User Manual - Audio Evolution Mobile
Contents
1. The last is used with an argument for example loadsample FILENAME Work audio samples example AIFF LOCATE 12500 will load the AIFF file and place it at 12 5 secs on the time line The LOCATE parameter is in milliseconds See Appendix B for more information on AREXX Master Control Bus Future synchronization and remote control option If this option is selected AudioEvolution waits for a command from the Master Control Bus server This allows several programs which are connected to the MCB server to start and stop playing together Thus you can synchronise Audio Evolution to a MIDI or animation player for example For more details see the MCB documentation 5 5 Automation Menu Automation Menu The Show options set all the tracks on the Timeline to show the same kind of automa tion mute volume etc You can also set single tracks from a menu accessed by right clicking on the track name panel in the Timeline Latch Mode This applies to recording the automation lines by moving the mixer controls In Latch mode when you release a slider or knob the automation then stays at whatever setting the control is at for the rest of the track You could use this to make a fade in for instance Touch Mode In this mode as soon as you release a con trol the automation goes back to whatever it was before This mode would be used for touching up the automation in the middle of a track The levels will only be change2. The Locators allow you to mark up to 10 time points in the song Move the Time marker to the desired time and select Add Locator from the Markers menu or hit L on the keyboard A new Locator will appear covering the Time marker Drag to move the Time marker out from under the Locator or hit 4 or 6 on the keypad Each Locator is numbered and the 1 to 0 keys on the main keyboard will jump the Time marker to that posi tion This is useful for moving around in a long song The Locators can be sorted into numeric order with the Sort Locators menu item Double clicking on any locator brings up a requester allowing you to set an exact time or delete the locator The menu item Delete Locators will remove all of them The Regionise requester for samples also has a button to clear all the locators When playing the mix you will find that each additional track is added to the total volume just as when another musician is added to a band in real life If the total sound level gets too high reduce it with the Master fader or some of the track faders 11 2 Recording Hl Click on the red button in the Control window to open the Record window You can record for as long as you like if there is enough room on your hard drive or only during a specified short section of a song ipERETT a HHH LAE ALT WOLUME ae GATH 3 3 To record for a short time use the Punch In Out markers These are enabled from the M
3. This graph shows the effect of varying the Ratio Page 19 of 25 1 1 Ratio 2 1 Ratio 4 1 Ratio 10 1 Ratio Output Level dB Threshold Input Level dB This graph shows the effect of varying the Threshold level Thresholds A Output Level dB input Level dB The compression does not start and stop instantaneously The Attack time setting controls how long it takes for the full compression to build up after the sound level crosses the threshold This shows an original sample consisting of a quiet sound below the threshold followed by a loud sound and then a return to the quiet sound Threshold AAAA My HAAN Y it YY Mi aa Wil Ni Original sample After compression the first quiet sound is unchanged The loud sound starts as normal and then during the Attack period is steadily reduced to its compressed level When the sound drops back to the quiet level it is at first still compressed so the change of volume is still there Then it returns to normal during the Release period YV YV wv j C ed After compression _ _ __ gt It is usual to have an amplifier stage after the compres sion stage If we apply this exaggerated in the diagram to raise the overall volume there is now a sharp increase in volume at the beginning of the loud sound This is why a compressor can make percussion sound more punchy Hi IK ii hy MM N i IF mii i N l AAN LD mT TY After
4. Audio Evolution version 4 0 User Manual revision 1 0 Technical support info audio evolution com Website http www audio evolution com Sales contact and distribution Computer City Zebrastraat 7 9 3064 LR Rotterdam The Netherlands Tel 31 0 10 4517722 Fax 31 0 10 4517748 Email info compcity nl http www compcity nl Copyright Copyright 2003 by Davy Wenizler All Rights Reserved No part of the Audio Evolution software or this manual may be reproduced stored in a retrieval system transcribed or transmitted in any form without the prior written permission of the copyright holder All trademarks mentioned in this document are the property of their respective owners All features and specifications are subject to change without notice Credits Designed and programmed by Davy Wentzler Manual by Don Cox Icons by Martin Mason Merz Foreword Thank you for choosing Audio Evolution 4 as your audio solution for the Amiga From now on you will be able to enjoy high quality audio recording and editing on your PowerPC platform A lot of work has been put into the development and testing of this product would like to thank everyone who contributed to the project and all the users of previous versions who had to wait a long time for this subsequent release We hope you will enjoy using it and as always please feel free to contact us if you have any questions With best regards Davy Wentzler
5. Move Trim mode s Split mode a Automation edit mode e Edit Range mode p Show all panning automation events m Show all mute automation events v Show all volume automation events zoom in vertical zoom out vertical previous track next track scroll timeline to the right scroll timeline to the left combined withSHIFT faster scroll CTRL fastest scroll SHIFT CTRL scroll one view width Help Displays help 1 O on the main keyboard Jumps to the correspond ing locator Fl Moves timeline window to front F2 Moves mixer window to front F3 Moves control window to front F4 Opens subgroups window if necessary and moves it to the front F5 Opens aux returns window if necessary and moves it to the front F6 Open Sample List window if necessary and moves it to the front horizontal zoom out in combined with ALT zooms with left side at the same position Keys on the keypad 4 Forward one second 5 Start or stop playback 6 Backward one second 7 Resets time to 0 00 horizontal Zoom out in Enter Enter timecode in min sec In Move Trim mode When releasing a sample region while holding down the ALT key the sample will replace everything that s beneath it With CTRL it will crossfade for the duration of the overlap A sample that is dragged on top of another sample with both begin and endpoints within the other sample will get 2 cross fades o
6. Evolution 4 will fall back to demo mode until a license has been installed We apologize for this inconvenience 3 Support Whether you use Audio Evolution in demo lite or full mode please feel free to contact us at info audio evolution com if you have any questions suggestions or bug reports For sales information please contact Computer City at info compcity nl Please visit http www audio evolution com regularly for news and updates or subscribe to the Audio Evolution News Letter on the website 4 Getting started When starting Audio Evolution for the first time you are asked to select an AHI audio mode and a screen mode For the AHI mode please choose a Hifi 16 bit stereo mode for optimal quality and functionality Please choose a 16 or 24 bit screen mode with a minimum resolution of 800x600 A resolution of 1280x1024 is recommended For the 68k demo an 8 bit mode has to be selected When entering the Audio Evolution screen you are presented with a welcome dialog where you can choose to load a previously created project or start a new one When you enter Audio Evolution for the first time please select New Project and enter a project name A directory with that name will be created in the Audio Evolution directory In this directory a project file is created as well as direc tories to store all samples that you are going to record within this project The next chapters will give an expl
