sampletank 2 manual

M U S I C I A N S F I R S T

Plug-InSample Workstation

16 multitimbral parts3 synthesis engine with STRETCHFull control over tempo, tune and harmonicsImports WAV, AIFF, SDII, AKAIand SAMPLECELL files

User Manual

User Manual

Plug-in Sample Workstation

5P L E A S E N O T E :

SAMPLETANK IS A REGISTERED TRADEMARK OF IK MULTIMEDIA.

ALL OTHER PRODUCT NAMES AND TRADEMARKS ARE THE PROPERTY OF THEIR

RESPECTIVE OWNERS, WHICH ARE IN NO WAY ASSOCIATED OR AFFILIATED

WITH IK MULTIMEDIA. USE OF THESE NAMES DOES NOT IMPLY ANY CO-OPERA-

TION OR ENDORSEMENT.

I - Contents6

I - Contents 7

Contents pag. 6

Interface pag. 10

License and copyrights pag. 12

SampleTank pag. 141.1 Introduction pag. 151.2 What is SampleTank 2 pag. 151.3 Whats new in SampleTank 2 pag. 151.4 Features pag. 17

Using SampleTank pag. 192.1 Starting SampleTank in Cubase pag. 192.2 Starting SampleTank in Logic Audio pag. 192.3 Starting SampleTank in ProTools pag. 192.4 Starting SampleTank in Digital performer pag. 202.5 Starting SampleTank in Sonar pag. 202.6 Loading and playing instruments pag. 212.7 Controlling instruments: the MIX window pag. 22

Controlling SampleTank pag. 233.1 OCTAVE transposition pag. 233.2 POLY/MONO/LEGATO pag. 233.3 MACRO controls section pag. 233.4 SYNTH-SAMPLER section pag. 233.5 EFFECTS section pag. 253.6 MINI keyboards pag. 263.7 ZONE controls pag. 263.8 LOOP SYNC pag. 273.9 MIDI CONTROL association pag. 283.10 PROGRAM CHANGE association pag. 293.11 Preferences pag. 293.12 Other controls pag. 31

Organizing your instruments pag. 334.1 Keywords and User Keywords pag. 334.2 Search function pag. 334.3 Instruments location pag. 344.4 Managing sound organization pag. 35

SampleTank save function pag. 375.1 Save and work with Preset Instruments pag. 375.2 Save Module pag. 375.3 Back up function pag. 37

I

II

III

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

I - Contents8

Importing instruments in SampleTank pag. 396.1 Import sounds in SampleTank 2 pag. 396.2 Import samples and loops in WAV, AIFF and SDII pag. 396.4 Import AKAI S1000-3000 pag. 426.5 Import SampleCell pag. 44

SYNTH-SAMPLER section pag. 477.1 Resampling controls pag. 477.2 Pitch-Shift/Time-Stretch controls pag. 477.3 STRETCH controls pag. 477.4 Filter controls pag. 497.5 Evelope 1 and 2 controls pag. 497.6 LFO 1 and 2 controls pag. 517.7 Velocity controls pag. 52

SampleTank multi-effects unit pag. 538.1 SampleTank multi-effects unit pag. 538.2 Effect List pag. 53Slot 1 pag. 53

EQ/Comp pag. 53Slot 2-5 pag. 53Reverberation and Delay pag. 53

Reverb pag. 53Ambience pag. 53Reverb Delay pag. 54Spring Reverb pag. 54Delay pag. 54

Filters pag. 54Filter pag. 55Envelope Filter pag. 55Multi Filter pag. 55Wah-Wah pag. 56

Modulations pag. 56Chorus pag. 56Multi Chorus pag. 56Phaser pag. 56AM Modulation pag. 56FM Modulation pag. 56Flanger pag. 57Envelope Flanger pag. 57

Panning pag. 57Auto Pan pag. 57Tremolo pag. 57Rotary Speaker pag. 57

Distorsion pag. 58

Chapter 6

Chapter 7

Chapter 8

I - Contents 9

Lo-Fi pag. 58Distortion pag. 58Phonograph pag. 58Crusher pag. 59Overdrive pag. 59

Amp simulation pag. 59Pre Amp pag. 59Tone Control pag. 59Cabinet pag. 60

Mix/Master pag. 60Param EQ pag. 60Channel Strip pag. 60Compressor pag. 60Limiter pag. 61

Dance pag. 61Slicer pag. 61

8.3 BPM linked effects pag. 61

Automation pag. 639.1 Automating parameters pag. 63

Tips and Tricks pag. 6510.1 Polyphony and CPU usage pag. 6510.2 Get the most our of your SampleTank pag. 65

Support pag. 67

Chapter 9

Chapter 10

Chapter 11

II - Interface10

Plug-In Sample Workstation

II - Interface 11

III License Agreement12

License AgreementEND-USER LICENSE AGREEMENT FOR SampleTank software

Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and containswarranty and liability disclaimers.

