ones do not. There are also several dedicated MIDI interfaces available. Many are on plug-in cards which are fitted and installed into the PC just like a sound card. There are also external MIDI interfaces which connect to the PC’s printer port or serial port. You can install them without opening up your PC and they are ideal for use on portable PCs. You still have to install driver software for them. Some have a Thru socket which enables you to plug in your printer and use it without removing the interface. Other’s don’t.

Reading the Manual

Few people like reading manuals. Many software users prefer to point and click their way around a program to discover what it does and how it works. MAGIX midi studio generation 6 has an intuitive interface so if you know a little about sequencers you will probably be able to learn how most of the program works by this approach. You can dip into the manual to look up any features you require more information about. If you are a newcomer to sequencing we strongly recommend working through the Tutorial. It uses a practical, hands-on approach to explain all of MAGIX midi studio generation 6’s main functions and by the end you should be well on the way to becoming a sequencing expert. We recommended even the more experienced user read the Tutorial in order to become familiar with how the various parts of the program work. Finally, do at least flip through the Reference section. It not only contains detailed information about every menu, window and function in MAGIX midi studio generation 6 but it also includes examples of how many functions can be used in a practical way.

Digital Audio Basics

If you’re familiar with the principles of digital audio you can skip this section. This is a brief introduction to the subject to help you get the most out of MAGIX midi studio generation 6’s digital audio playback facilities. Digital audio recording is the process of converting audio data— sound—into digital data which can be stored on a computer. The device which does this is built into most sound cards and is known, quite helpfully, as an Audio-to-Digital converter. This is often abbreviated as A-to-D, ATD or just AD. To convert the digital data back into sound, the card uses a DA (Digital to Audio) converter. To capture sound, the AD converter takes a sample of a sound source a specific number of times per second. This is known as the sample rate and is measured in kHz or so-many thousand samples per second. The higher the rate, the more samples the AD converter takes and the more accurate the digital representation of the sound will be. The sampling resolution is the accuracy or fineness of the measuring scale used to store the numbers and is measured in bits. Currently there are two resolutions commonly in use: 8 bits and 16 bits. To give you an idea of the relevance of the sampling resolution, imagine two people are building a house. One is using a measuring stick marked to the nearest foot. The

Introduction

other has a stick marked to the nearest inch. Although the house built with the stick measuring to the nearest foot may not fall down, the one using the finer scale will build a more accurate house.

New Audio Engine:

now works with a new, significantly improved audio engine. It offers shorter latency times, faster fader response, improved VST™ support and overall better performance. Monitoring, that is, listening to the input signal at the audio output, is now available. You will find these new driver settings on the pages “Audio Drivers” and “Audio Drivers 2” in the Audio menu.

MAGIX music studio generation 6

CD Sound

CD quality audio is recorded at a sample rate of 44.1 kHz with 16 bit resolution. Many Multimedia programs use a lower rate such as 22.05 kHz or 11.025 kHz, and many use 8 bits. This is often quite adequate if the sound is played through inexpensive PC speakers but you would certainly be able to tell the difference if it played through a good hifi system.

Direct-to-disk Recording

One minute of CD-quality sound requires 10 MB of storage space. Clearly it’s impractical to store this in RAM. It is more practical to store your samples on disk. During playback this data has to be read on the fly so you need a reasonably fast hard disk if the data is to be played back accurately. Most modern disks are capable of this but some older ones may have problems, especially if they are running in a slow PC. With MAGIX midi studio generation 6 you can playback digital audio which has previously been saved to disk.

Setting up Your Equipment

Make sure the MIDI interface or sound card and MAGIX midi studio generation 6 are correctly installed. If you are using an external MIDI keyboard connect its MIDI Out to the interface’s MIDI In. If you are also using the sounds on the keyboard, connect its MIDI In to the interface’s MIDI Out. If you are using the sounds on a sound card this is not necessary. If you want to use a keyboard for recording but a MIDI sound module for playback, connect the module’s MIDI In to the interface’s MIDI Out. If you want to use MAGIX midi studio generation 6’s digital au-

dio playback facility, make sure the sound card’s audio output is connected to a pair of speakers.

Setting up Your Audio Devices

MAGIX midi studio generation 6 handles two different hardware type categories: PC AV and ASIO. The PC AV driver communicates with the audio hardware using the EASI protocol (Emagic Audio Streaming Interface). There are two dedicated EASI drivers called EASI MME and EASI DS. These so-called wrappers (MME to EASI respectively DS to EASI) are accessible in the Driver parameter field in the PC AV area of the Audio > Audio Hardware & Drivers > Audio Driver menu page. Sound cards that only have an MME driver can be used utilizing the EASI MME driver. In order to use the desired configuration, select the EASI MME driver under PC AV in the Audio > Audio Hardware & Drivers > Audio Drivers. In order to configure it, press the switch “Control Panel” or start the file EASIMME.exe in the Magix folder. More information about this is supplied by the EASI MME HELP file.

Introduction

If you want to use a DirectSound driver for your sound card, please select the driver EASI DirectSound under PC AV in the Audio > Audio Hardware & Drivers > Audio Drivers. In order to configure it, please press the switch “Control Panel” and create a virtual device containing the appropriate DirectSound driver. More information about this is supplied by the Help file. ASIO drivers are a separate category, accessible on the Audio > Audio Hardware & Drivers > Audio Driver 2 menu page. Please select the option that suits the drivers supplied with your audio card. Now on to the audio engine parameters

Introduction

as displayed in the Audio Driver/Audio Driver 2 menu pages.

Monitoring

This option allows you to switch monitoring (i.e. listening to the actual input signal) on or off. Please note that monitoring is processed only via software—a certain delay is inevitable. If you are listening to the recorded signal through your mixing desk, you should switch this option off.

Volume Smoothing [ms]

This parameter defines the length of the fade between two consecutive volume values for an audio track. When setting this value to 0 you might hear zipper noise when moving a volume fader during playback. Higher values soften the volume changes and eliminate the zipper noise.

Max. Number of Audiotracks

The Audio Engine requires free system memory. The amount of memory needed depends on the maximum number of tracks to be played, and on the number of I/O channels supplied by the driver. This setting allows you to reduce the amount of memory used by the driver, by reducing the number of tracks. This may be sensible when you want to run other applications or audio hardware types simultaneously.

Larger Disk Buffer

This option influences the amount of audio data that is read from the disk in advance. This option is switched off by default, matching the demands of fast hard drives and powerful computers. If you get frequent error messages while running your MAGIX midi studio generation 6 in this mode, you should switch this setting on, so that you can play back more tracks, achieving higher reliability. However, more RAM is needed in this case.

Larger Process Buffer

This parameter determines the size of the native buffer used to compute mixers and effects. Do not activate this option if you own a fast computer. This shortens response times to operations such as volume changes or Solo. Experiment to find the setting that coaxes the best performance from your system. Only available for ASIO are the following parameters.

Clock Source

This let’s you choose between the internal synchronization via MAGIX midi studio generation 6’s internal clock and external synchronization received via the digital input of the sound card.

ASIO Buffer Delay

Some drivers do not communicate their input/output delay settings correctly to MAGIX midi studio generation 6. If you experience irregularities, try correcting them with these settings. Refer to the manual of your ASIO audio card.

Max. I/O streams

Here you set the number of input signal streams coming from your ASIO-compliant card and the number of output streams going to your ASIO-compliant card. These are limited to 2 input streams and 2 output streams (MAGIX midi studio generation 6) respectively 4 output streams (MAGIX midi studio generation 6 deLuxe).

Introduction

Part1

Tutorial

midi

studio

Audio Cabling

for the outputs

Mic

Line

Insert

Mic

Line

Insert

Mic

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Insert

Mic

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Insert

Mic

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Insert

Mic

Line

Insert

Mic

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Insert

Mic

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Insert

Mic

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Insert

Mic

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Insert

Mic

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Insert

Mic

Line

Insert

R Aux Return 2 L

Aux Send 2

R Aux Return 3 L

R Tape In L

Aux Send 3

R Aux Return 1 L

Aux Send 1

To the recording inputs

R Aux Return 4 L

Send / Return

R Tape Out L

Aux Send 4

Audio Cabling

Just Like a Multitrack

The audio cabling between the various components in your system depends largely on your setup. Generally, the audio hardware is connected just like a conventional multitrack machine. This applies even though the audio hardware usually has fewer inputs than outputs and has its own internal virtual mixing desks. Hardware that has only two analog inputs, is connected the same way you would connect a multi-track’s track 1 and 2 inputs, that is, to the mixing desk sub group outputs 1 & 2. These two inputs are not exclusively assigned to MAGIX midi studio generation

6’s track 1 and 2. For example, to record on track 8, you might use input 1, while recording tracks 7 and 8 would

use both inputs 1 and 2. The playback outputs will in turn be wired to your mixer’s

tape or line inputs. You should try to avoid the use of aux-

iliary inputs (Effect Returns, Aux Returns) as these would limit your effects, tone control, and routing options.

Two wiring examples for different mixing desks will illustrate this further. The MAGIX midi studio generation 6’s

inputs and outputs refer to the in/outputs of the audio

hardware as well as the audio in/outputs of the sound card. This chapter deals only with analog connections to

mixing desks.

Mixing Desk without Sub Groups

If your analog mixing desk does not offer sub groups, proceed as follows:

Connect the audio hardware outputs to the first of your desk channels’ Line or Tape inputs. Use as many channels

as your audio hardware will output. Use the remaining channels for your other sound sources, effect processors, and microphones. If you find yourself short on channels, you can wire MAGIX midi studio generation 6’s outputs to your desk’s Aux Returns (or “Effect Returns”). This really cannot be avoided with smaller mixers, but it is no big deal, since MAGIX midi studio generation 6 offers extensive EQ and processing power, anyway. Your mixing desk will most likely offer at least two Aux

Right - Main Out - Left R Main Insert L

Sends (not to be confused with Aux Returns)—they are usually “pre-fader”, or can be switched to such, with a dedicated button. “Pre-fader” means that the signal is taken before it enters the channel fader (volume slider). This means that the pre-fader Aux Send will output that chan-

Tape Input

Aux Send 1

Aux Send 2

Aux Send 3

Aux Send 4

Right - Main Out - Left R Main Insert L R Control Room L

R Tape In L

R Tape Out L

R Aux Return 1 L

R Aux Return 2 L

Bus

Outputs

(Sub

Groups)

Mic

Line

Insert

DirectOut

Mic

Line

Insert

DirectOut

Mic

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Insert

DirectOut

Mic

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Insert

DirectOut

Mic

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DirectOut

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DirectOut

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DirectOut

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DirectOut

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DirectOut

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DirectOut

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DirectOut

Mic

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Insert

DirectOut

Send / Return Studio Monitor Out

Tape Input

to the

from the outputs

recording inputs

nel’s signal, even if its fader is all the way down. This kind of output is usually referred to as a monitor output, and may actually be labelled as such. So, each channel has two knobs that are used to create a mix which is sent to the desk’s corresponding auxiliary (or monitor) output. Connect these two outputs to the audio hardware’s two inputs. For example, if the two pre-fader Aux Sends are labelled “Aux 3” and “Aux 4”, you would connect a cable from the desk’s “Aux 3 Output” to the first audio hardware input and another from Aux4 to the second. You can now control MAGIX midi studio generation 6’s inputs with the Aux Send controls (and their master sends).

Mixing Desk with Sub Groups

If your mixing desks has sub groups, use them for recording. Connect the first sub group output to MAGIX midi studio generation 6 input 1, and the second to MAGIX midi studio generation 6 input 2. The recording level is now controlled with the sub group faders. Connect the outputs to the first few channels’ Line or Tape inputs. Connect the rest of your sound sources (effect processors, microphones etc.) to the remaining channel inputs. During recording, route the channels that are to be recorded, or the sub groups to your desk’s stereo (master) outputs. If your audio hardware supports more audio inputs, connect more sub group outputs to them as needed. Avoid connecting the MAGIX midi studio generation 6 recording inputs to your desk’s main output (Main Out)— these, as well as the Control Room output that usually carries the same signal, are meant for your monitoring equipment and your stereo or two track tape machine. This output includes a mix of MAGIX midi studio generation 6’s output signal, which you do not want to re-record. A DAT mastering machine is not required, as MAGIX midi studio generation 6 can master CD-Rs, in conjunction with a CD burner. If you choose to use a conventional mastering machine, a DAT or MiniDisc recorder or an analog tape deck, connect it directly to the mixing desk’s main output.

Audio Cabling

MIDI Installation

Interface Connection

Please consult your sound card or MIDI interface manual for the correct connection of a MIDI interface. The most common ways to add MIDI functionality to computers are: – Multiport MIDI interfaces, including separate devices

like Emagic’s Unitor8 MkII. – Sound card with MIDI interface – via a General MIDI module or keyboards’ integrated

interface, usually labeled “To Host” interface.

Connecting Emagic Unitor8 MkII

These short instructions may suffice for the Unitor8 MkII multiport interface: connect the Unitor8 MkII supplied cable from your PC’s COM2 port to the RS-232 connector on the Unitor8 MkII. Then install the driver under Windows. If you wish to use a modem or other device on the COM2 port however, you will need to use an RS-232 switch box, which can be purchased from most computer shops. Any MIDI interface that supports the Windows MME standard will work with MAGIX midi studio generation 6. See the manufacturer’s instructions for information on the proper installation of any needed drivers.

MIDI Cable Connections

MIDI Local Off

If your keyboard has an internal sound source, it is important that you stop the keyboard from generating sounds directly from its own keyboard. If you buy a new keyboard that is to be used without a sequencer, and connect it straight to an amplifier, you would expect the device to make a sound when you press its keys—in other words the keyboard is connected to the sound generator. However, this is exactly what you do not want when using the keyboard with a sequencer. In this scenario, the keyboard is used as the computer’s input device, while the computer will play the various connected tone generators, be they the keyboard’s own sound generator, or any other connected sound modules. If you wanted to control and record another sound module with your keyboard, its own sounds would get in the way—that is why the keyboard must be separated from its own internal sound generator. This function is known as “Local Off”, and can be set directly at your keyboard. The sequencer will speak to your

keyboard’s tone generator just like any other connected, keyboardless sound module. If you cannot find the “Local” function under your keyboard’s MIDI menu, consult its manual as how best to proceed for sequencer use. Some keyboards allow you to select from among “Local”, “MIDI” or “Both” for each of their so-called “Parts”—in this case, the “MIDI” setting is equivalent to “Local Off”.

MIDI Inputs/outputs

If your computer has an internal or external MIDI port, or has a MIDI capable sound card connected, hook the keyboard “MIDI Out” to the computer’s “MIDI In” (on the interface, sound card etc.). If the keyboard can generate its own sounds, connect the computer’s “MIDI Out” to the keyboard’s “MIDI In”. If your computer (or the MIDI device) offers more than one MIDI output, connect any other tone generators to these. If the computer only has one MIDI output, you need to connect the second tone generator’s MIDI In to the keyboard’s MIDI Thru port. A third device can be connected to the second’s MIDI Thru, and so on. The MIDI Thru port always delivers a copy of the signals coming into the device’s MIDI In. It is preferable, however, to use a direct connection from a computer’s MIDI Out to a device, rather than chaining too many devices, one after another. This is because timing problems may occur in the chain, if many MIDI commands are sent in a short time, due to the slight delays introduced by each MIDI In to MIDI Thru transaction. If your computer also has several MIDI inputs, you can connect the MIDI outputs of other MIDI expanders there.