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8. INDEX 1 Introduction 2 Installation 3 Support 4 Getting started 5 Menus 5 1 File Menu 5 2 Edit Menu 5 3 Windows Menu 5 4 Sync Menu 5 5 Automation Menu 5 6 Options Menu 5 7 Marker Menu 6 Timeline Window 6 1 Loading a sample 6 2 Vertical zoom 6 3 Edit modes 6 3 1 Move and Trim 6 3 2 Split sample 6 3 3 Automation editing 6 3 4 Range editing 6 4 Position display 6 5 Grid display 6 6 Horizontal zoom 6 7 Track panel 6 8 Timeline Sample Menu 7 Sample List Window 8 Sample Editor 9 Mixing and Effects page 4 page 4 page 4 page 4 page 4 page 5 page 5 page 6 page 6 page 6 page 8 page 8 page 9 page 9 page 9 page 9 page 10 page 11 page 11 page 11 page 11 page 12 page 13 page 14 page 15 10 Aux Send and Return 11 Control Window 11 1 Playback 11 2 Recording 12 Effects 12 1 Gain Effects 12 2 Delay Effects 12 3 Frequency Effects 12 4 Modulation Effects FX 12 5 Reverb Effects Appendix A Keyboard Short Cuts Appendix B ARexx port page 17 page 17 page 18 page 19 page 20 page 21 page 22 page 23 page 24 page 25 Page 3 of 25 1 Introduction Audio Evolution is a program for recording sound samples and for editing mixing and arranging samples for music sound tracks or broadcasting The two main windows are a Timeline for assembling and arranging sounds and a Mixer which is a simulation of a hardware mixing desk Up to 60 stereo tracks can be mixed de
9. Options menu after loading the first sample parts in memory when the Play button has been pressed A Song Position Pointer is also sent The MIDI commands will be sent via the serial device Receive If this option is selected the program first waits for an incoming MIDI start command before playing when the Play button has been pressed Of course the first sample parts are loaded into memory first for optimal synchronisation The MIDI commands would be received from the serial device B amp P Receive Waits for a start command from Bars amp Pipes You have to add the AudioEvolution ptool in B amp P to a track first You will also have to start Audio Evolution first before starting Bars amp Pipes First press play or record in Audio Evolution wait for the harddisk activity to finish and then press play in B amp P CAMD Receive If this option is selected AudioEvolution waits for a MIDI start or continue com mand via the camd library In this way any program using the camd library can be synchronised to Audio Evolution AREXX Receive This option waits for an ARexx start command Programs such as Bars and Pipes or Mediapoint can send out ARexx commands at specific times It is also possible to send a command across an Envoy network from one Amiga to another using EnvoyARexx from Aminet The port name for AE is AE AREXX The commands available so far are play stop locate and loadsample
10. amplification 1 1 Ratio 3 Amplify 2 Apply Compression Output Level dB Input Level dB 12 2 Delay Effects Delay This adds a delayed copy of the signal giving an echo effect You can set thedelay time in milliseconds If you set this to match a beat the delayed sound will be in time For in stance 1 beat at 120 bpm is 500msec The Mix percent age sets how much of the output will be the delayed sound Feedback gives more than one copy of the delayed sound The original sound will be followed by several copies The intervals between them are all the same time as set in milliseconds Main Signal Fesdback The Feedback setting controls how fast the repeats die away For instance if you set it to 70 each copy of the sound will be 70 of the last so the sounds rapidly die Page 20 of 25 away like an echo If you set it to 100 in principle the echoes will go on for ever but not in practice Dual Delay This works in the same way as the plain Delay but adds two copies each with its own settings Reverse Delay This works in the same way as the plain Delay but the copy is heard before the original sound in stead of after it giving an unnatural effect Ducking Delay This is the same as the plain delay but it reduces the amplitude of the delayed sounds where the main sound is loud This is so that you can get a long echo in the silence after the sound stops but not too much while it is pla
11. or quieter than others The name comes from the idea that this can be used to correct unequal response in the original signal which is sometimes possible Levels can be boosted or cut independently for low middle and high sounds The centre frequency for the middle sounds can be varied this is useful for pulling some particular instrument out of a mixed recording or for adding presence for which a centre frequency of around 3KHz is best Each channel of the Mixer window has a little button on the top right which opens the Expansion window This window gives you direct access to a 3 band EQ without having to insert a plug in Parametric Equaliser A Parameter is simply a setting This equaliser has only one band but it has an additional setting Q This is the width of the band which is affected For example a narrow band cut at mains frequency might be used to Page 21 of 25 reduce hum or at a higher frequency to reduce a feed back whistle Boost with various settings of Q Cut at different frequency 12 4 Modulation Effects FX Tremolo This varies the loudness of the track at a very low frequency Flanger Flanging was originally done by slowing down a tape slightly by touching the flange edge of the reel In software a very short delay less than 10 msecs is applied to the signal and the delayed signal is then mixed with the main signal The delay is continuously varied according to a l
12. F in both the Mixer and Subgroup windows all the tracks will be heard Mute This button marked M silences the track It can also be controlled by automation During a section which is muted by the automation in the Timeline the Mute button will be depressed You can release it to override the automation If the track is assigned to a Subgroup it will be silent if the Mute button is pressed in either the Subgroup or the Mixer or both Solo This button marked S will silence all the other tracks so that you hear only the solo track If two or more tracks have the Solo button depressed you will hear all the Solo tracks but no others Combinations of Mute and Solo The next diagram shows what happens to a track when various Mute and Solo buttons are on or off Subgroups The four blue buttons next to the fade slider in each mixer unit allow you to link the unit to one of four Subgroups For example all Mixer units with button 1 pressed will be controlled by Subgroup 1 SoLo SoLo soo SOLO Open the Subgroups window from the windows menu This allows several tracks to be locked together so that moving the slider in the Subgroups window fades all of them at once The Subgroup controls the volume mute and solo set tings of all the units that are linked to it The Mixer vol ume setting is multiplied by the Subgroup setting to give the result For example if the fader in Track 3 of the Check Mute Button o
13. anation of all windows and menus in the program 5 Menus 5 1 File Menu New Load Project Replaces the current project with another A list of recent projects is presented You can double click on any of these or select it and click the button Save Project Saves the current project overwriting the existing file Save Project As Saves the current project with a new name You should do this after every few plain Saves to reduce the risk of losing work Also back up your project files regularly to another drive Project files do not in Page 4 of 25 clude any sample data just a list of which samples are used and at what times together with other settings so the file size is small Delete Project You will be asked if you also want to delete the sample files used The answer should usually be Cancel Master Project This records the project to an AIFF file on disk Make sure there is enough space on your hard drive before doing this you will need about 10Megs for each minute of music Even if you finally want an MP3 file it is better to save a full quality file such as an AIFF first and then convert it to MP3 because you may want later to make another MP3 with higher quality Encode Dolby Pro Logic Experimental Dolby Pro Logic encoder which encodes the first 4 mono tracks of the project into a stereo AIFF file which can then be decoded into surround sound using a Dolby Pro Logic amplifier See the requester fo
14. arkers menu Set them to the times when you want the recording to start and stop This is useful for making a new version of any part of a song which was not right the first time The old ver sion will not be destroyed The T marker which sets the time point at which the recording process starts must be to the left of the IN marker Before starting to record a new version select the track with the old version on it by clicking on the track name at the left of the Timeline If you are not using Punch In Out the recording starts at the T marker and is stopped manually in the Record window If you are using the Punch In Out markers the Auto Mute button is available This affects the selected track only For example it might be the vocal track and you may be re recording a section that went wrong With Auto Mute on you will hear all tracks up to the Punch In point Then the recording will start and the vocal track will be silent At the Punch Out point the recording stops and the original vocal track becomes audible again Now you can hit the Stop button in the Recording window There are three level controls The sound card driver decides which of these are active The first is only enabled for some sound cards or samplers and adjusts the input gain The Volume control sets the overall output level and the Monitor control sets the level for hearing the input The LEDs show the input levels If the button at the left e
15. click and drag as one operation Any event can also be edited manually in the Automation List window To edit Panning select Panning from the Automation menu A line will appear on each track initially set to a centre position Click the left g mouse button anywhere to create a panning event Shift click on a panning event to remove it f As with volume when there is only a single control point it can be adjusted from the Mixer Once a panning event has been created it can be moved by dragging with the mouse to set the exact time and pan Move the line UP to pan left and DOWN to pan right To edit real time insert effects go to Automation Edit in the Track pop up menu Here you can select one of the parameters of the insert effects At least one insert effect has to be present in the mixer channel Now you can edit the selected parameter just like editing Volume events Creating an event on top of the track will set the parame ter to its maximum setting at the bottom will give the minimum setting Automation List Select Automation List from the Automation menu to bring up the list This allows you to set an exact time or value for any event All the events in the project are listed on the left side of the panel They can be identified by their track numbers times and event types The complete list can be saved as a file and it can be replaced by loading a previously saved list The lis
16. ctory This means that more can be added as they become available The types are Gain Amplifiers and compressors Delay Delays and Echoes Frequency Equalisers and Filters FX Effects such as Tremolo and Chorus SFX Special effects such as Karaoke Reverb Reverbs and Room Effects Once a plugin has been selected its button will show the name Clicking on the button again brings up the control panel All the plugins use a standard interface window with three control knobs If there are more than three controls an Up arrow gives access to the others The LEDs next to the buttons on the Mixer act as On Off switches for the effects To remove an effect shift click on the button Please refer to chapter XXX to read more about the avail able realtime effect plug ins Mixer Viewing Resizing the Mixer window will allow you to display more or fewer tracks The size is recorded if you save the Preferences from the File menu The two arrows at top right scroll the Mixer so that you can view and control other tracks The scrolling wraps so that Track 60 is followed by Track 1 The small Up arrow at the top right of each mixer module opens up the Extension panel which contains a 3 band equaliser and the level controls for Aux sends 10 Aux Send and Return The purpose of the Auxiliary or Aux for al ii short sends and returns is to share real ai time effects between several tracks Output from the tracks is mixed first then the effec
17. d for the time when you are actually operating the controls Ignore Automation Ignores automation on playback The Automation List option brings up the panel for set ting automation events precisely 5 6 Options Menu MIDI Machine Control If Send is checked in the Sync menu an MMC start command will be sent at start of playback MIDI Bar Display Changes the rie a Timeline calibration to bars rather than minutes and seconds If the Grid is set to Bars it will Wiha i match Both are controlled by the Tempo settings Soundcard I O This allows you to select which input on your sound card you want to record from The options will depend on the card The Listen button allows you to check switch it off after use If there is a Master option that will record all the existing tracks the same as Master Project in the file menu It could also be used for bounc ing down tracks if your project is getting overloaded The right hand column allows you to select alternative out Page 6 of 25 puts There may be only one option here Set Sample Rate This can only be done in a new project with no samples loaded It sets the sample rate which will be used for recording If you record immediately this rate will be used If you load a sample before recording the rate will change to that of the sample Normally the rate of a new project is set by the first loaded sample You cannot combine samples of various rate
18. e most useful when you are well zoomed in Editing is done with the six buttons on the right First mark out a Range with the mouse Remember that these operations will change the sample file on disk Erase Range will make the Range silent but not affect the length of the sample Cut Range will remove the Range closing up the gap so that the sample becomes shorter It creates a temporary file on disk called TEMPSAMPLE This is in the Samples drawer of the current project It is a normal AIFF sample file and can be used as such Save Buffer will make a copy of it with a name of your choice Copy to Buffer copies the marked range to the tem porary file without chang ing the sample To use the other two options click once in the sample with the left mouse button at the exact point where you want to paste the copied range Copy Over will replace sound at that point with the buffer contents which does not change the length of the sample Insert will insert the contents at Page 14 of 25 that point which does increase the sample s length As each operation is done you will see a progress bar in dicating disk activity 9 Mixing and Effects The main purpose of Audio Evolution is to mix a number of sound samples together to give a stereo output There are two ways to control how loud each sound is in the final mix One is to set up the automation lines on the Timeline and the other is to use the Mixer The Mixer is a s
19. ed only how they are played Click in a sample onthe Timeline to mark the start of a range Alt click at a later point to mark the end The latter point can be on another track so that your range spans several tracks You can alt click again to move the begin or end point The current positions are shown in the Begin and End panels on top of the timeline Having marked a Range you can cut copy paste or cross fade it by using the buttons on the Timeline The keyboard short cuts X C V and F also work You don t have to hold down an Amiga key as in other programs Having cut out or copied a range you can click the mouse anywhere on any track to mark a destination You can click either in a sample or in a silent part of the track or on the next unused track Hitting the Paste button or V on the keyboard will then place the range at that point If there is already a sample there it will be cut at that point and replaced by the pasted range If you paste into the middle of a longer sample you will end up with three separate sections 6 4 Position display This shows the exact position of the mouse pointer on the Timeline in Minutes seconds and milliseconds or in other units as selected from the drop down menu 6 5 Grid display The current Timeline grid spacing is shown in a box at the top of the Timeline Next to this is a down arrow Hit the arrow to set up the grid A Grid Size menu should a
20. f 0 5 seconds ESC clear current sample region selection arrow keys move currently selected sample region combined with SHIFT faster move CTRL fastest move TAB go to next sample region SHIFT TAB go to previous sample region DEL delete selected sample Page 24 of 25 Up arrow Move the currently selected sample region one track up if possible May be combined with ALT or CTRL Down arrow Move the currently selected sample region one track down if possible May be combined with ALT or CTRL In Automation Edit mode ESC clear current automation event selection arrow keys move currently selected automation event TAB go to next automation event SHIFT TAB goto prev automation event In Edit Range mode X cut c copy v paste f cross fade Appendix B ARexx port Audio Evolution has a few ARexx commands The port name is AE_AREXX case sensitive Recognised commands are play stop loadsample this requires a filename argument and an optional locate argument So the full command is some thing like loadsample FILENAME Work audio samples example AIFF LOCATE 12500 This will load the AIFF file and place it at 12 5 secs on the time line The LOCATE parameter is in milliseconds locate Sets the time marker to the time given in mil liseconds An example ARexx file which loads a sample plays and then stops after 5 seconds will be found in the Data drawer Page 25 of