Keyboards and Expanders with “To Host” Interface

The “To Host” interface, which allows a direct connection to the computer, can be found on many of the more costeffective MIDI sound modules, as well as on many entrylevel keyboards. This in effect is a simple integrated MIDI interface, with one MIDI In, and one MIDI Out for the computer. An instrument with a “To Host” interface is controlled directly; the MIDI In and Out serve as MIDI connections for the computer, to allow further instruments, such as another keyboard to be connected. This proves very cost-effective for entry level setups, which may include only one keyboard and another sound module. The expense of a dedicated computer MIDI interface, or card is not initially required. If you are working with such a module, first install the driver software supplied by the manufacturer.

MIDI Installation

Connect the keyboard MIDI Out to the sound module’s MIDI In, and the module’s MIDI Out to the keyboard’s MIDI In (assuming it can generate sounds). Connect the “To Host” interface to the computer, usually to a serial port.

Tape Synchronization

Details on how to synchronize MAGIX midi studio generation 6 with digital or analog tape machines, multitrackers, or video editing systems and their wiring requirements can be found in the reference manual.

Audio: Recording and Playback

Concept: Tracks, Audio Files, and Regions

MAGIX midi studio generation 6 combines a MIDI Sequencer with a Hard Disk Recorder. A Hard Disk Recorder is similar to a DAT Recorder or a Sampler: it allows digital recording and playback of audio signals. The hard disk recording medium provides many advantages over the magnetic tape medium; no rewinding is required, and the data is read from and written to various sectors of the hard disk almost simultaneously. The recordings to be played back simultaneously may be located at any position on the hard disk. The Hard Disk Recorder perceives sound recording edits as play instructions—i. e., an actual edit or cut does not occur. Subsequently, any edits of the material can be revoked and the original condition restored. This is generally referred to as non-destructive editing. CD players with programmable title sequences are based on a comparable principle: if you choose to listen to the titles on the CD in reverse order, the CD player will not change the data (the actual sequence) on the CD—which would be destructive. The program merely plays the titles in the changed sequence—which is non-destructive.

Number of Audio Tracks

On a multi-track tape recorder, the number of tracks that can be recorded simultaneously, the total number of tracks on the tape, the number of tracks that can be played back simultaneously, and the number of outputs for the playback of the tracks are the same. So, for example, with an 8-track device, you may simultaneously record 8 tracks, store 8 tracks on the tape, and play back these 8 tracks through 8 outputs. A Hard Disk Recorder like MAGIX midi studio generation 6 operates differently. In its case, the number of tracks and outputs depend on the audio and computer hardware being used. The following applies, for example, to the MAGIX midi studio generation 6 with a sound card with two in- and outputs: – You may simultaneously record two mono signals (or

one stereo).

– There is an almost unlimited number of virtual tracks,

i. e., recordings that may be located on the hard disk under MAGIX midi studio generation 6. The number of tracks is only limited by the hard disk capacity.

– The number of tracks that MAGIX midi studio genera-

tion 6 can play back simultaneously—the so-called physical tracks—depends mostly on the hard disk and

Audio: Recording and Playback

on the computer. But 24 (respectively 48 tracks with

MAGIX midi studio generation 6 deLuxe) tracks are

the maximum with MAGIX midi studio generation 6. – The sound card has two outputs for simultaneous play-

back of the physical tracks. Since MAGIX midi studio

generation 6 provides a digital mixer with sound

controls and sound effects, the fact that there are fewer

outputs than simultaneously played-back tracks does

not present the same limitation it would with a tape

based system. Depending on the available hardware, MAGIX midi studio generation 6 acts virtually like a polyphonic sampler with at least one stereo input and one stereo output, with hundreds of different samples loaded on the hard disk. The number of tracks that can be recorded simultaneously, the number of tracks that can be played back simultaneously, and the number of audio outputs depend on the hardware. The hardware play-back tracks are represented in the audio mixer by channels, which are similar to the channels of a conventional mixer. The MAGIX midi studio generation 6’s mixer mixes all tracks, including effects, together on one or more stereo outputs. The channels of the mixer also represent the hardware on the software display level. The number of tracks displayed by MAGIX midi studio generation 6 upon start-up is hardware-dependent, i. e. it depends on the computer and the available audio hardware.

Audio Files and Regions in the Audio Window

Select Audio > Audio Window to open the Audio window. In the Audio window, you can display and manage all Au- dio Files. Audio Files are the actual samples, i. e., the actual sound recordings. To load an Audio File select the local command > Add Audio File in the Audio Window. A dialog box appears, in which you can select the file from a hard disk or from a folder. To record a new audio file, see instructions below. MAGIX midi studio generation 6 can be used to continuously play back sound tracks just like a tape recorder. However, this is not necessary. The Arrange window displays audio tracks horizontally. Rectangular bars visually represent the location and length of the audio phrases within the song. These sections are called Regions and may include a small portion of the audio file or the entire audio file.

Audio: Recording and Playback

In the Arrange window the regions on the audio tracks and the sequences on the MIDI tracks look the same. Operation and editing are identical, for the most part (top).

The audio window shown above displays all logged audio files and their regions—however, without the timing reference in the song. The Arrange window shows the audio track regions on a time axis, whereas the Audio window shows the available audio files in a non-chronological sequence. On the left side, the audio file names are listed in bold. The region

Audio: Recording and Playback

names are indented, in regular type, and displayed with a padlock. The regions are only visible if the arrow to the left of the audio file name is pointing downward (click on the arrow to toggle). The audio file regions are shown in a dark shade inside the rectangles. The areas outside the regions are shown in a light shade. You may move the region boundaries by dragging them with the mouse pointer. To prevent accidental adjustments, click on the padlock to secure the region settings. Moving the beginnings and ends of regions provides an easy, non-destructive editing method for the audio material. Nothing will be deleted. You may, for example, cut off the last syllable of a song line—and then restore this syllable by defining it in another region of the audio file, or by extending the region! It is often very useful to open one Audio window and one Arrange window at the same time. You then can grab regions with the mouse pointer in the Audio window and drag them onto the desired track in the Arrange window. If you are using the Windows version, you must first select the respective track in the Arrange window and set the song position line to the position at which you want the region to be triggered. In this context you should note that MAGIX midi studio generation 6 automatically remembers the various window configurations as Screen Sets. Just press the respective key, from 1 to 9, to recall the windows that were open when you last selected this screen set. The screen set number is shown on the main menu display (on top) at the right side of the Window entry. Summary: Within Audio Files you define Regions. These regions are displayed in the Arrange window, where they are arranged on a Track. This track is then played back through a channel of the integrated Track mixer. In the Audio window, you can play back a region, by pointing at it and holding the mouse button depressed. Playback will start at the position of your cursor. Alternatively, you can click the loudspeaker icon at the left and the selected region will be played back from its beginning. If the Cycle symbol is enabled, the region will loop continuously, which is very useful, for example, when adjusting the length of a drum loop. The lower button defines the play-back channel. If you are using multiple audio hardware systems, a similar button for the selection of audio hardware will be available. The small, black arrowbelow the waveform display of the regions is the anchor. It serves as the region’s timing ref-

Audio: Recording and Playback

erence point, i. e., if a region is assigned to the beat position 14 1 1 1, this anchor will be positioned on the 14 1 1 1 beat. Although this point will always be at the beginning of newly recorded regions, it does not necessarily have to be placed there. An up-beat syllable, or the breathing-in of the singer prior to the first syllable can sound before the anchor, which is quantized on a time grid. Caution: moving the anchor will also change the arrangement’s timing reference.

Audio Recording

Setting the Recording Path

Prior to the first recording, you must define a hard disk and a folder for storing the audio files created during recording. In the Audio window, select Audio File > Set Audio Record Path. Use the File Selection box to create a folder with the name of the song. This folder will hold the created audio files.

It is generally best to preselect the maximum recording time as it allows MAGIX midi studio generation 6 to premap the location on the hard drive to which the files will be recorded 1. If the final recording is shorter than the selected time, the reserved storage space will automatically be freed up again. However, for various reasons it is not advisable to preselect a significantly longer recording time than necessary. Click on the Set button to define a hard disk and a folder in which the audio files shall be stored 2.

Recording in the Arrange Window

The Default Song, which opens when MAGIX midi studio generation 6 starts, contains some audio tracks. “Audio tracks” are simply tracks on which an Audio Object has been assigned. To assign an audio object to a new track, point to a track name and hold the mouse button depressed. In the flip-down menu select an Audio Object. The audio object symbolizes a channel of the track mixer with the same number.

Audio: Recording and Playback

Whenever an audio track is activated for recording (record-ready), an audio file will be created during recording with a region spanning the entire audio file length. Just as on a multi-track device, several tracks can be activated at once. The region will appear in the Arrange window exactly at the location that you recorded; i. e., you can record just as you would with a conventional tape recorder. The only difference compared to a MIDI recording is that the audio track must be activated (record ready); however, it does not have to be selected. In the Arrange window, there are two buttons between the numbers and names of the tracks. The left button (M) mutes the track (Mute), the right button (R) activates the track for recording (REC). Similar buttons can be found in the audio objects underneath the fader: these buttons are also used to mute a track or to enable or disable recording of a track (M and REC). While both record-ready buttons for a track (in the Arrange window or in the Audio Object) are always coupled, the effect of the mute button may be different under certain circumstances: in the Arrange window, muting always affects the respective track. The mute button at the audio object, however, is used to mute the respective playback channel of the audio hardware—this way, all tracks played back through this channel are muted. Please note that in the Arrange window several tracks can be played back through the same audio object (play-back channel), however, with the limitation that only one of these tracks can be heard at a time (the track with the region started last). The recorded regions in the Arrange window look the same as the MIDI tracks. Using View > Object Colours you can, however, select different colors. During the recording of an audio track, a waveform will be displayed. With a larger, vertical display, the waveform display will appear under the regions, whereas the MIDI sequences will show small notes. The largest display can be selected next to the scroll bars at the lower right edge of the window. This display cannot be enabled, if HyperDraw is activated. HyperDraw is a function allowing the graphical input of level and panning processes, which will be displayed instead of the notes and waveforms. HyperDraw is described in the chapter section titled

with HyperDraw on page 49.

Graphical Mixdown

Audio: Recording and Playback

Copying and Moving Regions

In the Arrange window, regions (and MIDI sequences) can be shifted by dragging them with the mouse. If you hold ctrl while dragging, a copy is created. To select several regions or sequences hold shift while clicking or select them by collecting them in a rubber band. During shifting, the selected regions or sequences will always jump to a grid position. The grid corresponds to the divisions visible on the bar ruler. It can be changed all the way down to the nominator of the beat type using the horizontal telescope. If you want to use the format value as grid, hold alt while shifting. The format value is displayed in the Transport bar, in a field just under where the Time Signature is displayed. If you don’t want to use any grid, hold alt-shift while shifting. This way, the regions and sequences are shifted by single ticks, which is useful to correct rhythmic irregularities in single song syllables.

Recording the Input

Just as with professional multi-track devices, MAGIX midi studio generation 6 does not provide a Record Level. The analog recording must be adjusted using the source device. Typically, this would be the sub-group fader of an analog mixer. However, the channel of the on-screen mixer provides a record level display which you can use to monitor the recording level. To display this record level, double-click on the audio track name. Digital inputs cannot be adjusted during recording—which is not necessary under that circumstance anyway.

Sample Editor and Digital Factory

The Sample Editor Window

Open the Sample Editor by double-clicking on a region— in the Arrange window or in the Audio window or by choosing Audio > Sample Editor.

In addition to non-destructive editing, MAGIX midi studio generation 6 audio files can also be edited destructively in many different ways. The Sample Editor provides a detailed display of the audio file and all of the tools required for editing. It selects the exact region within the audio file—this is very practical, since all functions for changing data always affect the selection. With MAGIX midi studio generation 6 deLuxe you can avoid major errors, i. e., accidental deletions, by first creating a backup copy of the entire audio file (Audio File > Create Backup). If needed, you can restore your original copy at any time by selecting Audio File > Revert to Backup. This backup functionality is not provided by MAGIX midi studio generation 6, so you have to be careful. The Functions allow modification of the level or the amplitude (of the level control). For example, Normalize will raise the overall level of an audio file until the loudest peaks are at full amplitude. Fade in and fade out, the insertion of digital silence or the playback in reverse are more, but not all, functions available in the Functions menu. See for yourself what they can do for you—experiment and have fun! With MAGIX midi studio generation 6 deLuxe you can ensure that the selection boundaries are always positioned

at zero crossings, by selecting Edit > Search Zero Cross-

Sample Editor and Digital Factory

ings. This is desirable because non-zero cross points will cause small ‘snaps’ or ‘pops’ to occur. The ruler along the top of the waveform display defaults to using Samples as the unit of measurement. If you wish to see the waveform in relation to bars and beats simply select View > Show Length as... > Bars&Beats (MAGIX midi studio generation 6 deLuxe only). Please note that the measurement will not relate to the regions actual position in the song unless you enter the Sample Editor by double clicking on the region in the Arrange Window. The reason for this should be somewhat self-evident—regions in the Audio window have no musical beat reference.

Digital Factory

Only with MAGIX midi studio generation 6 deLuxe you get even more breathtaking destructive editing features— collectively referred to as the Digital Factory. Here, we’ll briefly introduce you to two of them: the Time Machine and the Audio Energizer. If you playback a record, a tape, or a sample at a speed other than the original, you will not change just the duration but also the sound and pitch of the output. The Digital Factory’s Time Machine allows you to modify the fre- quency spectrum (or “pitch”) and the duration of a sample independently from each other! The calculation for this task is extremely complex and with extreme values may cause a degradation of the sound quality. However, the Time Machine is ideal for correcting a badly intonated note or even transposing an entire mix within a reasonable range (say ±2 or 3 semitones). It is also perfect for changing the tempo of a drum loop, without affecting the pitch.

Similar to a compressor, the Audio Energizer will increase the loudness of an audio file, even if the digital level boundary has been reached (not exceeded!).

The Waveplayer

The Waveplayer Window

MAGIX midi studio generation 6’s built-in WavePlayer lets you play back any WAV-files you like—polyphonically, with filter and envelope treatments. If that sounds like owning a real sampler, you’re right, but you don’t have to buy an expensive piece of hardware. So how do you use the WavePlayer? Easy—just follow our small tour, and chances are that you’ll never have to read the WavePlayer section in the reference manual. The only real precondition is that after you fasten your seatbelt and load MAGIX midi studio generation 6, you must select a DirectSound driver for the WavePlayer under Audio > Audio-Hardware & Drivers. This is because the WavePlayer works only with a DirectSound driver and only DirectSound drivers allow you to use the WavePlayer and the audio features of MAGIX midi studio generation 6 simultaneously. Got a few WAV-files at hand? Fine, let’s start.