21. hen apply those settings to the sample to create a new file with the effect pre applied To use the effects in this way select the effect you want via the Sample List window adjust the settings and close the settings window The new file will then be created on disk Details of all the plugins can be found in chapter XXX Normalize This inspects the whole sample to find the highest level present and then increases the level of the whole sample so that the highest level present is the max imum for the system There is no point in applying this operation routinely to all samples but it can be useful if one sample is noticeably quieter than others as it makes mixing simpler Note that normalizing a sample does not improve the sound quality it just makes it louder If you uncheck the Normalize button this operator can also be used to apply any fixed factor of amplification Fade In Out This applies a fade to either the beginning or end of the sample over a time of from 1 millisecond up to 10 seconds Reverse This will create a new AIFF file on disk with the sample in reverse order Remove from Project This removes the sample from the project but does not affect the sample file on disk Delete This deletes the sample file from the hard drive Take care It can only be brought back with an Undelete utility 8 Sample Editor Editing a sample here will change the file on disk You should make a backup of the file
22. imulation of a traditional hardware mixing desk and can be used in real time as the music is playing Besides controlling the levels and the left right panning it allows you to apply effects which can be changed in real time as the music is playing Tracks Each module of the Mixer cor responds to one track on the Timeline Any track may be mono or stereo as in dicated by the icons under the track names on the Timeline The name and number of each track are shown at the left of the Timeline and at the bottom of the Mixer The number of tracks visible in the mixer can be set from two upward by resizing the Mixer window To see other Expand Equal isation Expand Equal isation tracks scan forward or backward with the two arrows at the top right of the Mixer The size of the Mixer window is saved with the Preferences Master Level Control This is at the right end of the Mixer and has a red slider It sets the final level of the stereo mixed output The LEDs on either side of the slider show the current left and right levels If these are hitting the top reduce the level The LEDs also contain peak hold meters which show where the loudest peak has occured recently Level Controls Also known as volume controls or faders These act by setting the amount of each track that makes up the final mix The normal setting is fully up This applies also to the automation line for volume in the Timeline Mixing sho
23. just select from the menu the button will be automatically activated Or if the button is activated hit P M or V to set the type So hitting A V will take you to Volume Automation Alternatively click on the button and then select the automation mode from the Track Options menu This comes up when you right click on the track name panel Using this menu allows you to display a different automation mode on each track To edit Muting click near the bottom of the sample display to start a mute event and near the top to end it The events are indicated by loudspeaker icons You can set as many as you like The muted part of a track is shown with a grey background Once a Muting event has been set it can be dragged to a new position as desired Shift clicking on an event will delete it To edit Volume select Volume from the Automation menu A line will appear on each track initially set to full volume At first this line has just one edit point at the left end You can either click and drag this point to set a new level or move it with the Mixer slider Then click anywhere to create a new volume event which is an editable point on the line Shift click to remove one Once there is more than one point on the line it can no longer be moved with the Mixer slider Once a Volume event has been created it can be dragged to a new time and or volume level Note that you must release the mouse button after creating you can t
24. justments you can use the left and right arrow keys to move the currently selected sample Please refer to the Shortcuts Appendix for more key combinations for greater control over moving your samples by keyboard To trim sound from the beginning or end of a sample click on the edge of the sample The pointer should change to a drag symbol If it doesn t you have clicked off target and moving the mouse will move the sample in stead of trimming it Hit U to undo if you make a mistake Trimming does not affect the sound sample file on disk 6 3 2 Split sample This allows you to split a sample into two or more parts The sample file on disk is not affected Click on a sample where you want to split it Then you can move or remove either part Hit U to undo Samples or sections of samples on the Timeline are called Regions 6 3 3 Automation editing You can set automation events for any track and time On playback or mastering these events will control Muting Volume Panning or real time effects automatically so that you don t have to operate the mixer in real time Editing can be done either on the Timeline using the mouse or keyboard by typing in exact values in a control panel or by MIDI remote control Page 9 of 25 Editing with the mouse Click the Automation button or hit A on the keyboard Then select from the Automation menu whether you want to show and edit Mute Volume or Panning Or
25. line is non destructive That is the sample files stored on your hard drive are not affected There are four editing modes enabled by a group of buttons at the top of the timeline These are Move and Trim m Split Sample Automation Editing hail 6 3 1 Move and Trim This is the default setting when you start the program and it is best to return to this mode after using the other functions Range Editing To move a sample to a different time click anywhere in its display and drag to left or right For precise timing use the grid with snap enabled or right click on the sample to bring up the menu and select Move The Move requester allows you to position the sample to any starting point up to 999 minutes There is no limit to the total length of a project but anything longer than a few hours may be awkward to manage A sample can also be dragged to another track When holding down the ALT key when releasing a dragged sample it will replace other samples or sample parts that are underneath it Using the CTRL key will make a cross fade instead of just replacing it for the duration of the sections that overlap When dragging a sample while holding down the CTRL key on top of another longer sample two cross fades of 0 5 seconds are automatically created at the begin and endpoints The currently selected sample has a rectangle drawn around its sample name at the upper left corner For fine ad
26. m our website 12 1 Gain Effects Amplify As expected this can increase or decrease the volume of a sample Increasing the volume may be useful for testing but as real time effects use up CPU cycles it is usually better to make a normalized copy of the sample Noise Gate A Noise Gate is a control which opens to let through sound above a certain level Sounds which are quieter than this level are blocked It is generally used to cut out quiet noises which are heard when the in struments are not playing such as background hiss or air conditioner noise The threshold setting is the level above which sounds are allowed through If the low level sounds are cut off immediately the music drops below a certain level the effect is audible Adding a delay Release Time allows more of the tail end of the wanted sound to be heard On the other hand the gate must always open instantly when the level rises above the threshold or the beginning of a note would be lost so there is no attack time setting Compressor A compressor changes the relationship of loud and quiet sounds in a sample Any sound that is quieter than the Threshold level set by the user will not be affected by the compression Any sounds above that Threshold are reduced in volume The ratio between the original and the compressed sound in dB is set by the user There are more than three controls here the others are reached with the arrow buttons
27. n one of the buttons to select the effect for that channel The LED acts as a switch to turn the effect on or off Click the button again to bring up the controls for each effect Adjust the level control to decide how much of this chan nel contributes to the final mix for the song 11 Control Window 11 1 Playback The mix can be played either by hitting the Space Bar on the keyboard or the 5 key on the keypad or by clicking on the Play button fourth from left in the Control window Stop play by hitting the Space Bar or the keypad 5 again or the S key or the Stop button K a Ps 7 The Time marker at the top of the Timeline shows the Page 17 of 25 point from which playback will start It will move along as the mix plays so you can stop and then start again from the same point Or you can drag it to any time that you want to be the start point or simply click above the top track at the place you want it to be Double clicking on the Time marker brings up a requester for setting an exact time The Rewind button in the Control window moves the Time marker to the start of the whole song So do the B key on the keyboard Beginning and the 7 key on the keypad The Fast Forward button moves the Time marker to the end of the last sample The 4 and 6 keys on the keypad move it for ward and backward by one second The Play From Start button in the Control window moves the Time marker to zero and then starts playback
28. n this Track Track Mute Track Mute OFF Cif N Track is not in Track is in a Subgroup a Subgroup Subgroup Mute Subgroup Mute OFF OM Check all solo Buttons N Mo Salo Buttons At least one solo OM anywhere Button is ON This Track s This Track s Solo Button Solo Button is ON is OFF Track is Track is MOT in a subgroup in a Subgroup SUbQroup solo Button is GFF Subgroup solo Button is Oh Mixer is set to 50 and Track 3 is assigned to a Subgroup which also has a fader set to 50 then the out put will be 50 of 50 which is 25 of full volume Or 0 5 0 5 0 25 Real Time Effects A set of three buttons and LEDs at the top of each mixer module enables the real time effects for a track The effects are applied to the whole track not to individual samples To apply an effect to one sample not in real time use the Plugins option in the menu in the sample list window Up to three effects can be applied to any track Using too many effects will overload the processor You may be able to avoid this by sharing an effect between several tracks which is done by using the Aux sends and returns The Aux route also allows you to apply exactly the same settings of an effect to more than one track at a time Page 16 of 25 Click on one of the buttons to bring up the Effects requester The effects are grouped into six types Each effect is implemented as an Amiga library file stored in AE s Plugins dire
29. nd is checked the levels will also be shown during recording At the right end the figures show the maxi Page 18 of 25 mum level so far with a Reset button Great care should be taken when setting the levels for 16 bit digital record ing as the slightest overload will give severe distortion clipping while recording at too low a level reduces your data from 16 bit to 12 bit or even less and raising the level in the computer will not restore the lost quality If possible run through the whole recording first to check and set levels The LED next to the Record button indicates that the sample is being correctly saved to disk You will get a warning message if the drive is nearly full In that case it is best to move your project to a drive with more space and reload it You will need a drawer called Samples in the same place as the project file When you hit the Stop button you will be asked if you Do you want to keep this recording want to keep the recording If so the temporary file on the hard drive will be renamed to whatever you wish If not it is deleted Okay Cancel 12 Effects This section explains a number of effect plug ins that can be used either in real time see the Real Time Effects sec tions in chapter 9 and chapter 10 on using auxillaries or non real time see the Effects section in chapter 7 The plug ins can be found in the PlugIns directory New plug ins may come available fro
30. ne can be used to arrange your samples into a song sound track etc Most of the operations can be un done by hitting U on the keyboard Top of the Timeline The next six paragraphs explain various buttons and controls along the top of the Timeline from left to right Existing sound samples can be loaded into Audio Evolution to build up a mix The standard format is AIFF It is best if possible to convert all the samples you need beforehand to AIFF and store them together on the hard drive Any samples on CD should be transferred to the hard drive as playback from CDs is too slow to be reli able If you request a WAV sample Audio Evolution will automatically make a copy of it in AIFF format in the current project drawer This may not be convenient if the 6 1 Loading a sample Page 8 of 25 file is large so it is best to prepare beforehand But for short samples such as percussion loops the automatic conversion is ideal Note that Audio Evolution does not accept 8 bit samples Any 8 bit AIFF files will have to be converted to 16 bit before use 6 2 Vertical zoom The tracks in the Timeline can be viewed at various sizes by using the two vertical zoom buttons or the horizontal zoom slider The vertical zoom buttons enlarge or reduce all the tracks Each track also has a menu accessed by a right click on the name panel which allows you to set the zoom for just that track 6 3 Edit modes fra m ial aH Editing on the Time
31. not paste a mono sample to a stereo track or vice versa Reset Offset This moves the sample to the beginning of the track if there is space for it there In the case of a sample which you recorded to the Timeline it moves it to its original position as recorded Attach to Previous Sample This moves the sample so that its starting point is in contact with the end of the pre vious sample on the track Attach to Next Sample This moves the sample so that its ending point is in contact with the start of the next sample on the track Regionize This splits a sample into sections Its main use is for dividing up a recording from a vinyl LP ora tape into its tracks You may find other uses Set the option at the bottom to Add Markers for testing Use Delete Locators in the Markers menu to clear any that are already present The Threshold setting determines what is considered to be silence If your vinyl has a noisy surface set this to a higher number If you set it too high it will pick up quiet passages in the music This can be avoided to some extent by setting the Minimum duration for silence The gap between tracks will usually be several seconds longer Page 12 of 25 than pauses within tracks However if there are clicks between tracks you will have to set a shorter time as the click breaks the silence Click the Detect button and a locator should appear on the timeline at each gap in the sam
32. nother as Paste does If there is a conflict move the sample to another track and try again Remove removes the sample from the track It does not affect the file on disk Repeat This puts multiple copies of a sample on the track This is useful for repeating loop samples and it can be used to build up a rhythm from individual percussion samples First type in the number of new copies you want For in stance if you want a loop to repeat 8 times altogether add 7 repeats to the original Now set the time inter val This can either be the length of the silence space between the repeats or the interval between the starting times of the samples Uncheck the button to set the starting times The time can be entered in any unit hit the down arrow to get a units menu The example shown has a loop with no interval between repeats and a single note sample starting at two beat intervals Note the grid set to beats Clicking Add Repeats will add the requested number to the track provided no other sample is blocking the way If this is likely to happen move the offending sample to another track first Interesting effects can result from putting repeats on various tracks with different time intervals Replace with Clipboard If a sample or range has previ ously been cut or copied it will be in the clipboard This option will remove the current sample and put whatever is in the clipboard in its place Note that you can
33. omation lines will be shown on the track when the Automation button above the Timeline is depressed You can edit volume on one track and panning on another for example Automation Clear Removes all events of the currently selected automation mode Page 11 of 25 6 8 Timeline Sample Menu Clicking in a sample on the Timeline with the right mouse button brings up the Sample Actions menu This gives options for actions you can perform on samples in the Timeline These actions will not affect your sample files on disk Most can be undone by hitting the U key The options are Cut Copy Move Remove Repeat Replace with Clipboard Reset Offset Attach to Previous Sample Attach to Next Sample Regionize Save to Disk Cut removes the sample from the track and puts it in the clipboard If you hit the Ranges button you can click anywhere on a track and then on the Paste button or V key to place a copy there Copy puts a copy of the sample in the clipboard If you hit the Ranges button you can click anywhere on a track and then on the Paste button to place a copy there If the sample has been trimmed only the visible part is copied To copy the whole sample use the option in the Sample List window Move allows you to set the exact timing of the start of a sample You can type in a time and the sample will move to that start point if there is no conflict with another sample This operation will not make one sample overlay a