What you really got to know

Click on the Wave track in the Arrange window. Open the WavePlayer window via Options > WavePlayer. On the left side of the WavePlayer window you can see a horizontal keyboard. To the right of each key you can see the name of each note. To the right of each note name you can see the File Name box. Left-clicking on such a box opens the standard Windows File Selector. Select and open a WAV-file. You have now assigned this WAV-file to the key associated to the File Name box. Don’t like the WAV you assigned? No problem: simply right-click on the File Name box to erase the key/WAV-assignment, then repeat the above procedure to assign a new WAV-file. Now that you have assigned a WAV to a key, it will only play when you press this specific key. So let’s define a keyboard zone in which you can play this WAV-file. Right beside the File Name box you see the controls for each WAVfile, arranged on a kind of grey crossbeam. Grab the upper or lower edge of the crossbeam without touching any other controls, and a double-arrow will appear, allowing you to stretch the crossbeam into a vertical rectangle. This rectangle defines the keyboard zone in which you can play the WAV-file. There is only one limitation in doing this: you can extend the keyboard zone down all the way you like, but you can only extend it one octave (twelve semitones) upwards. This means that playing on your keyboard allows you to transpose down as far as you like, but an upward transposition

is limited to twelve semitones. It is important to be aware of the interdependence between the upper keyboard zone and the Tune parameter at this point. If Tune is set to +1200, you won’t be able to transpose the WAV-file any further upwards because it is already transposed an octave up via Tune because Tune is measured in cents, and one cent equals 1/100 of a semitone. Now that we have introduced Tune, we can also get right into the other parameters of the crossbar. You can determine which parameters you would like to see via View. The active default settings are: Parameters, Keyboard, Filter Parameter and Filter Parameters as Knobs. To start with, we suggest that you just leave them on. Let’s have a look at the parameters from left to right. Tune is already familiar to you. Next come Start and Length: here you can adjust from which point (in samples) the WAVfile is played back when you start it, and how long (in samples) the part played back will be. Trigger defines the playback mode: set Trigger to Gate and the WAV-file will only play back as long as you hold the key. When set to Freerun, the WAV-file will play back for its whole length, regardless of whether you release or hold the key. Hint: Freerun is especially suitable for drum sounds.

The Waveplayer

Soundshaping via the VCA: We’ll leave out the Lnk checkbox for the moment and move to the On checkbox. Check it to activate the sound shaping section of the WavePlayer. Uncheck it to save computing power that could otherwise increase the polyphony of the WavePlayer, but then you won’t be able to tweak those nice parameters we’ll now describe. The sound shaping parameters are divided into two groups: VCF and VCA. We will start with the VCA. The VCA group lets you alter the volume of your WAV-file over time. Attack (Atk) allows you to automatically fade in your WAV-file from zero level to full level. The smaller the At- tack value, the faster you will hear the WAV-file at full level. Increase the Attack value and it will take more time for the WAV-file to gradually fade in. Decay (Dcy) allows you to fade out your WAV-file from full level to zero level. Small Decay values will give you rapid fade-outs, large values will correspondingly lengthen the fade out time. At maximum Decay value there will be no fade out at all; you will hear the WAV-file for its full length (or not, if Trigger is set to Gate and you release the key before the WAV-file has reached its end).

The Waveplayer

It is important to know that the Decay phase follows the Attack phase: first you can fade in a WAV-file, then you

can fade it out. It is not possible to first fade it out and then fade it in. The last parameter in the VCA group is Vel. With Vel you set how much the level of the WAV-file depends on the velocity (how fast you hit a key on your velocity-sensitive keyboard). The higher the Vel value, the faster you have to hit your keys to reach full level. Experiment with these three parameters to get to know them.

Soundshaping via the VCF: Let’s now go to the VCF group. Here you can give your WAV-file a new tone colour and a new tone colour curve. This is accomplished via two basic parameters: Frq and Res. With Frq, you can make your WAV-file sound “darker”: the smaller the value for Frq, the darker your sound. With Res, you can make your WAV-file sound “sharper”: the higher the value for Res, the sharper your sound. Experiment with these two parameters and you will very quickly get the idea of how to use them. The VCF group also features the parameters Atk, Dcy and Vel, expanded with the parameter Env. With these para- meters you can control Frq automatically. Try this example: turn Frq all the way down, Env all the way up and set Vel to 0. Now play with the Atk parameter: with small Atk values the sound becomes bright almost immediately. With large Atk values the sound starts very dull and it takes quite a long time before it becomes bright. Dcy works as you’d expect the other way around: with small values the bright-dark progression will take almost no time, while large Dcy values increase the amount of time required for the bright-dark progression. With Dcy at maximum, there will be no bright-dark progression at all. To put it briefly: Atk determines how long it takes for the dark-bright progression and afterwards Dcy determines how long it takes for the bright-dark progression. With Env you determine how big the difference is between dark and bright of the dark-bright-dark-progression produced with Atk and Dcy. With small Env values you will be almost unable to hear the dark-bright-dark progression produced with Atk and Dcy, while large Env values will let your hear this progression very clearly. Don’t be afraid to experiment in order to become familiar with the possibilities. Lastly, Vel controls how hard you have to hit the keys to reach the value specified with Env. With small Vel values

the specified Env value will be reached even with soft touches of the keys. But with large Vel values you will have to hit the keys very hard in order to reach the specified Env values. Take your time to get familiar with these interdependencies.

Altogether now: Now that you’ve learned about the parameters associated to a single WAV-file, let’s move on to that mysterious Lnk checkbox. The explanation is quite simple. Assume you’ve got two WAV-files loaded, one on C4 and one on C5. Check the Lnk box for the WAV-file on C4. Its VCF, VCA and Trigger parameters will disappear and are replaced with the corresponding parameters of the WAV-File on C5. To indicate this, its parameter crossbeam gets linked to that of the WAV-File on C5. In other words, checking a Lnk box on a WAV-file replaces its parameter settings with those of the next WAV-File above. If a WAV-file has no WAV-file above itself, it will have no Lnk checkbox, because there is nothing it can be linked to. What is Lnk good for? Here is an example: imagine you have ten WAV-files, different recordings of a piano at different pitches. You have them beautifully laid out across the keyboard and then you want to make them all a little darker. Without Lnk, you could spend quite a lot of time with this task because you have to change the parameters of each and every WAV-file. But with Lnk activated in all but the topmost WAV-file, all you have to do is to change the parameters for the topmost WAV-file in order to apply the same a parameters to them all.

The Waveplayer

Lost your way? That’s it. Your WavePlayer crash-course ends here. Just two more things: if you lost track while experimenting, you can easily set all parameters back to their default values via Initialize > Default Parameters. And if you really want to start all over again, you can clear all WAV key assignments at once via Initialize > Delete All Assignments. So go ahead, experiment and have fun!

Mixdown with MAGIX midi studio generation 6

The Mixer and HyperDraw

The music you produce with MAGIX midi studio generation 6 can be mixed down within the program. For this, a fully automated mixer and a graphical editing view are available: – The Track mixer – HyperDraw. The Track mixer allows you to mix both audio tracks and MIDI tracks at the same time. It always displays all of the tracks you are working with. The mixer can be fully automated. Data that you input from other editors will directly affect the mixer’s display and vice versa. Hyper Draw provides another option for mixing and editing . This view provides an easy way to view your mix in the Arrange window.

The Track Mixer

The Track mixer can be opened in the Arrange window by selecting Window > Open Mixer. MAGIX midi studio generation 6 will automatically create a mixer which offers a channel for every audio and MIDI track. The channel sequence corresponds to the sequence of the audio objects and the midi tracks in the track list of the Arrange window.

There is one thing that MAGIX midi studio generation 6 inherently cannot do: The audio outputs of all connected external MIDI sound generators must be mixed down as audio signals to a stereo recording, since the CD will require a stereo mix in the end. This is usually accomplished together with the computer’s audio outputs or your audio hardware. Therefore, a separate, physical mixer still will

Mixdown with MAGIX midi studio generation 6

be required in order to merge the signals, to control the level during recording, and also to accommodate the microphone amplifiers. This mixer, however, can be considerably smaller than a mixer used in a comparable studio with a multi-track tape recorder. Additionally, you can mix together all audio signals with a uniform level, while MAGIX midi studio generation 6 will control the volume , pan, and any other effects that your MIDI device(s) may have.

Audio Channel Strips

Stereo- and Mono Channel Strips

You can recognize the stereo channels by the two overlapping circles on the button in the lower left corner of the channel strip. Click on this Stereo Link button to change the stereo channel to two mono channels with individual controls for each channel. The master section sends the mix to the stereo output By clicking on the Stereo Link button, two adjacent objects will be merged to one stereo object, creating a stereo channel. To the left of the fader, there is a level control display showing the channel’s (the track’s) level after the fader. Above the fader, there is a pan control (stereo: balance control), and below the fader you will find a button (S) for soloing (post fader listening) and muting (M) of the track. The Record Ready button arms the track for recording (REC) (Record Ready). One difference between audio recordings and MIDI recordings is that for audio recordings the tracks will have to be armed just as with a multi-track tape recorder. Each channel provides inserts for assigning effects directly to the track, and busses for sending to returns.

Effects: The number of real-time effects MAGIX midi studio generation 6 can calculate simultaneously depends on the computer’s CPU power, speed, and the amount of RAM available.

Equalizer: On each audio channel EQ’s can be used. MAGIX midi studio generation 6 uses fixed built-in EQs, while MAGIX midi studio generation 6 deLuxe allows you flexible insertion of EQs: click-hold on the Thru field labeled EQ and select the EQ you need out of the flipmenu.

The effects: Additional audio objects represent so-called busses, which are typically used as effect sends. Each channel-strip has a knob for controlling the amount of sig-

Mixdown with MAGIX midi studio generation 6

nal sent to the assigned effect. In the return channels click-hold one of the fields labeled Insert assign effects, like Reverb, Chorus or Delay for the effect. If you turn Eff1 up on a channel, then signal from that track will be sent to whatever effects you have inserted on the Effect 1 return object. If you assign Effect 2 to a track, then turning up the send knob will send signal from that track to the effect(s) assigned to the Effect 2 return object. The effects are assigned as post Fader; i. e., the relation between original signal and effect signal remains constant, even if the fader is moved. To access edit parameters for the assigned effects, doubleclick the effect name in the green insert field. The number of realtime-effects that MAGIX midi studio generation 6 can compute simultaneously depends on the computing power of your computer. The maximum is four effect busses with three effect-inserts each (with MAGIX midi studio generation 6 deLuxe) or two effect busses with three effect-inserts each (with MAGIX midi studio generation 6).

MIDI Channel Strips

General MIDI

General MIDI is not a deviation from the MIDI standard. If an instrument bears the GM logo, this merely means that the following minimum features are included: – 16x Multi Mode (16 different sound on 16 different

MIDI channels, the so-called parts); all of them can be

played polyphonically with dynamic part assignment (it

is not necessary to set the number of parts for each

sound); – at least 24 voices (parts) (24 notes can sound simulta-

neously); – 128 standardized sound programs (program number 1

is always the piano…); – 26 Drum and percussion sounds with standardized

keyboard layout on channel 10; – Chorus and Hall Effects; – Certain MIDI commands can be recognized (velocity,

pitch bender, modulation wheel, and others). Most General MIDI instruments provide more minimum features. The above list is by no means complete. General MIDI instruments offer two advantages: 1) song files can easily be exchanged between different systems with different instruments, since sounds and keyboard layout are somewhat standardized. Solo entertainers, for example,

can purchase song files from third parties and use them

Mixdown with MAGIX midi studio generation 6

without any problems, regardless of the sound generator brand used. 2) The low-cost General MIDI sound modules can be used to design complete arrangements, allowing you to create a good pre-production at a very low cost. Professional productions, however, will require the transfer of many sounds to instruments, which sound better and more distinct. Roland has developed a General MIDI standard called General Standard (GS), which is fully forward compatible with General MIDI. If you are working with a Roland GS sound generator, you can adapt the GM/GS/XG Mixer to its configuration. Yamaha has developed a General MIDI standard called Extended General MIDI (XG), which is fully backwards compatible not only with General MIDI, but also with GS. If you are working with a Yamaha XG sound generator, you adapt the GM/GS/XG Mixer to its configuration. Some Yamaha instruments bear the XG logo, although they are not compatible with General MIDI. These are merely designed for interplay with other XG instruments (Yamaha P-50m, Yamaha VL 70m). To adapt your system touch the button shown on the right and select the appropriate setting.

The MIDI Channel Strips are merely a remote control.

A mixer is used to mix audio signals. This is not the case with this part of the Mixer. It is rather a remote control for a sound generator in the shape of an on-screen mixer. Why? Here is an example: On your sound module (or on the sound generator of your keyboard) you can adjust how loud the sound coming in on MIDI channel 3 should be. This volume parameter can also be set through MIDI without ever touching the sound module. To set the volume of the sound on channel 3 to a value of 65 “MIDI units” (value range 0—127) you will send a MIDI volume command with the channel ID 3 and the value 65. MIDI Volume is a controller command, to be exact: a controller 7 command. In the Event Editor, this command would look like this:

MAGIX midi studio generation 6 will send exactly this command, if you set the fader (volume slider control) of channel 3 in the GM/GS/XG Mixer to a value of 65. The faders will send controller 7, the pan control will send controller 10, the reverb control will send controller 91—and so on. It is not necessary to remember all of these controller numbers. Just use the GM/GS/XG Mixer as remote

Mixdown with MAGIX midi studio generation 6

control for the sound generator. Watch the display to see how the settings change while operating the GM/GS/XG Mixer. Please note that the sound generator will actually work in Multi Mode (“General MIDI“), not in Performance Mode. Also make sure that the GM sound generator is connected to the proper port (MIDI output). All volume adjustments and the selection of sound programs must always be carried out in MAGIX midi studio generation 6—never adjust the sound generator! Otherwise your mixdown will not be saved with the song. It is not necessary to separately save mix parameters at the sound generator. You only have to open the MAGIX midi studio generation 6 song with the settings made under MAGIX midi studio generation 6. Rule of Thumb: Never touch your sound module, except to turn it on or off, or to save new sound programs. Comparable situation: Any corrections you make on a printout using White-Out have no effect on the text file saved on your hard disk.

Effect Paths of the GM/GS/XG Mixer

The GM/GS/XG Mixer provides knobs to control two effects on each channel. With these controls you can define for each part, how much Hall effect (Reverb) and how much Chorus effect should be applied to the respective sound. Not all General MIDI sound modules support this feature—however, most of them do. With GM and XG instruments you can also recall various effect typesand edit them. The cutoff frequency of the low-pass filter is the major deciding factor for the harmonic content of the sound. This parameter could have been called “Brilliance“. Technically, this effect is not comparable to an equalizer in form of a “Treble“ control. But in real-life applications, it usually serves as an effective sound control. This feature may not be supported by some of the older General MIDI sound generators. The effects settings and the cutoff controls work for all GS and XG instruments.

Automated Mixing

The mixer in MAGIX midi studio generation 6 is fully automated. Full automation means: Every control movement can be recorded, edited and played-back. For example, if the trumpet on track 12 initially is supposed to be loud, then become a little softer, and finally pan more to the right, you will operate the channel (channel 12 on the Track mixer) only once—during the recording! For every subsequent play-back, the trumpet will automatically repeat your mixdown.

Mixdown with MAGIX midi studio generation 6

Any time you save a song, all of the adjustments made on the mixer will be saved also.

Mixing Automation with the Track mixer

The mixing automation of the Track mixer is easy to explain: Record, operate the Track mixer, finish. The automation data of the Track mixer will be recorded as MIDI sequences on the track for which you moved the fader or knob. The same applies to audio tracks, which will also be mixed down as MIDI commands. The audio channel controls send MIDI controller commands just like MIDI channels; the Volume Fader (volume slider control) sends Controller No. 7 (MIDI Volume). The meaning of the controller numbers is defined in the MIDI Standard. The sound generator will respond with a volume adjustment for the sound on the respective MIDI channel. If you open the Event Editor for the sequence created due to your mixing movements during recording, you can view the MIDI Controller data—and also edit them just like any other MIDI data. In the NUM column you will find Controller Number 7. The Info column shows “Volume”. Controller 10 is Pan. You can edit the mixing process by deleting command or changing values (VAL). The same data is visible in HyperDraw and can also be edited. The next sections describes Hyper Draw (bottom graphic).

Graphical Mixdown with HyperDraw

Volume and Pan can be graphically input, edited, and viewed using HyperDraw. Following is an example of a mix displayed in the Arrange window with HyperDraw enabled:

Volume events (MIDI Volume, Controller 7) appear as yellow lines, pan events (Controller 10) as orange lines on a blue background. To enable HyperDraw in the Arrange window: – Select the desired sequence(s).

Mixdown with MAGIX midi studio generation 6

– Using the Zoom Tool, select a large, vertical view

(important!) – Select View > HyperDraw > Volume. Click in the left half of the blue field in the lower range of a sequence. At that location, a yellow, horizontal line will start. It represents a volume command (Controller 7). Click to the right at another height. Now you have created a series of volume commands, which are spaced between the two volume commands you have entered. You can grab the points and move them anyway you want: changing the time or the value. To delete a point, grab it and drag it beyond the right border of the sequence, i. e., outside the region. You can view your data in the Event Editor. Or you may open the Track mixer and watch how the mixer’s fader will move during play-back like it is being moved by an invisible hand (in the main menu select: Window > Open Mixer). Using View > Hyper Draw > Pan you can enter Pan events in the same way. The applicable controller number (7 for Volume) is very small and shown at the left side. When working with HyperDraw, you will frequently need an enlarged display of a sequence. For this purpose, the magnifying glass function is readily available: Press and hold the alt key and draw a frame around the respective sequence (group). Make sure to always start the frame in the background of the Arrange window. The selected section will be enlarged immediately. Now you can continue your HyperDraw edits comfortably. To restore the original size, click alt in the background. Please note that in MIDI is a serial protocol meaning that all events are sent to each port sequentially, which may negatively affect the timing. If you are working with only a few MIDI ports, where each of the ports includes many channels, complex mixes, with a lot of controller data, may cause timing problems.

Audio Instruments

MAGIX midi studio generation 6 supports the new, included Magix synthesizers M-TB 6 (MAGIX midi studio generation 6 deLuxe only), Carpet Sweeper and Percusor. Outfitted with an innovative user interface, the units provide subtractive synthesis that meets the classic analog ideals. They offer everything that made the analog synthesizer so famous: rich basic sound, punchy filters, flexible modulation possibilities and extremely fast envelopes. The synthesizer instruments integrate seamlessly within MAGIX midi studio generation 6’s internal digital mixer; all plug-ins effects can be used and all parameters can be automated. The direct connection with the sequencing engine of MAGIX midi studio generation 6 guarantees unsurpassed precision through sample-accurate timing that is superior to any external MIDI synthesizer. Beside these built-in synthesizers MAGIX midi studio generation 6 supports VST™2.0 instruments as well. To use the new instruments, MAGIX midi studio generation 6 features a new category of audio objects in MAGIX midi studio generation 6, called “audio instruments”. These can have the synthesizers or VST™2.0 plug-in in their top insert slot. The default song—the song that opens if you move your Autoload away from the Magix music studio folder—has readily configured audio instruments. An audio instrument is an audio track with the track parameter “Cha” switched to one of the “Instruments (1-4)” (with MAGIX midi studio generation 6) or “Instruments (1-6)” (with MAGIX midi studio generation 6 deLuxe). So each audio track can be made an audio instrument by setting its “Cha” parameter in its object parameter box to an instrument channel. But it is more convenient to create a new audio instrument by simply selecting Functions > Track > Create Audio Instrument Track. Please make sure that you have inserted the desired synthesizer in the Audio Instrument mixer channel in the Mixer window, and that you have selected the track of this Audio Instrument mixer channel in the Arrange window. Now double-click on the inserted synthesizer plug-in to see and access all those lovely knobs. As synthesizers are all about creating and playing new sounds, we will just tell you how to set up these instruments for usage, and encourage you to experiment with them. They come with plenty of pre-programmed settings that serve as starting points for your own, unique sound creations. You can load

Audio Instruments

these presets by clicking on the small triangle in the head of the plug-in window. What more can we say—go ahead and have fun!

MIDI: Recording and Playback

Flow of MIDI Signals

Typically, a keyboard is used to play in MIDI data; however Guitar-to-MIDI and Drum-to-MIDI controllers are also available. Your keyboard probably has an integrated sound generator, or perhaps you are using a master keyboard controller without an internal sound generator in connection with one or more MIDI sound generators. The MIDI sequencer will record the notes you are playing on the keyboard. During recording and playback, the sequencer will trigger the connected MIDI sound generators. Unlike audio recordings, MIDI tracks do not record any sounds. They record information, such as the time at which keys on the keyboard were hit, the strike speed and the release speed. Using the sequencer, this information can be edited in any way desired, or played back as is. Even though MIDI tracks can only be played back on MIDI instruments, the MIDI sequencer offers a multitude of advantages over an audio recorder. There is one thing about MIDI recording that should always be kept in mind: The sequencer always plays the instruments live, so the instruments always need to be present. For example, if a synthesizer voice is required by the bass, it cannot play anything else. By contrast, audio recorders use multiple tracks to record entire choirs, or to record multiple parts with one synthesizer voice. Consequently, MIDI recording requires many voices. It is quite typical to have 64 voices in one sound module. If you are working with several MIDI sound generators, the significance of the number of voices will become apparent very quickly. An exception are the new “audio instruments”, accessed via the new, correspondingly named track objects. Seen from the “input aspect”, these are MIDI instruments, as they are “played” via MIDI commands from the sequencer. Seen from the “output aspect”, they are audio instruments, as their output signal is directly generated and played back by the computer, just as the audio tracks.

Advantages of MIDI Recordings over Audio Recordings:

– You may change the sound, either of the sound gener-

ator’s sound program or the sound generator itself, anytime after recording.

– You may insert, delete, or change notes, even if the

notes are sounding on the same track. From a sustained C-major seventh chord you can create a C

MIDI: Recording and Playback

minor chord by deleting the B Natural, and changing

the E to an Es. Re-recording is not required. – The timing of the notes can be changed or quantized

(optimized on a time grid) any way you like. – The tempo and pitch of the notes can be handled totally

independently of each other—without complex calcula-

tions or loss of sound quality. – During recording, you could select a slow tempo and

then choose an unplayable high tempo during play-

back without affecting the pitch. – 1.000 tracks (MAGIX midi studio generation 6 deLuxe)

respectively 256 (MAGIX midi studio generation 6) are

available. – Only a small storage space is required. Data handling is

extremely fast, even with less powerful computers. – Well arranged note displays (note print-out, note

editor), Matrix Editor and Event Editor (listing) allow

for very organized editing. Sound sequences can be

input at the computer “virtually“ without playing an

instrument.

Advantages of Audio Recordings over MIDI Recordings:

– You can record any instruments without MIDI connec-

tion—such as vocals or acoustic guitar. – No instruments are required for play-back. Individual

voices can be used several times (e. g., choir recordings

using only one voice). – The time resolution is very precise and always consis-

tent. There is no deviation of phase relations between

individual notes. The play-back level for mixdowns is

always exactly the same. The above points indicate the following: all MIDI instruments should be recorded on MIDI tracks. The MIDI level production should be carried as far as possible, before starting the first audio recording. Prior to the first audio recording, the tempo of the song should be clearly defined. Subsequent tempo changes are possible, however, they involve time and a loss in quality. Naturally, all non MIDI instruments have to be recorded on audio tracks. MIDI instruments have to be recorded on audio tracks only if the number of voices in MIDI is insufficient, if the instruments will not be available for playback, or if a mixdown is required.

MIDI: Recording and Playback

Advantages of Audio Instruments: With the virtual Audio Instruments, the advantages and disadvantages of both MIDI and Audio Recordings are “equalized”: – You can play as many tracks as the audio engine is able

to produce audio material on your computer. – No external instruments are needed for play-back. – One audio instrument can be called up several times. – High consumption of computing power. – Precise and consistent time resolution.

Recording Notes and Playing Them Back with Sound Generators

You use the keyboard to play notes into your computer. The computer will forward the notes in real-time to a sound generator so you can hear what you are playing. This always applies, even if the output is stopped (Stop), paused (Pause), recording (Record) or playing back (Play). Very important: If you are working with a keyboard with an integrated sound generator, you must set Local Off! Recording always takes place on the currently highlighted track in the Arrange window. Every track will be assigned to a MIDI output (MIDI Out) and a MIDI channel (Channel).

If you are working with only one General MIDI Instrument…

…and your MIDI interface has only one MIDI output, you may use the empty default song, which is opened upon start-up of MAGIX midi studio generation 6, and immediately record and play-back MIDI notes. The same applies for sound generators with a GS logo (Roland) or XG logo (Yamaha) as well as for any other sound generator with up to 16x multi-mode.

Creating a new Track

To create a new track in the Arrange window: – Select Functions > Track > Create MIDI Track. – At the left side of the screen, just below the box with

those nice little tools like scissors etc. in it, you find the

track parameter box. Here you can select an icon for the

new track: Just click-hold on the icon and select one out

of the appearing flipmenu. – In the parameter-field below the icon you can select the

MIDI channel for the track. This setting has to match

the MIDI channel on which your sound generator

receives MIDI data. – Again a parameter-field below you can select the MIDI

port of your interface, to which your sound generator is

connected.

MIDI: Recording and Playback

– Click on the Prg field, so it is checked. Move two field to

the right to select the number of the sound program. Watch the sound generator display to see how the sound programs change after you select and change the program number. The number of the sound module may deviate by 1, since some devices count from 1 to 128, whereas MIDI counts from 0 to 127. The same applies to program numbers with the octal system (8 x 8 sound programs, typical for Roland).

– If your sound generator provides several banks with

128 sound programs per bank, also select the bank (left to the program number in the track parameter box, where initially “÷” is displayed). Unfortunately, the toggle commands for sound banks are not uniform for all instruments. Refer to the manual of your sound generator to find out which bank select command your sound generator needs. Select that command in the flip-menu Bank Select Command under Options > Settings > Record Options.

– Play on your keyboard: Now you should hear the sound

module with the selected sound!

… if there still is no sound …

– At the far right of the Transport window, there is a

display for incoming MIDI signals (In) and outgoing MIDI signals (Out). Little note symbols should appear here while you are playing (see arrow; when releasing keys, the note symbols appear with strike-through markings).

– If you cannot hear anything, check the cable connection

between the keyboard’s MIDI Out and the MIDI In of the computer interface. Check that everything is plugged in. Go to Options > Settings > MIDI options… and make sure that the input filter does not filter out the incoming sounds (The note symbol should not be marked).

– If signals are displayed at the In display of the Trans-

port window but none appear in the Out window, ensure that you still have selected the same track for the set up instrument, and that it is not muted. The button right next to the track number in the Arrange window (see left illustration) mutes the track (Mute). If the Mute button is hidden through the View menu, the

MIDI: Recording and Playback

muted track will have a period to the left of its number

(see right illustration).

– Does the MIDI instrument provide a MIDI In display?

If yes, it must light up while playing. Is there a direct

cable connection between the MIDI Out of your inter-

face, and MIDI In of the sound generator? Are the

audio connections correct? Does the sound generator

have several stereo outputs? Perhaps Part 1 of the sound

generator is routed to an unamplified stereo output.

Double-check by connecting a headphone directly to

the sound generator. – Is the sound generator really set to Multi Mode, or did

you select “Performance” or “Single Sound” instead of

“Multi”, receiving on only one (different) MIDI

channel? It is recommended that you always work in

multi mode, even if layered sounds will initially be

unavailable. Such sound layers can be organized more

logically and clearly on the MAGIX midi studio genera-

tion 6 level with its various tracks than in the sound

module. – If sound generation is integrated into the keyboard,

each part must be set individually for receiving

incoming MIDI notes (Local Off, just called “MIDI” by

some manufacturers). All parts must be set to “Local

Off”!

Recording, Playing Back, and Deleting Sequences

In the Arrange window, set the song position line (the vertical line which shows the beat position during play-back) to the desired position. You may grab and drag the line, or you can click on the bottom half of the beat ruler to directly position the line. – Start the recording by pressing * (RECORD) and play a

few sounds. To repeat the recording, press * again

while the recording is still running. – Stop the recording by pressing enter (STOP). Press

enter again to return to Beat 1 (or, in the Cycle mode, to

the left Locator). – Play back your recording by pressing 0 (PLAY). Press 0

again during the play-back to start over at the same

position.

MIDI: Recording and Playback

– The recorded sequence is still selected and, therefore,

shown in black. Press Backspace to delete everything that is selected—in this case the sequence you just recorded.

– Press strg-z (Undo) to undo the last action. In this case

you can undo the deletion.

Fine or Rough Copying and Shifting of Sequences

Sequences are handled in the Arrange window the same way as regions: If you want to use the format value as grid, hold alt, if you want to use single ticks, hold alt-shift while shifting. If you hold (additionally) strg while shifting, a copy is created.

Sequence Play-Back Parameters

The play-back parameters of each sequence can be changed. Play-back parameters include Transposition, Quantization, and Velocity. The play-back parameters do not affect the data in the sequences. They merely define how the sequences should be played back. This means that you may make changes at any time to these parameters, and at any time you may go back to your original performance. If you do wish to actually change the underlying data, there is a function to do so. This function is called Normalize and is accessed through Functions > Sequence Parameters > Normalize Sequence Parameters. This will apply all the play-back parameter settings you have made to the data. The settings in the parameter box will be reset to zero, since the actual MIDI data now will reflect the settings you have chosen. Normally you would only use this function when exporting your song as a Standard MIDI file. The only parameter not affected by “Normalize“ is Quantization. If you wish to permanently set the quantization, the use Functions > Sequence Parameters > Fix Quantize. Again, you normally would only do this when exporting the song as a Standard MIDI file. When working within MAGIX midi studio generation 6, it’s a real advantage to keep your options open, by leaving these settings as play-back parameters. This way, you are free to change your mind at any time. As long as no object is selected—you can do this by clicking once on the background in the Arrange window—the play-back parameters automatically apply to all of the objects currently being recorded. However, if objects are selected, the play-back parameters will apply only to them. If

MIDI: Recording and Playback

nothing is selected, then “MIDI Thru“will be shown in the sequence parameter box instead of the sequence name.