34. option should only be enabled if you have a very slow Amiga 5 7 Markers Menu The Markers menu has the following options Punch In Out This is used when recording If checked the program records only during the time between the In and Out markers Add Locator The Locators or Markers are tags which can be positioned at up to ten places in the song Hitting a number key on the keyboard will then jump the Time marker to that point and hitting the Play button will make the pro gram play from that point A Locator can also be added by hitting the L key on the keyboard More than ten locators can in fact be set but only the first ten will be correctly numbered and can be jumped to The extra ones would be produced when you Regionise a sample After you have added a Locator it will cover up the Time marker Drag to move the Time marker away Sort Locators This renumbers the Locators in order of time Delete Locators This deletes all the Locators To delete one Locator double click on it and then click on the Delete button in the requester You can also set it to an exact time in this requester and lock it to prevent ac cidental dragging Export to BurnIt This saves a text file which can be used in BurnIt to split a long audio file into tracks for burning an audio CD The time codes of all locators are used for export as well as the file name of the first sample on the first track 6 Timeline Window The Timeli
35. ow frequency wave generated in the rou tine giving an imitation of a finger applying varying pressure Mixing the delayed and main signals gives a comb filter effect and in a Flanger this is constantly varying Chorus The Chorus is another delay effect As with the Flanger the delay is continuously varying over a range of 20 30msecs The frequency setting is how fast it varies and the depth is how much There is no feedback A short delay gives a comb filter a long delay gives an echo and the Chorus is somewhere between the two Ring Modulator A Ring Modulator is a way of produc ing a distorted sound A signal whose frequency can be set by the user is amplitude modulated by the music signal This is similar to the way in which an AM radio signal is produced except that the basic frequency in a radio signal is much higher than the music while the one used in this effect is within the audio range The result is that extra frequencies sidebands in radio appear above and below the musical note As these are not musical har monics the result sounds distorted Try it Page 22 of 25 12 5 Reverb Effects Reverb Reverb is an attempt to simulate the natural reverberation of sound in any enclosed space Typically a clear single echo is more likely to be heard in the open air when sound reflects off a single surface such as a building or cliff In a room or hall each sound will reflect off several surfaces at various di
36. pending on the computer hardware and each track can hold many samples There is no limit to how long a mix can be Various effects such as equalisation or echo can be applied to a track in real time The balance of sound between the tracks can be adjusted manually as the mix is played or with an automation system in which changes in levels panning etc are preset by the user and then applied by the computer on playback Links and controls are included to make it easy to com bine Audio Evolution with other Amiga music programs Note that the look of the windows and buttons in the pic tures in this document may vary slightly from what you see on screen 2 Installation To install Audio Evolution 4 please double click on the InstallAudioEvolution icon in the AudioEvolution4 drawer and follow the instructions It is not recom mended to copy and install the files by hand When you have purchased the full version of Audio Evolution a registration utility will start up at the end of the installa tion Please fill in all fields including your name email address and serial number After leaving the registration utility a file called AE_registration is placed on your Ram Disk Please send this file by email to license audio evolution com and your license will be emailed to you as soon as possible This can take any where between 5 minutes and a few days as your registra tion needs to be processed Without registration Audio
37. ple Check to make sure that none of the locators are in the fadeout at the end of a track If so clear the locators set a lower Threshold and try again When you are happy with the positions you can change to the Split sample option This acts in the same way as the Split button at the top of the Timeline it divides the sample into regions which you can move around independently in AE but does not affect the sample file on disk If a region turns out to be not quite correct you can use the trim function Move and Trim button on Timeline to make it longer or shorter if necessary moving it to another track Save to Disk This saves a sample file in AIFF format with any current trimming settings What you get in the file is the part of the original that is visible in the Timeline f no trimming or cutting has been done it will be identical to the original 7 Sample List Window From the Windows menu you can open the Sample List window This gives a list of the sample files in use in the project Each file appears once however many copies of it there may be on the Timeline The list refers to files on your drive not to the display on the Timeline Warning Some operations here will make changes to files on your drive If in doubt make backups before doing oo Use right mouse button fox pop up reru anything HelvitisADS16 01 Finderszenen Copy to Clipboard Mozar Actions This puts the file in Quinte Cony
38. ppear Free clears the grid The next 16 options are time intervals including a Custom setting in milliseconds Then you can opt to Show the grid It will be visible on the Timeline only at the higher settings of the horizontal zoom The last option enables Snap With this on the beginning Cirie jee of a sample will always end up exactly on the nearest grid line after you move it Snap can be turned on and off both with the menu and by hitting G on the key board Note that you can show the grid without snap ping to it One use of this is for lining up the beats in a drum loop with the grid zoom in until they are easy to see then move the sample until the beats are lined up with a one beat grid by eye 6 6 Horizontal zoom The slider at the top right controls horizontal zooming of the Timeline The value displays the pixels per second 6 7 Track panel The currently selected track is shown with its name panel in a darker grey Also on the Track Name panel is a symbol to indicate whether the sample is mono or stereo The track number is shown in the smaller panel next to each name Right clicking on the name panel brings up the track menu The options are Remove Removes the track and all samples on it This does not affect the files on disk Zoom Allows you to set the vertical zoom for that track only The buttons above the Timeline affect all tracks Automation Edit Sets which of the aut
39. r more information Load Sample Loads an AIFF sample or imports a WAV sample into the project Online Help Brings up this Help file which is in PDF format Audio Mode To select the AHI mode in use 16 bit hifi stereo is a suitable choice for most purposes Screen Mode Brings up the standard ASL screen mode requester Save Preferences Saves the above the Preferences in the Options menu and window sizes and positions About The usual information Quit 5 2 Edit Menu Cut Copy and Paste are for editing Ranges To make a range in a sample hit the Ranges button then click for the beginning of the Range and alt click for the end The sample should change colour to indicate the range You can paste a Range onto another track or on top of another sample it will replace that section Cross fade Make a Range that extends across two samples on one or more tracks There can be a gap between them Applying Cross fade will give a new sample that fades smoothly from one to the other Undo Undo the last editing action Save Range to Disk Saves a selected Range to an AIFF file If the Range spans more than one track multiple AIFF files will be created for each track 5 3 Windows Menu The Timeline Mixer and Control windows are always open This menu enables the optional windows Subgroups Window This window contains the level controls for tracks that are assigned to one of the four sub groups Subgroups are