Name

Double-click to enter a name for the sequence in the top line.

Quantization

Quantization allows you to correct the timing of a sequence with extreme precision. Quantization corrects the timing of the note-ons, while maintaining the original length of each note. If you wish to retain the original timing of your performance, set the Quantization to “Off (3840)“. There are many quantization options, including several odd tuplet and swing settings.

Loop

If you enable “Loop”, the selected object will be repeated until it encounters another object in the same track, or until the end of the song is reached. Loops can be very useful for providing the correct beat with a played Hihat track instead of with a metronome. For this, just record one, two, or four beats of Hihat and quantize to a sixteenth or an eighth. Loop the sequence (Loop: On), and a perfectly timed Hihat will accompany you. Later the loops can be converted to real copies for further editing by selecting Functions > Sequence Parameters > Turn Loops to Real Copies.

Transpose

This function allows you to transpose sequences in halftone steps. An octave has 12 half-tone steps. You can, therefore, transpose a sound by one octave upward or downward with +12 or −12!

Velocity

MIDI differentiates 127 speeds with which a note can be struck—from the softest pianissimo (1) up to the hardest fortissimo (127). If you enter the value +18, the original velocity will increased by 18 points, i. e., it will be movedtowards “forte”.

Dynamics

A form of “MIDI compression“ can be achieved with Dynamics, i. e., the differences between piano and forte, can be compressed (levelled). For this you select a value below 100%. Values over 100% emphasize the differences be- tween the strike velocity of individual notes (Expansion). If you want a constantly stronger and more uniform strike velocity for your keyboard play, try the following setting: Velocity = +20 and Dynamics = 50%!

MIDI: Recording and Playback

Gate Time

This parameter allows you to shorten or lengthen the duration of the notes in a selected sequence by a percentage. This can be useful to create staccato or legato effects very quickly. It can also be used to compensate for the differing attack/release characteristics that you may encounter when assigning a sequence to ply with different sounds. Percentages lower than 100 will shorten the notes, above 100 will lengthen them.

Delay

This function allows you to move up the play-back of a track (negative values) or to delay it (positive values). The Delay function is not only used for rhythmic effects, but also to compensate for sounds with slow attack times. By advancing the track a few milliseconds, even slowly fading in string sounds will sync with other sounds with faster attack times.

The Autoload Song

A Song named “Autoload”

After you have become familiar with the basics of MAGIX midi studio generation 6, you should create a default song which includes all settings so you can start a recording at any time. You can also record a drum track with kick, snare, and eights from Hihat, which will then accompany you like a sophisticated metronome. You can also prepare a standard arrangement including a track for piano, bass and strings. Further, you can prepare Screen Sets for the window combinations which suit your work method and your monitor size. Put the Autoload Song on your desktop, and start it by double-clicking it. You should always save your songs with a different name: File > Save As…). With the autoload file, the basic setup of tracks and other major settings needs to be done only once. It can be modified occasionally, if you add a new instrument to your collection, for example, or if you get rid of one.

Event Editor

Open the Event Editor by selecting Window> Open Event List. NOTE: If you wish for the Event Editor to be the editor that is opened when you double-click on a sequence in the Arrange window, open the Options > Settings > Global Preferences menu and select Double-click to open Event Edit in Arrange from the flip menu at the bottom of the window. The Event Editor displays all data chronologically in a text format within a table. The Event Editor has no graphical features, and its arrangement and display of notes is not comparable to the easy overview provided by the Score and Matrix Editors. However, it is by nature the most efficient editor, showing you every MIDI event, with its type and its values (data bytes) in plain text. All of these parameters are accessible for editing. In fact, you could do a complete production without ever leaving the Event Editor. The MIDI event type is shown in one of the middle columns of the display. This makes it easy to quickly discern between Note, Volume (controller 7), Modulation wheel or any other type of data. Below is an Event window with a collection of MIDI events of all types. (thought not necessarily a real life collection of events, it is useful for this demonstration.

Event Editor

With the buttons on the left side you can determine which data types should be visible. You can also use the buttons

Event Editor

to add events directly from the Event Editor. You do this by simply clicking on the desired button with the pen tool. You may select events by rubberbanding them within the Status column. (the column under the word Status at the top portion of the window.) Be careful not to grab the timing positions or the data lines, as you may change their values without wanting to. Identity of buttons, starting at top left and moving down in criss-cross fashion: Notes, Program Commands, Pitch Bender, Any Type of Controllers, Channel Pressure (Aftertouch, Pressure Dynamics), Poly Pressure (polyphonic pressure dynamics), System Exclusive Data, Contents of System Exclusive Data. Note-Off Events, i. e., commands to end notes, are not displayed separately. Instead the length of the notes is shown on the information line for Note-On Commands.

Application Example: Deleting unwanted Controller data

Let’s assume that an otherwise perfect keyboard performance is flawed because of too much modulation wheel data. The Event Editor makes it very easy to delete only this unwanted data. You could then re-record just the modulation wheel performance and merge it back into the sequence containing the note data. Here is how you might proceed with such a task. Open the Event Editor and select a modulation wheel command (controller 1). Select Edit > Select > Select Similar Objects. All modulation wheel commands are now selected. Delete them by pressing Backspace. Close the Event Editor. In the Arrange window, select Functions > Track > Create MIDI Track to create a new, identical track on which you will re-record the modulation wheel commands only. Using the Merge Tool you can then merge these commands anytime with the currently edited note sequence. You should also take note that the same value can be changed simultaneously for all selected events in the Event Editor. For example, once all the modulation wheel events were selected above, you could have reduced the amount of modulation wheel effect for one of the events and the values for all the other events would have changed simultaneously by the same amount. You could also use a similar procedure to alter the time position of any selection of events.

The Event Float Window

The Event window may not be as intuitively designed as the Score Editor or Matrix Editor. However, its detailed information and direct access to all Events parameters are invaluable. The Event Float window, a relative of the Event Editor, allows you to access this same information easily and compactly from within any other edit window. The Event Float is like a single ‘slice’ of the Event editor and will always display the currently selected event (if more than one event is selected, the first event is shown). Just as with the Transportation window, the float window always floats, i. e., is never covered by another window. To open an Event Float window select Options > Event Float in the main menu.

Event Editor

Transport Functions

To open the Transport bar select Window> Open Transport. (NOTE: A Transport bar will already be open if you in the first screen set of the default song.) The Transport bar includes all buttons for playback, recording, pause, fast forward and rewind, as well as the locator and a field for selecting the tempo. The Transport bar is a floating window; i. e., it is always on top and will never be covered by another window.

Click on the flip menu switch and select larger to increase the size of the Transport window. You may also choose enable Legend. which will provide descriptive labels for each of the Transport bar functions. This can be helpful while you are becoming familiar with them. Once you know these functions, you can disable the legend in order to save space on the screen. We recommend that you move away from using the mouse to operate the basic transport functions as soon as possible. If you get used to the keyboard shortcuts right from the beginning, at least for the most commonly used commands, you can increase your work speed drastically. The illustration shows the default keys of the computer keyboard that correspond to the Transport field buttons.

0 enter

alt-c

Please note that the keyboard layout can be completely defined by the user. If you are using the supplied “PowerKeys” keyboard layout, Stop is 0, Play is enter, and Solo is s. The Position Slider helps indicating and editing the current song position.

alt-s

Punch, Cycle, Skip Cycle

Press “Stop” twice to set the song position line back to the beginning of the song (or, if Cycle is enabled, to the next locator to the left). This double-hit of the Stop key is very useful, if you want to start playing back or recording from the beginning of the song. With this function no rewinding is required. Record Toggle (preset to space bar) allows you to manually drop (or: punch); i. e., enter or exit a recording while the sequence is already playing. (drop in / drop out). Cycle will continuously repeat the playback or recording between the left and right locator. You can directly click and drag on the beat position of each locator to change their value. If you double-click them, a text field opens in which you can type in an exact value. Type in a “space” or “.” to separate between the data positions of location, i. e., type “5.3.1.1” to set the locator to bar 5, beat 3. (NOTE: MAGIX midi studio generation 6 will also “round off” the values of positions not entered so typing “5.3” would render the same result as typing “5.3.1.1”) The illustration on the left shows the input of 14 in the left locator (seen graphically it actually is on top), by double-clicking Backspace, 1, 4, and enter. The “right“ (lower) locator is set to a beat of 20. For intensive editing of a song section, you can repeat it continuously using the Cycle function. To enable this function, press and hold your mouse button and move over the respective area in the upper half of the bar ruler. In the Cycle mode, playback and recording will be repeated only between the two locator positions. This Cycle range is highlighted with a thick, orange bar on the bar ruler. As an alternative to the previous described method, you can change the locator positions by grabbing the lower corners of this bar and dragging them with the mouse. To skip a section, press and hold the mouse button and move over the section from right to left. The Skip Cycle range is shown as a very thin bar at the top of the bar ruler. Under Skip Cycle, the left locator will have a later position than the right locator.

Count-In and Metronome

The count-in and metronome settings are set as follows:

Transport Functions

– Select Options > Settings > Recording Options. In the

bottom flip-down menu you can choose None, One, Two, Three, or Four beat count-in. You can also select the option Wait for Note, which will repeat a quarter note count-in, until you play the first note and the recording starts.

– In the Recording Options you can choose if the

computer loudspeaker should click during recording and/or playback.

– Select Options > Settings > Metronome Settings to

define a MIDI channel and MIDI notes to be used as metronome. You might, for example, use the Rim Shot of your sound module as metronome click.

Auto Drop

The Auto Drop function is used to automate the process of dropping in and out of record. When it is enabled, MAGIX midi studio generation 6 will drop in and out of record at the designated left and right locator points, i. e., at the left locator recording will start, at the right locator MAGIX midi studio generation 6 will switch back to playback. You can also use Drop mode in conjunction with Cycle, in which case a total of four locator points are displayed.

In the example below playback will start at beat 2. At beat 4, MAGIX midi studio generation 6 enters the recording (drop in). At beat 8, playback is re-activated (drop out). At beat 9, playback starts over beginning with beat 2. If you want MAGIX midi studio generation 6 to act and feel like a real tape player for MIDI recordings; i. e., that the range within the drop locators will actually be erased and replaced instead of just recording an additional sequence, select Replace. If Solo is selected, you can listen only to the selected track. All other tracks will be muted.

Score Editing and Printout

Interactive Score Editor

Open the Score Editor by selecting Window > Open Score. In the Options > Settings > Global Preferences menu you can choose which Editor window will open when you double-click on MIDI sequences. If one of the Editor windows such as the Score Editor is open, you can watch during the performance how MAGIX midi studio generation 6 displays your play as notation on the screen. The notation serves two major purposes: 1) MAGIX midi studio generation 6 allows you to print out your score. The program also provides many graphical elements, display options, and smart text functions, as well as chord and stop symbols. 2) The Score Editor is a very practical tool for corrections, amendments and other edits of your recording.

Please read the operating manual to learn about the extensive options for typesetting camera-ready music sheets with MAGIX midi studio generation 6.

Editing Sequences in the Score Editor

To practice editing in the Score Editor, record a short sequence and purposefully perform some ‘bad’ notes in the key of C. In a melody accidentally slide over an unwanted

Score Editing and Printout

f sharp down to the actually intended g, and play a C-Minor chord where a C-Major chord should be played. Then correct these errors as follows: – Double-click the recorded track. The Note Editor will

open with a display of the Score.

– Grab the f sharp with your mouse. The f sharp will

sound and be selected: it will blink. Press Backspace to delete. The f sharp is deleted.

– Grab the e flat of the incorrect C-Minor chord and drag

it one half-tone step upwards. The e flat changes to an e,

and the C-Minor changes to a C-Major chord. – Try using the pen tool to add notes. Please notice the Score Tutorial on the separate Tutorial CD. It consists of a .pdf file and a few example songs.

Matrix Editor

Open the Matrix Editor by selecting Window > Open Matrix. NOTE: If you wish for the Matrix Editor to be the editor that is opened when you double-click on a sequence in the Arrange window, open the Options > Settings > Global Preferences menu and select Double-click Sequence to open Matrix Edit in Arrange from the flip menu at the bottom of the window. The Matrix Editor is perhaps the best editor for editing Note length. It is also useful for those who are unfamiliar with classical notations and who will therefore not feel at home in the Score Editor. The Matrix Editor displays the individual notes as bar diagrams—similar to the sequences in the Arrange window.

Matrix Editor

Note durations are an important element in musical expression and precise play. With conventional notation, phrasing is left for the most part to the performer. The Matrix Editor not only displays very exact note beginnings and ends, it also indicates the strike dynamics with little beams within the bars. Sometimes notes are accentuated not by their dynamics but by playing them very short or staccato. This is especially typical with organ parts, since organ sounds are not generally velocity sensitive. In these situations, it is also very important that the notes of a chord end at precisely the same time. The Matrix Editor is the ideal tool for this type of editing.

Matrix Editor

Now the note beginnings are aligned exactly on the grid. You can shorten the notes by grabbing them at their right lower corner. If you simultaneously hold ctrl-shift, all of the selected notes will receive the same length.

In some editors, the Q buttoncan be used to quantize the selected notes.

If you touch the Q button, a selection box appears. In this box you define the grid on which the notes should be quantized. The selection of a quantizing grid activates the quantization. Subsequent quantizations can be activated by clicking on the Q button. Above the quantize button there is a field which shows the current resolution of the grid lines to which the notes will snap when moved. To move the notes without any grid lines, hold down shift-alt while moving the notes. You may use the Velocity tool to change the dynamics of a selection of notes. With the tool selected, just click and drag up or down on a note or selection of notes. The length of the “velocity bar(s)” will change to reflect the change.

Preparing files for CD burning

File Format

Special software like MAGIX audio studio is required for the burning of CDs. This software accepts single songs in the form of single stereo files. The sequence and numbering of the titles will be organized by the CD software. The CD burner software requires the file format WAV. WAV files with the following characteristics: – stereo, – 16 bit – 44.1 kHz sampling rate These type of files can be created with MAGIX midi studio generation 6. This chapter describes the procedure used to create these files.

Mixdown by Track Bouncing

Recording MIDI Instruments as Intermediate Audio Mixdowns: MAGIX midi studio generation 6 allows you

to digitally merge various audio tracks without playing back the song (digital mixdown). But only MAGIX midi studio generation 6 deLuxe allows you to record the final mixdown in real-time, for using internal plug-in effects and external real-time effects processors (like reverb and multi-effect devices) during the final mixdown and manual intervention. This technique is called Track Bouncing and is described in the following. To accomplish this, you might first record the signals of all MIDI instruments to be played back by MAGIX midi studio generation 6 deLuxe in their entirety on to a single stereo audio track and then mute all MIDI tracks. Only mix the signals that you will actually need on the recording input of MAGIX midi studio generation 6 deLuxe. Do not turn them louder than necessary, to avoid unwanted noise. For automatic mixing, see chapter “Mixdown with MAGIX midi studio generation 6“.