40. rol the mixer and the transport controls remotely by connecting a special MIDI controller such as the Kenton Control Freak http www kenton co uk productspecs cfrkintro html or the Peavey PC 1600X Other MIDI devices such as syn thesizers or MIDI pedal boards can be used as well To control parameters of a mixer channel select the Category Channel from the pull down menu at the top left of the window and enter the channel number in the edit box right next to it The parameters that you can con trol remotely are displayed in the listview For matching a parameter to a MIDI controller select a parameter in the listview and enter the MIDI channel and control change number of the MIDI controller you want to use at the bottom of the window Repeat this for all parameters you wish to control remotely You can change parameters of other categories in the same way The Bank up and Bank down parameters in the Misc category allow you to control banks of 8 chan nels For example if your controller has 8 sliders and 8 buttons it can be set up to control the volumes and mutes of channel to 8 Pressing Bank up will now control channels 9 16 Remote set ups can be loaded and saved by the buttons at the right Clear setup erases all parameters Note The camd library is required to use remote control Preferences The Performance section is intended to optimise AE for use with faster or slower compute
41. rrection in the Timing section is used for matching the timing of a recorded sample with the samples already on the Timeline It is common to play back the existing tracks while recording a new track and without this adjustment they may be slightly out of sync due to latency of the sound card To measure the delay from the sound card connect the line input directly to the line output Load a sample with easily recognisable peaks such as a percussion loop Turn the monitor level well down and make a short recording Now find the exact time of some peak in the first sample To do this drag the T marker so that it lines up exactly with the point to be measured while you are dragging it there will be a guide line over the sample Then look at the Pos display at the top of the Timeline to see the time in milliseconds This display can be set to other units make sure it is in millisecs for delay setting Now measure the time of the same peak in the newly recorded copy sample It will probably be 10 60 millisecs later That is the figure to enter in the Prefs The Mixer section of Preferences controls some CPU intensive display features the LEDs next to the level control sliders in the channels and the Master You can turn these off if your processor is reaching its limits The Timeline section has the option to not create a PCG file automatically for big audio files On a slow system this can take a while Generally this
42. rs The first two con trols set how often the LED displays are updated On a slow computer set a slow speed here to use less of the processor s time Audio Evolution uses a series of buffers to store data in memory The samples are kept on the hard drive and as playback proceeds through the song parts of each sample are loaded into RAM for mixing and effects calculations Loading from disk takes time The big problem in a pro gram of this kind is to do everything that is needed fast enough to keep up with the music This preference sec tion gives you control over two buffering layers The buffering layers are 1 Disk buffer from 8K to 64K reading small pieces of data each time is very inefficient due to the overhead of Page 7 of 25 seek times That s why bigger chunks of data are read from disk and then passed on to the next layer This value sets the size of the disk buffer used for each track 2 Middle layer for effects calculation This is adjustable from 1 50th to 1 10th second 1 50th of a second see 3 can cause a high CPU load but can be used if you have a fast processor and or not many tracks or effects The advantage of using a smaller buffer is that the real time controls respond faster With a large buffer there may be a noticeable delay before anything happens 3 AHI layer which uses a buffer of 1 50th of a sec for smooth volume and panning changes This is not adjus table The Sound Card Delay Co
43. s in one project so any that don t match will have to be resampled with a sample processing program It is best to keep all your samples at 44 1KHz Tempo Settings This item brings up a requester which sets the tempo and time signature for the metronome and the Timeline grid The metronome can be set to play only when recording or when playing back as well It uses two sounds which are stored on disk as AIFF files called MetronomeHigh and MetronomeLow in the Data directory One is used for the first beat of each bar and the other for the remain der You can set any time signature by typing in the two small boxes The tempo can be set with the slider either by sliding or by clicking either side of the bar It can also be set by measuring the beats in a sample This is fairly easy for a percussion sample Before opening the Tempo requester click on the Ranges button at the top of the Timeline Inspect your sample at a high magnification Click the left mouse button at the beginning of a bar and alt click at the end of the bar to mark the range Then you can open the requester and click Get tempo from range Get tempo expects you to have marked a period of 4 beats If you marked some other number of beats change the number marked Range equals before clicking the Get tempo button MIDI Remote Setup Opens the requester for use with external MIDI controllers MIDI remote control allows you to cont
44. stances giving a very large number of echoes which mix together to give the natural reverberation of the environment Typically the surfaces will colour the sound as they reflect it and if they are not flat they will reflect the sound in several directions Calculating all this accurately would need a super computer A useful approximation can be made with some comb filters for the coloration and delays The Reverb in Audio Evolution offers three levels of complexity 1 4 comb filters 1 delay allpass 2 5 comb filters 2 allpass 3 8 comb filters 4 allpass The more filters are used the more CPU power is needed Even with a fast CPU you will not be able to apply Reverb to more than a few tracks in real time If this is a problem you can either use an Aux channel or master the required tracks not in real time The Wet control is the amount of Reverb that is mixed with the main signal a room with little reverberation is said to be dry The Trim control is a level control to be used in case of overloading Page 23 of 25 Appendix A Keyboard Short Cuts The following keys are recognized and can be used in most windows or in the Timeline Window Space bar start or stop playback s stop playback b reset time to Beginning 0 00 g enable disable Grid snap add a Locator at current time point q close window or quits the program 1 import load sample u undo r open recording window t
45. t is also saved with the project Click on an event in the list to select it You can then either delete it which is the same as shift clicking it in the Timeline or edit it Clicking Edit Event brings up the edit panel At the left is a list of the tracks or subgroups You can move an event to another track by clicking the track name You can change it into a different type of event For example a volume setting on one track can be changed into a sub group volume setting which would affect all the tracks in a subgroup selected with the blue buttons in the mixer or into a Master Volume setting which would affect all tracks Recording events during playback When you have set up a MIDI remote controller using the MIDI Remote Setup option from the Options menu you can record automation events from the MIDI controller If you don t have a MIDI controller you can record events using the mouse When in Automation mode press play Every change in the mixer set up either by mouse or MIDI remote control will be recorded After pressing stop you will see the changes in the timeline The actual behaviour depends on the latch or touch mode selected in the Automation menu Please refer to that section of the man ual for an explanation of these controls 6 3 4 Range Editing Click on the Range button to enter the Range Editing Mode Page 10 of 25 This allows non destructive editing within samples The files on disk are not affect
46. t is applied and the resulting signal is fed into the Master mix The advantage is that only one calculation has to be done to apply the effect to several tracks As the Real Time Effects need a lot of CPU cycles this makes it possible to apply more effects than would otherwise be pos sible ae HE 44 MID ain pw Pe r 1 n fa ee oT fea fon T a r A 1 Pe F Ke n l LL Ll wl 4 l The settings will be the same for all the tracks that share an effect This could be an FI advantage or a disadvantage depending on the project The proportions of the tracks that go into the Aux mix can be set with the control knobs in the Expansion window so each track can have a different setting for the strength of the effect Bring up the Send controls by clicking on the small Up arrow on a Mixer track The four level control knobs allow you to send this track to any of four Aux chan nels This route splits off before the main level control slider in the Mixer track module so this can be set at a very low level if you want the sound to travel mostly or entirely through the effect Alternatively you might want just a slight touch of the effect in which case the main level slider can be left at a high setting with the send control at a low setting 43204 l 4 W 4 4 4 Fil Bring up the Return controls by either opening them from the Windows menu or hitting F5 on the keyboard Click o