Track Bouncing: It is not necessary to re-record the total of all audio tracks through the analog inputs, or to use another master device. MAGIX midi studio generation 6 deLuxe provides a Track Bounce function, which allows you to master the mixdown in real-time on the hard disk—using a file format that the CD burner will recognize. Open the Audio Mixer or the Track Mixer (open the Track Mixer in the Arrange window by selecting: Window > Open

Preparing files for CD burning

Mixer…). Press the Bounce button on the track object which plays back all tracks, i. e., the Master fader. The Bounce dialog box appears. In this dialog box you can set the beat range across which the mixdown should span. This dialog also displays the required storage space.

Click on the Bounce button, or confirm by pressing re- turn. In the displayed dialog box enter the hard drive and the folder to which you want to write the mixdown of your song as an WAVE file.

Post-Production

Final editing of the stereo recording will take place in the Audio window and in the Sample Editor. At first you may have to cutany remaining unwanted material at the beginning and/or end of the mixdowns.

Grab the regions in the Audio window next to their lower corners, and shorten them.

Open the Sample Editor by double-clicking the region, and check the region’s starting and ending point (Anything important cut off? Any unnecessary pauses?). Once you’ve made the desired selection, choose Functions > Trim. With MAGIX midi studio generation 6 deLuxe you can perform a composite compression for that powerful hit sound—select Factory > Audio Energizer.

Preparing files for CD burning

With MAGIX midi studio generation 6 you have to be satisfied with putting your original sound with maximum volume onto the CD: enable Functions > Normalize. If a very loud CD is desired, one of these options must be selected. If a sampling rate other than 44.1 kHz was used, you must also use the Sample Rate Converter. Under Factory > Sample Rate Converter (MAGIX midi studio generation 6 deLuxe) or Functions > Sample Rate Converter (MAGIX midi studio generation 6) you can convert the sampling rate after the fact from 48000 to 44100 Hertz. It is recommended that you record the production for the CD right from the start with 44.1 kHz.

Troubleshooting

Possible Symptoms

They may be rare, but every computer user inevitably experiences seemingly severe computer problems at some point, whether they be crashes where the mouse freezes, the screen locks up, or the display becomes plastered with error messages. Even mature, well written operating systems cannot protect you completely from hardware conflicts, bugs , or other problems. Experience has shown that such system problems are rarely caused by a defect in our programs or hardware products, since they are rigorously tested by a diverse range of musicians and studio users in a variety of applications, looking for any faults or problems. This does not mean that the possibility of errors can be completely ruled out; problems can crop up especially as the various applications, operating systems and drivers are all developed and improved in parallel by unrelated teams, leading to occasional compatibility problems. We do, however provide fixes in the form of software updates, as soon as we become aware of such problems, and are grateful to any users who make us aware of them. If you suffer from system crashes or errors, you may well find the tips in this chapter helpful, even if the problems are ultimately unrelated to our products. In most cases, these problems, once identified, can be rectified with a minimum of effort, although tracing the cause of such problems can be time consuming. You will be able to overcome most of these problems without needing to consult an expert—this chapter will guide you on how to proceed. It is best to eliminate the classic causes of problems before you suspect a hardware defect, or another fault, especially before you send your machine for repair, or your software for a refund! Take care, though: some of these suggestions may only cure the symptoms, and could therefore complicate the identification of the actual cause of the problem. Persistent problems will require the advice of an expert. If you have bought the computer together with the sound card and other hardware, it is a good idea to test that the computer is functioning as expected, with just a mouse, keyboard, and display attached, before installing the card and additional hardware (hard disks, printers etc.). Most new computers come with pre-installed software, which should allow you to test to see that everything is working correctly. Once you have switched off everything, you can proceed to install any hard disks, modems, scanners etc.

Now check that everything is still working as it should. If so, you can unplug all cables from the back of the computer and begin to install the sound card.

If disaster strikes…

… your first priority should be to make a backup of your most important documents. Attempt to copy your files (lyrics, songs, tax declarations) to diskettes, hard, or removable drives, without launching their associated applications. While you are at it, you should also make timely backup copies of your software’s installation diskettes. You can skip this step for CD-ROMs, but even CDs require extra care: neither of its two sides should be scratched. Once you have made backups of your private files, and programs, the chances of a true disaster are all but eliminated. Never skip making regular backups, even if everything is working perfectly—eventually, any hard disk may crash. A system crash can be caused by: – operator error, – a software conflict (e. g. incompatibility between two

programs), – overloading of the system’s resources, – faulty cable connections (or missing termination), or – a hardware defect. Eliminate the first two causes before deciding to have your hardware repaired. If the problem persists, make precise note of the following: – what you were doing at the time of the error (which

program, which function, which applications were

open); – the exact text of any error messages and/or error

numbers (if applicable); – the version of the operating system, as well as of the

program where the error occurred; – your system configuration. – After each crash: Check the files and file structure of

your system hard disk with a suitable program like

Scandisk. If necessary, repair the files and file structure

of your system hard disk. We highly recommend

checking your hard disks with the Scandisk program

regularly, so as to rule out any hard disk related prob-

lems in the first place.

Troubleshooting

PCI Faults

PCI technology relies on highly accurate timing synchronization in your computer’s data stream. Unfortunately, there are certain PCI card combinations that will cause

Troubleshooting

conflicts with each other, despite the fact that each on its own is working perfectly, and within the PCI specifications. PCI problems like this can cause seemingly random system crashes. – Check whether the same problem persists after you

have removed the PCI card. Of course, you need this card to work, but try to work on the machine for several hours without the card—if the problems have gone away, you have found the culprit. If the problems persists however, you can safely rule out PCI problems as being the cause.

– Try to use the PCI card in another slot. It is quite

possible to solve conflicts by simply swapping slots.

SCSI and IDE Faults

Faults in the SCSI or IDE chain can have a variety of consequences. SCSI, SCSI2 and IDE are parallel interfaces, and can be used to connect hard and removable drives, CD burners, and other drives, as well as scanners to your computer. Always take care with the following: – The total length of all cables must be as short as

humanly possible, and the cables should be of the best quality.

– The connectors must sit securely in their sockets, i. e.

securely screwed or clipped into place.

– Each SCSI ID (a number from 0—7) must be allocated

only once per SCSI bus.

– The last device in a SCSI chain must usually be termi-

nated with a resistor block. Some devices have internal termination, that can be switched in/out. If no termination is available, you will need an external terminator (which looks like a single connector). This will be connected to the last device’s output. Although this may seem to contradict with the previous statements, it has been known for a SCSI chain to work better without termination. If you suffer from seemingly random system failures, without an obvious cause, you may well experiment with different device order combinations. Also experiment with, and without termination for the last device in the chain.

Faulty Cables

Cable faults are a common problem, which can cause all manner of problems. The use of the right monitor cable is important—simply having the correct connector at either end is not sufficient. Before you assume an unrelated hardware fault, please

test whether the cable may be at fault by swapping it for a new one. Another common problem is loose internal computer connections, which especially can occur after computer transport. With awareness of the warranty requirements, as well as all safety precautions, our more technically minded readers may wish to fasten the internal connectors, with all due care. Be careful though: disconnect the power cable first, and wait for the high voltage to drop. Ground yourself with the computer. This can prevent many visits to the repair man (or the hospital). However, we cannot be held responsible for any computer manipulation of this kind.

Hardware Conflicts

The installation of various PCI cards and the use of external devices (like MIDI interfaces) can cause hardware problems—these sound more intimidating than they actually are. If Windows does not respond the way it used to after having installed new hardware, it will be useful to begin to localize the problem. Start Windows in Safe Mode. – Restart the computer. – During startup (while still in DOS mode) the message

“Windows is starting” will appear—press F8 as soon as

it does. – Choose Safe Mode by selecting 3 and confirm your

choice with return. Windows will now launch in Safe

Mode. Your video and audio card features will not be

available—for example, the screen resolution will be

lower than usual. You can, at this point call up the Windows Help file, which can help you in many cases. Choose Start > Help. The “Contents” section has an entry for “Troubleshooting”. Now, right-click the “My Computer” icon on your desktop, and choose “Properties”, then select “Device Manager”.

Troubleshooting

– If you see any small yellow exclamation mark warning

symbols (click on any plus signs to check all the entries), you have found the root of your problem.

– Select the hardware entry that is causing the hardware

conflict, and click the “Properties” button.

– Pay close attention to the notes Windows gives about

the hardware, for example about resource conflicts. Hardware resources such as IRQ numbers cannot be changed in Safe Mode. Instead remove the device from the Device Manager and restart your machine. You can now re-install the hardware. On a related topic, please note that IRQ conflicts can be avoided by setting your BIOS parameters correctly. However, BIOS settings should only be changed by experienced users. Consult your computer or music dealer for advice in this area.

Sound Cards

If MAGIX midi studio generation 6 complains with the error “PCAV Error xx : padUnprimeFailed (xx is a number) on start up, one of three causes could be the culprit:

1. There is no sound card installed in your computer;

2. The sound card or its drivers are not stereo or 16bit capable (this applies to older sound cards);

3. The sound card is currently in use by another program—the Windows CD Player, a wave editor, or the like; If the first instance, uncheck the ‘PC AV’ checkbox in Audio > Audio Hardware & Drivers. Exit MAGIX midi studio

generation 6, and start it again—everything should now work. If the second case applies, you will need to install more recent drivers, or change the sound card altogether. Please ask your sound card’s manufacturer. In the third instance you simply need to close down the other programs and start MAGIX midi studio generation 6 again. Advanced users can use the settings accessible via the “Control Panel” switches in Audio > Audio Hardware & Drivers > Audio Drivers to manually control MAGIX midi studio generation 6’s sound card use.

Viruses

Regrettably, there are some malicious people, who program and distribute virus solely to cause damage. Check your drives regularly for viruses, especially if you are in regular contact with other people’s data carriers, or download from the Internet. Not all virus programs are able to detect the tricky macro viruses, and others which are as yet unknown to virus protection software developers.

Graphic Cards

Graphic cards and graphic drivers can cause many problems. Always ensure that you have the latest drivers for your graphic card installed. If you are confronted with inexplicable problems, install the Standard VGA graphics driver. This is sensible even if the actual symptom appears unrelated to graphics use. If the graphic card or its driver is responsible for the problem, the use of the Standard VGA driver should cure it.

Troubleshooting

Re-installing the Operating System

Sometimes parts of your computer’s Operating System get corrupted. There are dozens of reasons for this. Then re-installing the operating system (Windows 95/98/

2000) from your installation CD-ROM is a good idea. To prevent such time-consuming actions, you should make sure that you only install software that you really need and use. Do not mess too much with installing each and every piece of software that comes across your way. And stay away from cracked software, not only for legal reasons, but also for cracks are likely to play havoc with your computer’s operating system in order to avoid the cracked software’s copy protection. Please remember: Realtime audio processing as carried out by Magix music studio generation 6 is a “Formula One” race for your com-

Troubleshooting

puter, so make sure your system is in VERY good shape. Learn about this in internet news groups or computer music magazines.

Updating the Operating System

Sometimes the faults simply come down to the operating system. You can usually find updates to your operating system, free of charge. Operating system upgrades can be conveniently download from the Internet. The Internet is a gold mine for solutions to problems, and a great meeting place for solution seekers. Many computer magazine websites have links from their home pages, to pages that offer solutions to many common problems. If all else fails, there is only one thing left to do:

Formatting the Hard Disk

Formatting the hard disk is the last resort you should attempt before sending the computer for repair. This will erase all files on your hard disk, and most probably also any garbage data that may be causing your problems. The formatting process will erase all files, so make backups of all your files and programs first, and make sure to verify those backups to ensure that they have been successful. Note that all invisible authorization files will also be lost, so uninstall your authorizations of other software first. On a related note, consider the importance of sending us your registration card so that you can get help when a hard disk disaster strikes. In order to allow formatting of the internal hard drive you need to start your computer from another, either from the CD-ROM or an external hard disk. To rule out a Virus problem however, it is advised that your reformat all your hard drives in the same session—after all, a CD-ROM cannot be infected with a virus (unless it was infected to begin with.). Install MAGIX midi studio generation 6 again. If the problem still persists, a hardware conflict or conflict between the program and the operating system is most likely. If the problem only occurs with a specific program, you will need to get in touch with the software manufacturer. If the problem occurs with several applications, you will need to get in touch with your computer dealer.

Part2

Reference

midi

studio

Using MAGIX midi studio generation 6

This chapter summarizes MAGIX midi studio generation 6’s general operating functions. But first, a quick word about this manual.

Conventions of this Manual

Menu Functions: If the text is dealing with functions which can be reached via hierarchical menus, the different menu levels are described as follows: Menu > Menu entry > Function. Key Commands: When a function can be operated by a key command of the same name, you will see this symbol at the side of the text. If names differ, or if a function is only available as a key command, its name will be printed like this: Key Command. Options and Parameters: The options you can set from the Preferences or Song Settings, and the parameters in dialog boxes are printed like this: Parameters. Different parameter values are printed like this: Parameter

value. Graphics: Sometimes this manual uses graphics from

other MAGIX programs. This is due to technical reasons and does not influence the usability of this manual. However we apologize for this inconvenience.

The Mouse

Basic functions

Unless stated otherwise, the left mouse button is the one you should use whenever “the mouse button” is mentioned. Clicking: Place the mouse pointer on the object (button, input field, etc.) and press the mouse button once. Double-clicking: The same as clicking on an object, but you press the mouse button twice, in quick succession. You can set the appropriate time-span for this in the System Controls. Grabbing or Clicking and Holding: The same as clicking on an object, but you keep the mouse button held down. Moving or Dragging: Grab the object and move the mouse (keeping the mouse button held down) to the desired position.

Mouse Input

Checkboxes: Checkboxes are square boxes which become “checked” when you click them to activate an option

Using MAGIX midi studio generation 6

(or function). Click them again to remove the “check” and deactivate the option.

Pull-down Menus: Pull-down menus open when you grab certain input fields or buttons. You choose a command by moving the mouse onto the desired item. If you want to choose an item which is outside the visible section, – move the mouse over the top or bottom edge of the

menu; the further you move it, the faster you will scroll

through the menu. – now click using the right mouse button. You can then

let go of both mouse buttons.

Mouse as Slider: You can set practically all the numerical parameters, (even note values or names) by grabbing the parameter value and moving the mouse up or down. If the parameter is made up of several separate numbers (e.g. song position), you can adjust each number individually.

Using the Mouse for In/Decrementing: All the parameter values which can be set using the mouse as a slider may also be increased or decreased in single units by clicking on the top or bottom half of the value with the left or right mouse buttons while holding down the alt.

Numerical Input: Double-clicking on a numerical parameter value opens an input field. The previous value appears pre-selected, (i.e. highlighted) to allow it to be overwritten by a new entry. You can also use the mouse to make a partial selection in an input field so that only the highlighted part is overwritten (for more on this, see the

section Numerical Value Input from page 220 onwards).

As long as the input field is open, all the keys may be used for inputting data only, and may not be used for key commands (the exceptions are the main menu functions). … by arithmetic: At any time, you can enter numbers by typing in an arithmetical operation, e.g. “+2” or “−5”, which then simply changes the current value by that amount. … as ASCII-symbols: You can also input numbers as ASCII symbols: just put a ` or " in front of it, and the ASCII code will be input as a number. For example: "! gives 33 "a gives 97

Using MAGIX midi studio generation 6

This function is particularly useful for entering text in SysEx strings.

Text Input: You input text names in the same way as numbers, but you only have to click the name fields once to allow input. Numbered Names: As you might expect, you can give any number of selected objects the same name. If the name ends in a number, the number will automatically be incremented by 1 for each object. This allows you to name all the sequences on one track quickly.

Disabling automatic numbering: To turn off the automatic numbering, place a space after the number at the end of the name. All the selected objects will then end in the same number.

Tools and the Toolbox

MAGIX midi studio generation 6 allows recorded data to be handled graphically. This means that you don’t have to carry out operations by inputting commands via number tables, but rather by manipulating graphic “objects”. When editing objects graphically, you always have two tools available at the mouse pointer position: one is already active, the other is activated by the right mouse button. You change the currently active tool by clicking on the toolbox. The mouse pointer then adopts the shape of the tool you click on, so that you can tell what its function is by looking at the symbol: the Eraser is used for deleting, the scissors for cutting and the glue tool for merging objects. To assign a tool to the right mouse button, click on the desired tool in the Toolbox, with the right mouse button.

Effective Range of the Tools:

– Tools are effective only in the working area of the

window they were selected from (you can define individual tools for each opened window).

Using MAGIX midi studio generation 6

– A tool basically affects the objects you click on. If the

clicked object is already selected, the tool operates on all

other selected objects, as well.

Selecting Tools: You select the tool you want to use by clicking on it in the toolbox (or clicking while holding down the right mouse button for the alternate tool). If a toolbox is opened at the mouse position you can also use one of the number keys to choose a tool at the corresponding position. The tools are always numbered from left to right and top to bottom. Press the Show Tools key again to switch to the pointer, and close the box. Opening the Toolbox at the Mouse Position: Use Show Tools (default: esc) to open a toolbox at the mouse position. This window will disappear as soon as – you choose a tool by mouse click, – you choose a tool bypressing a number key, – you click anywhere outside the tool window or – press any key.

Info Line: When operating many of the tools an info line appears at the edge of the window for as long as the mouse button is held down. The info line replaces the local menus in the window. This info line provides useful feedback about the type of operation you are performing.

The Tools: Pointer: The pointer is the default tool. The mouse also takes on this shape outside the working area when you are choosing from a menu or inputting a value. Within the working area the pointer is used for selecting (by clicking on objects), moving (by grabbing and dragging), copying (by holding down ctrl and dragging) and editing lengths (by grabbing the bottom right corner and dragging). Grabbing and dragging anywhere in the background opens a rubber band (see page 94). Pencil: The pencil is used to add new objects. You can also select, drag, and alter the length of objects. Eraser: The Eraser deletes clicked objects. When you click on a selected object all of the currently selected objects are deleted (as if you had used delete). Text Tool: The text tool is used to name arrange objects or add text to a musical score. Scissors: The scissors are used to split arrange objects, e.g. before copying or moving individual sections (see page

129).

Glue Tool: The glue tool is the opposite of the scissors: all selected objects are merged into a single object, which is

Using MAGIX midi studio generation 6

given the name and track position of the first of the objects on the time axis (more on this on page 129). Solo Tool: Grabbing with the solo tool allows you to listen to only selected objects during playback. Moving the mouse vertically also outputs any events the cursor touches, even when the sequencer is stopped (please refer also to section Soloing sequences from page 130 onwards). Mute Tool: Clicking on an object with the mute tool stops it from playing and places a dot in front of its name, to indicate that it is muted. You can unmute it by clicking it again with the tool. If multiple objects are selected, the setting of the object you’ve clicked on applies to all selected objects (see also section Muting sequences from page 130

onwards).

Magnifying Glass: The magnifying glass allows you to zoom in on a “rubber-banded” section, right up to full window size. You revert to normal size by clicking on the background with the tool(for more on this, see the section

Zooming Selectively from page 88 onwards). You can also

access this function via other tools by holding down alt. Finger: The finger is used in the Matrix Editor to alter note lengths. Crosshair: The Crosshair is used in the Drum Editor to input a linear series of parameter values. Layout tool: The layout tool is used for graphically moving objects in the Score Editor to optimize the display (e.g. bars to lines: “Local Formatting”) without altering the timing of actual MIDI events. Size Tool: The size tool is used to adjust the size of graphic elements in the score. Velocity Tool: In the note (i.e. Matrix and Score) editors), you can use the V tool to change the velocity of notes.

Window Functions

The basic functions of the MAGIX midi studio generation 6 windows are the same as those in other Windows application programs. However, the display options in MAGIX midi studio generation 6’s windows are far more extensive. In MAGIX midi studio generation 6, you can open different combinations of windows (even several of the same type) and adjust each one individually. All open windows in a song are constantly updated. This means that the windows update to follow the song position, and any alterations that you make in one window immediately update the display of all the other windows you are working with. It is also easy to save different window arrangements

Using MAGIX midi studio generation 6

(called “screen sets”), and recall them at the push of a button.

Working with windows

Opening windows: All MAGIX midi studio generation 6 windows can be opened via the Window main menu. You can open as many of the same type of window as you like.

Closing windows: You close windows (alt f4) by clicking on the close symbol in the top right of the windows.

Setting window size: As is usual for Windows, you can change window size by positioning the mouse over a Window edge, or corner and pulling. Maximizing window size: The windows maximize button, in the upper right corner of the window, toggles the window between its maximum size, and the size it was before you clicked on the button . Minimizing window size: Clicking on the minimize button reduces the window to its minimum size. Double-clicking on a minimized window restores it to its original size.

Selecting the Working Area: Scroll Bars: The scroll bars are situated at the right and bottom edges of a window, if you can only see one section of the working area in either the vertical or horizontal dimension. You can move the visible section by clicking the arrows or grabbing and dragging the scroll slider. There are two points of note: – The size of the scroll slider in relation to the size of the

entire scroll bar corresponds to the size of the visible

section in relation to the overall size of the window, – the visible section changes as you move the scroll

slider.

X/Y Element: The X/Y element is situated in the bottom left corner of the window. By grabbing and dragging it you can move the horizontal and vertical window section, as if you were dragging both scroll bars simultaneously.

Page Scrolling: Use the key commands Page Up, -Down,

-Left and -Right to scroll one page up, down, left or right, as

if you had clicked in the grey region above / below the vertical scroll bar, or to the left / right of the horizontal scroll bar. The key commands Page Top, -Bottom, -Left most and Right most take the visible section of the working area to the top, bottom, left or right, just as if you had grabbed one

Using MAGIX midi studio generation 6

of the scroll sliders, and moved it to one of its extreme positions.

Zooming: Below the vertical scrollbar and right beside the horizontal scrollbar you find two hatched fields. These fields are used for vertical respectively horizontal zooming and are therefore referred to as telescopes. Clicking the left, smaller side of the telescope symbol reduces the size of the objects in the display, allowing you to see more objects in the same space (zoom out) and clicking the right, larger side enlarges the objects in the display (zoom in).

The vertical telescope is for vertical zooming (Zoom Vertical In/Out, default assignment: ctrl page up/ctrl page

down), while the one with the horizontal arrow handles horizontal enlargement (Zoom Horizontal In/Out, default assignment page up/page down). In some windows, only one telescope is available, and this then handles both horizontal and vertical zooming at once. Whike “zooming”, the top left selected object is kept in the visible region, whenever possible.

Zooming Selectively: Zooming In On One Section of the Screen: To enlarge a section of the screen to the size of the

whole window use the magnifying glass tool to drag a “rubber band” over the section you want. You can do this more than once. Reverting to the Previous Zoom Setting: Click on the background with the magnifying glass. This will return the zoom to the original setting, by backtracking through the previous steps. You can call up the magnifying glass functions with any other tool (apart from the pencil) by holding down alt. The pointer will still look like the previous tool, but if you “rubberband” with it, it will behave like the magnifying glass.

Window Elements: Adjusting the Size of the Window Elements: If you move the mouse over the top left corner of

the arrange area the mouse pointer turns into a crosshair. By dragging it, you can now adjust the size of the bar ruler, arrange area, track list, and transport buttons. You can also adjust the window elements in the Score, Drum and Matrix Editors using the same method. Concealing/Revealing the Transport Functions: Use View > Transport to display or remove the transport panel buttons from the top left corner of the Drum, Matrix or Arrange windows. The number of buttons and indicators depends on the amount of space available (see the section

Using MAGIX midi studio generation 6

Adjusting the Size of the Window Elements from page 88 onwards).

Concealing/Revealing the Parameters: The function View > Parameters (Hide/Show Parameters) allows you to display or remove the entire area to the left of the Arrange and Editor windows, which contains the sequence parameters, track parameters, and the toolbox. Hiding these parameters gives you more space for the editor window itself. In many windows, you can hide and/or reveal further screen elements, such as the toolbox. These display options are always available from the View menu.

Menus

Because of MAGIX midi studio generation 6’s great range of functions, most of them are not found in the main menus, but appear as local menus. These are always in the menu bars of the MAGIX midi studio generation 6 windows where they are required.

Hierarchical Menus: You use the menus (whether main or local) in the same way as in other application programs: grab the menu title, move the mouse over the desired item , and release the mouse button. In hierarchical menus, there is a right-pointing arrow after the item. If you highlight this item, a sub-menu drops down to the right. To choose an item from this sub-menu, move the mouse to the right, into the sub-menu, and then vertically over the desired item. Releasing the mouse button will activate the selected function. Using a keyboard: You can also select the active window’s menu using alt, and step through the menus in the usual way using cursor left and cursor right (or by hitting the typewriter keys for the underlined letters) to select the one you want. You then use cursor down and cursor up to select the menu entry you want (or carry out the menu function immediately by hitting the key for the letter underlined in the menu function’s name). If you encounter a hierarchical entry (which has a triangle at the end of the entry line), you can use cursor right to access the sub-entries (cursor left closes the sub-menu again) and, again, use cursor down/up to make your selection. When you have chosen your function, hit return to activate it.

Fixed key commands: Some menu functions can be accessed via fixed keystrokes or combinations of keystrokes. The keys (or combinations thereof) are shown on-screen

Using MAGIX midi studio generation 6

next to the menu entries and operate globally. For example, you can open a song with ctrl o, or copydata to the Clipboard (=Copy) via ctrl c. Please note that you may assign practically any other function to any key you like using the Key Commands window.

Menu options with “…” in their title: Three periods, like this: …, next to the menu function title indicate that the entry does not activate a function immediately, but instead opens a dialog box.

Dialog Boxes

In Dialog boxes, you can hit the thick-bordered button by pressing return, or by clicking with the mouse. As per usual for Windows, you can toggle the thick border from button to button with cursor left/right.

Window Types

There are two different types of window in MAGIX midi studio generation 6: normal windows and float windows. The contents of all the windows belonging to the current song are always updated, no matter what the type of window.

Normal Windows: You can open as many normal windows as you want, including several of the same type. Even though the contents of all the windows is constantly updated, only one of the windows ever has the status of being the “top”, or “active” window. This is the window which is in the foreground when several normal windows are overlapping. Top or Active Window: This window can be recognized by its fully-shaded title list. The main distinguishing characteristic of this window is that key commands only affect this window, and not any of the others. Windows > Next Window (ctrl+tab) brings the next window forward if it is fully covered up by others. Background Windows: Background windows are identified by the color of their title bar. This color is determined by your “Appearance settings in Windows. You bring the window to the foreground by clicking on it, clicking on the title bar, or calling up one of the local menu functions.

Float Windows: MAGIX midi studio generation 6 knows two float windows: the Transport window and the Event Float window. Float windows are so called because they always “float” in the foreground, even above the top normal window (if there are too many open float windows, they will inevitably cover each other up—just click on

Using MAGIX midi studio generation 6

them to bring them to the front). Float windows are recognizable by their narrower title bar, which contains no name. Mouse operations can be carried out in the same way as in normal windows.

Main Menu Window: MAGIX midi studio generation 6 Main Menu window is the main window of the program. You will find all menu items here. There are: – Global Menus, which are always visible (e.g. File); – Window related menus: they belong to a certain

window type (e.g. Score Window) and are only visible

when this window type is the active window. It only

contains functions relevant for the corresponding

window type. As is common on Windows computers, you can address a menu using using the alt key. Keep this window at its preset maximized size, there isn’t much point in making it smaller. The “Minimize Window” button can be used to switch between MAGIX midi studio generation 6 and other applications. You can get back to MAGIX midi studio generation 6 at any time by clicking the MAGIX midi studio generation 6 symbol in the Task Bar. Press alt tab to toggle directly between MAGIX midi studio generation 6 and any other application.

Relationships between Windows

The two buttons at the top left of a window (shown here), determine its relationship to the song position (Catch), or to other windows (Link, Show Contents, or Contents Catch).

Catch: The Catch function means that the visible section of a window follows the song position as the song plays. If the button with the walking man on it is lit (i.e. if it is green), the window’s display follows the song position as the song plays. If the button is not lit, the display does not update, even when the song position line moves past the right edge of the visible portion of the window(Catch Clock

Position). Automatic Catch Disabling: If you move the visible section

manually, Catch is automatically switched off, so that the new section you have chosen doesn’t then disappear, as the display is updated to the song position line. Autocatch: The function Enable Catch when Sequencer starts (Options > Settings > Global Preferences…) always enables Catch mode whenever you press play or pause.

Using MAGIX midi studio generation 6

Link, Show Contents, and Contents Catch: You can define these display options to control how information is displayed when working with related editor windows. Link: When the button with the chain link icon is activated (i.e. when it is this window always displays the same contents as the top window. The display is adjusted whenever the selection in the top window is altered. Here’s an example: imagine the top window is an editor. In Link mode, the other editor windows can display the same data in another form (though please remember: you cannot have any event display as the background window of an Arrange window while in Link mode).

Contents Link: Double-clicking on the link button (dark blue) activates Contents Catch mode. This means that the window always shows the contents of the object selected in the top window. The display is therefore always one level below that of the top window. Here’s an example: if the top window is an Arrange window, in Contents Link mode the editor windows can show the events of a selected sequence. Selecting a different sequence in the Arrange window will cause the display of the linked editor to switch to that sequence, as well.

Contents Catch: By simultaneously switching on Catch and Contents Link, you activate Contents Catch mode. Initially, this is equivalent to Contents Link mode, but when the song position reaches the next object on the same track, the contents of this object are then displayed. You could use this mode in an Arrange window, much as you would in Contents Link mode. The editor windows would then show the events of the sequence which is currently being played on a track.