47. to clipboard the clipboard ready to Emne be pasted to some Duplicate other place on the Edit Timeline To paste Create PCG click the Ranges Add workspace button top of the Channel splitter Timeline click Effects a a where you want the Remove from project Auge i copy then click the Paste button This does not affect the file on disk It is similar to Copy in the sample popup menu but allows you to paste a sample which is not cur rently visible in the Timeline Also this Copy copies the whole file while the Timeline one copies only the visible part if the sample has been trimmed or split Rename This allows you to rename the sample file on disk A normal ASL file requester will come up The new name will be shown on the sample in the Timeline Duplicate This will make a backup copy of the sample file on disk It is strongly recommended to do this before using the Sample Editor An ASL file requester will appear Edit This brings up the Sample Editor see next chap ter Create PCG This will make a new pre computed graphics file PCGs are files that hold graphical informa tion on how a sample looks They are computed and stored at a given zoom factor for example 256 pixels per second In this way a sample can be shown quickly at different zoom levels by using the PCG because the graphical data is already in memory and doesn t have to be computed from the actual sample each time you zoom in or out The si
48. uld be done by making the less im portant sounds quieter not by making the more important sounds louder The less important the lower the level This approach avoids the temptation of trying to make everything louder than everything else The volume of a track is set in turn by the track s Level Control the Subgroup Level Control if in use and the Master If you do need to increase the level of a sample because it was recorded too low either use the real time Amplifier effect or better make a new sample file using Normalise Panning The rotary knobs above the sliders control panning from left to right If the track is mono the same Page 15 of 25 signal appears in both output channels and the pan con trol sets the levels in each If the track is stereo the left signal will appear only in the left output and the right in the right The pan control now acts as a pair of level con trols for the two channels Even an extreme setting does not make the left signal appear on the right output If you want to do this split the stereo sample file into two mono samples using the channel splitter in the Sample List window menu Shift click on a Pan knob to centre it If there is an automation line for the panning of a track the control knob will follow it during playback Mute and Solo The Mute and Solo buttons turn the sound on and off for various combinations of tracks If all Mute and Solo buttons are OF
49. used when you want to work with soto Eora Soto jj Soto two or more tracks as a group For example you may have several drum tracks Putting them all in the same subgroup allows you to raise or lower the volume level of the drums as a whole while you can still adjust individual drum tracks with the main mixer sliders There are also solo and mute buttons affecting all tracks in a subgroup 4 Aux Returns Window Contains level controls and setups for up to four real time effects which are shared by two or more tracks The corresponding sends are in the expansion modules on each track in the mixer 4 si 4 mu W 4 4 Sample List window Contains a list of all the sample files used in the project A sample file can be shared by any number of projects Right clicking on the name of a sample brings up a menu of things you can do to a sample Some of these will change the file on disk Orit 5 4 Syne Menu The Sync Menu contains various options for synchronis ing playback or recording between Audio Evolution and Page 5 of 25 another program on the same or another computer See also Tempo and Synchronisation Ignore Ignores any MIDI start command or Midi Machine Control MMC code When the Play button is pressed in the Control window the samples will be played without waiting for anything Send Sends a MIDI start command and MMC start when this option is selected in the
50. using the Duplicate op tion before editing it Operations in this editor cannot be undone This is a fairly basic editor intended for routine operations For more advanced sample manipulation use a dedicated editing program such as SoundFX or alterna tively use the non destructive editing options on the timeline and use the Save Range to Disk option to store the result in an AIFF file Viewing When first opened the window shows approx imately the whole sample At the top right there is a Magnification control for zooming in and out Set a likely number and click on Display Numbers higher than 256 may give a slower display on slow computers Alternatively you can mark a Range on the sample by dragging with the left mouse button The Show Range button will then zoom in so that the selected range fills the window Clear Range cancels the selection Range All makes the Range equal the whole length of the sample Range All followed by Show Range will zoom out to show the whole sample A bar along the bottom gives sideways scrolling The range can also be set while the sample is playing Hit Return Enter on the keyboard for the beginning of the range and again for the end This will be most useful for long samples The three information panels at the top show the start and end of the Range in minutes seconds and milliseconds Position is the current position of the cursor These ar
51. ying 12 3 Frequency effects This family of effects controls the sound levels at various frequencies Low Shelf High Shelf Low frequencies High frequencies Low Shelf High Shelf Band Pass Band Pass Pass Filters These pass through some frequencies while cutting out others A High Pass filter allows high frequen cies above the set frequency to pass through unchanged while any lower than the set frequency are removed A Low Pass filter allows sounds with frequencies lower than the set frequency to pass through A Band Pass filter has two set frequencies and sounds between these are allowed to pass though all others being blocked Shelf Filters A Shelf filter gives a uniform output within one band and a uniform output at a different level in the other band A Low Shelf filter will raise or lower the levels in the low frequency band covering all frequencies below the set frequency A high Shelf filter does the same for frequencies above the set frequency Comb Filter A Comb Filter is an effect rather than an adjustment it is similar to a Flanger A short delay is applied much shorter than would be used for an echo effect When the delayed signal is mixed with the main signal some frequencies come out 180 degrees out of phase and are cancelled out The result is a filter with a series of notches 3 Band Equaliser An Equaliser gives an unequal frequency response some frequencies come out louder
52. ze of these files is around 1 650th of the real sample size for stereo samples at 44 1 Khz Normally a PCG file is created when you first import a sample but there is an option in Preferences to not make a PCG for large samples to save time when importing However there will then be a delay when you zoom Add Workspace This adds silent time to the end of the sample This can be useful if you plan to apply a delay effect to a sample or paste over the silent part in the editor The sample file on disk will be changed Channel Splitter This splits a stereo sample into two mono AIFF files writing new files to disk An ASL file requester will appear asking for the names of the two files They new files can then if you wish be imported into the project Effects This sub menu contains the non realtime effects you can apply on the selected sample In each case a new file will be created on disk with the effect applied and the new sample is automatically imported to a new track You can apply another effect to the new sample if desired The following effects can be applied Plugins This gives a way to use all the real time effects and filters found in the PlugIns directory but not in real time The advantage is that you are not limited by CPU load problems the disadvantage is that you cannot alter the settings while the sample plays However you can run an effect in real time to judge the best settings and Page 13 of 25 t
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