Screensets

Normally you will lay out your windows on the screen in a way that suits your way of working. This layout with various windows, with all their different parameters (display, zoom, position of each window) is called a screenset, and can be stored. You can then swap between different screensets, much as you might swap between different computer monitors.

Storing Screensets: Screensets are numbered from 1— 99 using only the numbers 1—9. You can see the number of the current screenset in the main menu next to the word Window.

Using MAGIX midi studio generation 6

You don’t have to save screensets with an explicit command. It happens automatically as soon as you switch to another screenset. Thus, without any effort, your current working view is always stored on the current screenset.

Switching Screensets: Just input the number of the desired screenset (1—9). For two-digit screensets hold down alt while inputting the first digit.

Protecting Screensets: Use the key command Lock/un- lock current screenset to protect the current screenset from

being altered. A # then appears in front of the screenset number. Repeat the key command to unlock the screenset. The New Song command deactivates all Screenset locks.

Copying Screensets: To copy the current screenset to a destination screenset, hold down shift when you switch screensets. Copying Screensets between Songs: Close all the windows you want to copy in the screenset, switch to the other song, and reopen the editors. They will have retained their sizes and shapes in the new song. The reason for this is that the preset values for window position, size, and all other pertinent parameters are stored in memory when you manually close a window, so that the settings remain the same the next time windows of the same type are opened again.

Sequencer-controlled Switching: You can automatically switch screensets using meta event # 49—just add it to a sequence in the Event Editor. – Set the song position to the point where you’d like the

screenset to change. – Right mouseclick in the Event Editor on the button

shown. The inserted meta event has the default value

50 (Song Select). – Alter the number in the NUM column from 50 to 49.

This changes the name to Screenset. – Input the desired screenset number in the data bythe

column (VAL). You can stop the switching by muting the sequence that contains the Meta 49 event.

Selection Techniques

Whenever you want to carry out a function on one or more objects, you have to select the object(s) first. This applies to

Using MAGIX midi studio generation 6

arrange objects and individual events alike. Selected objects are either displayed in inverse color, or will flash (the latter in the Score editor). The selection status of an object applies to all windows. An object selected in one window will also be selected in all other windows that display that object. Changing the top window doesn’t affect the selection (as long as you don’t click on the background, which deselects everything. Be sure to click on the window’s title bar).

Selecting Individual Objects: Individual objects may be selected by clicking on them, and deselected by clicking in the background, or by selecting another object.

You can also use the key commands Select next/previous Object (default: K/ J, in the Event List: M/ I). Selecting Alphabetically: tab selects the next alphabetical

object. In the Arrange window pressing any letter key selects the first object whose name begins with this letter providing there is no key command assigned to this key.

Selecting Several Objects: To select several non-contiguous objects , hold down S as you click them. As subsequent objects are selected this way, the previous selections are retained. This also works with horizontal or rubber band selection. Horizontal Selection: To select all objects on a track, click on the track name in the track list. In the same way, you can select all events with a certain event definition in the Drum Editor, by clicking on the event definition name, or all notes of a certain pitch in the Matrix Editor by clicking the relevant key on the screen keyboard. In Cycle mode, the above selects only the events within the Cycle zone. “Rubber-Banding”: To select objects which are close together, click on the background and drag a “rubber band” over them. All objects touched, or enclosed by the rubber band will be selected. Toggling the Selection Status: When you make any selection (including by rubber band or horizontal selection), holding down shift at the same time will reverse the selection status of the objects. You can reverse the selection status of all objects using Edit > Select > Toggle Selection. For example: if you want to select all objects except for a few, first select these few and then choose Toggle Selection.

Using MAGIX midi studio generation 6

Selecting Following Objects: To select all objects after the current one (or, if no object is currently selected, to select all objects after the song position), choose Edit > Select > Select All Following.

Selecting Objects within the Locators (Vertical selection):

Edit > Select > Select inside Locators selects all objects lying wholly or partly within the locators.

Selecting all Objects: To select all objects, select Edit > Select All or press ctrl a. Deselecting All Objects: You can deselect all objects by clicking on the background or using the key command Deselect All.

Edit Operations

The local edit menus in MAGIX midi studio generation 6’s various windows all take the same form. The first item is Undo. Below Undo are the typical clipboard functions and at the bottom of each are the main selection commands.

Undo: Undo allows you to reverse the previous edit. Under Options > Settings > Global Preferences…, you can disable the warning message that normally appears when you activate Undo, by checking the Disable safety alert for Undo box. The key command for Undo is always ctrl z.

The Clipboard

The clipboard is an invisible area of memory into which you cut or copy selected objects so that you can paste them into a different position. The clipboard spans all songs, which means you can use it to exchange objects between songs.

Cut: All selected objects are removed from their current position and placed on the clipboard. The previous contents of the clipboard are overwritten in the process (key command ctrl x).

Copy: A copy of all selected objects is placed on the clipboard. The selected objects are also left in place. Here too, the previous contents of the clipboard are overwritten (key command ctrl c).

Paste: All objects from the clipboard are copied into the top window. The clipboard is not erased in the process (key command ctrl v).

Using MAGIX midi studio generation 6

The contents of the clipboard are added at the current song position (if they are events or arrange objects). The song position is incremented by the length of the pasted objects. In the Arrange window, the contents of the clipboard are pasted to the selected track. If events are pasted in the Arrange window, either a new sequence is created for them, or the events are added to a selected sequence. Any objects that existed previously are unchanged.

Delete: Any selected objects are erased. Delete has no effect on the clipboard and is the same as pressing back- space or delete.

General Functions of the Editors

Control output via MIDI: Switching on the MIDI Out button causes MIDI events to be output when they are added, selected, or edited. This allows you to audibly monitor every editing stage, whether you are scrolling through the Event List (automatic selection) or transposing a note.

Automatic Scroll Functions: … scrolling to the Song position: The button with the walking man on it activates the

Catch function, which means that the window view will always show the current song position.

Contents Link: Clicking on the button with the chain symbol on it activates the link function, and double-clicking it activates the “show contents” function. In “show contents” mode, the window always displays the contents of an object selected in the top window; in link mode the window shows the same objects as the window where you are making the selections. For a full description of the catch and link functions see

page 91

In Editor windows, contents link is usually active. You can then, for example, select some sequences in an arrange window, and when you switch to a screenset with an open editor window, you will see the contents of the selected sequence(s).

Selection Commands and Editing Functions

Setting Locators by Objects: The Functions > Objects > Set Locators by Objects command allows you to set the locators in all the Editors (just as in the Arrange window) so that they just encompass the currently-selected events.

Using MAGIX midi studio generation 6

Edit Functions: For a description of the undo and clipboard functions (particularly adding events at the Arrange level), refer to page 95.

Altering Note Lengths: While changing the lengths of multiple objects you can make all lengths equal by holding shift ctrl.

Repeating or Copying Events: To repeat selected events once or several times (with adjustable rounding of the position of the first repeated event), you can use the function Functions > Object > Repeat Objects.

Deleting Events: The basic techniques are the same as for deleting sequences: – delete deletes all selected events, – the Eraser also deletes all selected events, and any

events that you click with it (whether previously

selected or not).

Step-time Recording

Step-time recording allows you to enter notes via the keyboard, but not at any defined tempo as in real-time recording. After each note is inserted, the sequencer “steps” ahead by an increment which is determined by the division setting in the Transport window. Every note or chord you enter automatically receives the note value of the display format, or a multiple of it. MIDI Step-time input is activated in the Score, Event List and Matrix Editors by pressing the MIDI In button. Here’s how to do it. Select an existing sequence, or create one in the Arrange with the Pencil tool. Open one of the note editors (Score, Event List or Matrix). – Switch on MIDI In. – Play and hold a note or chord. You may even hit the

notes for the chord one after another, if you like. The

important thing is that at least one note remain pressed

from the beginning. – Release the last note. This moves the song position by

one step (the format value on the transport), and you

may enter a new note. – Rests are entered with the sustain pedal. Each time you

press this, you step through the song by the format

value, without entering a new note. – You may enter longer notes or chords by pressing the

sustain pedal while holding down the note(s). You may change the format value on the Transport at any time, even while you are holding down notes.

Using MAGIX midi studio generation 6

Step-time input is also possible from the score display. However, the quantize value Default should be avoided, as the note display will then change every time the step size is altered. If you are step-time recording in the Score Editor you can also define the note value by clicking notes in the part box (but only if step-time recording is switched on.)

Keyboard Control: When employing step-time input, there are a few special, non-editable key commands that can only be used if the keys in question have not been redefined for another purpose (see the section Key Com-

mands Window from page 101 onwards).

tab or space bar: as the sustain pedal. (please note that space bar is the default key for Record Toggle. If you wish to

use space bar to move along in steps, you will first have to delete this key assignment; see the section Deleting Assign-

ments from page 102 onwards).

n jumps to the next bar division position; so in 4⁄4 time, to the next quarter note.

m jumps to the next bar. b moves back a step and erases the event there. a sets the division value to 1⁄4. s sets the division value to 1⁄8. d sets the division value to 1⁄16. q sets the division value to 1⁄32. w sets the division value to 1⁄64. e the current division value is set to the next highest trip-

let value: for example from 1⁄16 to 1⁄24. e the current division value is set to the next lowest triplet value: for example from 1⁄16 to 1⁄12. The key commands will continue adding these values, as long as the MIDI controller key is held down.

Editing via MIDI input: By double-clicking on the MIDI In button, you switch on “Edit by MIDI In Mode”. The values of the MIDI data being input are then used to edit the “Pitch” and “Velocity” of the currently-selected note. The note length remains unchanged. In contrast to MIDI step-time input, no new data is created; what exists already is merely changed. The key commands Next / Pre- vious Event allow you to move one note further forward or back.

Event Quantization

The Event Editor has a separate quantization function which can be applied to all selected events. Unlike quantization for arrange objects the event quantization applies to

Using MAGIX midi studio generation 6

all events, not just notes. It irreversibly alters their positions ( only notes can be returned to their original recorded positions).

Quantizing Events: Select the events that you want to quantize. You open the pull-down Quantization menu by grabbing the “Q” button shown here. This is identical to the matching pull-down menu for the playback parameters, and contains its own quantization grid (for details see the section Quantization from page 135

onwards). As soon as you choose an item from the menu,

all the selected events are quantized. Please remember that you can only reverse note quantization. All other events are permanently shifted. To apply the same quantization grid to another series of selected events (even in other Editor windows), select Functions > Quantize again, or click quickly on the “Q” button again.

Note Quantization

Normally, all notes in a sequence are quantized according to the Quantization parameter in the sequence parameter box and the extended sequence parameter box (explained in greater detail in the section Quantization from page 135

onwards).

To quantize single notes in either of the Note Editors (the Matrix or Score Editors) you can use the Q tool, as well as event quantize. If you click on a single note (or a selected group ) with the Quantize tool, and hold down the mouse button, the quantize menu should open and you can choose the quantization you want. If you click quickly on notes, the last quantize value will be used again, just as with the Quantize Again command. If you click on the background with the Q tool you get the usual rubber band for selection of several objects at once. Special note for working in the Score window: the display quantize setting will have an effect on how this works. Unquantizing Notes: Note events can be returned to their original record positions, or moved by hand, by selecting the setting Qua off (3840),or by clicking on the Q button while holding down ctrl. You can also unquantize all the currentlyselected notes by clicking on them with the Q tool while holding down ctrl. You achieve the same result by selecting Functions > DeQuantize.

Using MAGIX midi studio generation 6

Display Functions

The section Window Functions from page 86 onwards de- scribes the basic window functions, including how to lay out the window elements to make more space for the event display in the graphic editors, and how to operate the zoom functions. Many of the display options in the editor windows correspond to those in the Arrange window: By choosing View > Parameters you can hide or show the parameter fields to enlarge the window’s working area. The key command is Hide/Show Parameters. In the Matrix and Drum Editors you can conceal or reveal the transport panel in the top left corner by choosing View > Transport.

Key Commands

You can activate many MAGIX midi studio generation 6’s functions via key commands. The Key Commands window is where you assign key commands to the keys. Whenever this manual mentions a key command, this refers to a command which can be called up by a keystroke. This allows you to completely customize MAGIX midi studio generation 6 to suit your own working style.

If any function described in this manual is also available via a key command with the same name you will see this symbol. Your personal key assignments are stored (together with the settings of the Preferences pages) in a file called “MAGIX midi studio g6.prf” in your PC’s Windows folder. You should: – make a backup of this file at another location on your

hard disk;

– make a floppy disk backup of it in case you need to use

a MAGIX midi studio generation 6 system on another

computer. When you install updates to your version of MAGIX midi studio generation 6, your personal key commands will remain unaltered.

100

Special Keys: Some keys have special functions: – The modifier keys shift, ctrl, and alt can only be used in

conjunction with other keys. – The backspace key has the fixed function “delete

selected objects”. It can only be assigned a function in

conjunction with the modifier keys shift, ctrl, and alt . – The ctrl+f4 key (close window) and ctrl+alt+f4 key

combination (close application) cannot be reassigned.

Xara Music Studio Generation User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Preface

Contents of packaging

Support

Legal Notice

System Requirements

Installation

Our copy protection for your safety

Notes on the electronic manual

Introduction

What is MAGIX music studio generation 6?

Sound Cards

Testing the Sound Card

The MIDI Interface

Reading the Manual

Digital Audio Basics

CD Sound

Direct-to-disk Recording

Setting up Your Equipment

Setting up Your Audio Devices

Monitoring

Volume Smoothing [ms]

Max. Number of Audiotracks

Larger Disk Buffer

Larger Process Buffer

Clock Source

ASIO Buffer Delay

Max. I/O streams

Audio Cabling

Just Like a Multitrack

MIDI Installation

Interface Connection

MIDI Cable Connections

MIDI Local Off

MIDI Inputs/outputs

Tape Synchronization

Audio: Recording and Playback

Concept: Tracks, Audio Files, and Regions

Number of Audio Tracks

Audio Files and Regions in the Audio Window

Audio Recording

Setting the Recording Path

Recording in the Arrange Window

Copying and Moving Regions

Recording the Input

Sample Editor and Digital Factory

The Sample Editor Window

Digital Factory

The Waveplayer

The Waveplayer Window

What you really got to know

Mixdown with MAGIX midi studio generation 6

The Mixer and HyperDraw

The Track Mixer

Audio Channel Strips

Stereo- and Mono Channel Strips

MIDI Channel Strips

General MIDI

The MIDI Channel Strips are merely a remote control.

Effect Paths of the GM/GS/XG Mixer

Automated Mixing

Mixing Automation with the Track mixer

Graphical Mixdown with HyperDraw

Audio Instruments

MIDI: Recording and Playback

Flow of MIDI Signals

Recording Notes and Playing Them Back with Sound Generators

If you are working with only one General MIDI Instrument…

Creating a new Track

Recording, Playing Back, and Deleting Sequences

Fine or Rough Copying and Shifting of Sequences

Sequence Play-Back Parameters

Name

Quantization

Loop

Transpose