By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions of this agreement and you acknowledgeyour acceptance of the software as well as your acceptance of the terms of this agreement. If you do not wish to do so, do not break the seal. Instead,promptly return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.

1) DEFINITIONS

EULA means this end user license agreement.

SampleTank software means the software program included in the enclosed package, and all related updates supplied by IK Multimedia.

IK Multimedia Product means the SampleTank software and the related documentation and models and multimedia content (such as animation,sound and graphics) and all related updates supplied by IK Multimedia.

Not for resale (NFR) Version means a version of IK Multimedia Product, so identified, is intended for review and evaluation purposes, only.

2) LICENSE

The IK Multimedia Product is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties.The IK Multimedia Product is licensed, not sold.

This EULA grants you the rights as specified here below. All other actions and means of usage are reserved to the written permission of the right holderIK Multimedia Production srl:

Applications Software. The IK Multimedia Product may be used only by you. You may install and use the IK Multimedia Product, or any prior versionthereof for the same operating system, on up to three (3) computers, provided that (a) each computer is owed by (or leased to) and under the exclusivecontrol of the licensee; (b) the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with IK Multimediasoftware installed shall not be sold, rented, leased, loaned or otherwise be removed from the licensees possession without first removing (uninstalling)the licensed software, except as provided in Paragraph 4 (below) pertaining to Software Transfer.

Storage/Network use. You may also store or install a copy of the IK Multimedia Product on a storage device, such as a network server, used only toinstall or run the IK Multimedia Product on your other computers over an internal network; however, you must acquire and dedicate a distinct licensefor each user of the IK Multimedia Product from the storage device. Any given license for the IK Multimedia Product may not be shared or used con-currently or otherwise on different computers or by different developers in a given organization.

3) AUTHORIZATION CODE

The IK Multimedia Product only functions when you are in the possession of an authorization code. You will receive an authorization code upon com-pleting the authorization code request procedure. Once your authorization code is activated, you may use the product.

You agree to follow the authorization code request procedure and will provide true, accurate and complete information about yourself. If you provide anyinformation that is untrue, inaccurate, not correct or incomplete, or IK Multimedia has reasonable grounds to suspect that such information is untrue,inaccurate, not correct or incomplete, IK Multimedia has the right to suspend or to revoke the license.

The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer, decompile, or disassemble the IK MultimediaProduct, except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation of components. The IKMultimedia Product is licensed as a single product. Its component parts may not be separated for use on more than one computer.

Not for Resale Version. If the IK Multimedia Product is labeled Not for Resale or NFR or Evaluation Copy, then, notwithstanding other sectionsof this EULA, you may not sell, or otherwise transfer the IK Multimedia Product.

Rental. You may not rent, lease, or lend the IK Multimedia Product to any party.

Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any IK Multimedia product, as licensed to youunder this agreement without prior written consent of the rights owner. The carrier on which the IK Multimedia product has been distributed may betransferred or otherwise made available to any third party only with the prior written consent of the rights owner and provided that (a) the originalmedia and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.

III License Agreement 13

5) UPGRADES

If the IK Multimedia Product is labeled or otherwise identified by IK Multimedia as an upgrade, you must be properly licensed to use a product iden-tified by IK Multimedia as being eligible for the upgrade in order to use the IK Multimedia Product.

An IK Multimedia Product labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or supplements the product that formed thebasis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the terms of this EULA. If the IKMultimedia Product is an upgrade of a component of a package of software programs that you licensed as a single product, the IK Multimedia Productmay be used and transferred only as part of that single product package and may not be separated for use on more than one computer.

6) DUAL-MEDIA SOFTWARE

You may receive the IK Multimedia Product in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to anotheruser, except as part of the permanent transfer (as provided above) of the IK Multimedia Product.

7) LIMITED WARRANTY

IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original pur-chase, that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operationof the program as described in the enclosed user documentation.

8) WARRANTY CLAIMS

To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, yourname, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copyof the dated purchase receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will use reasonablecommercial efforts to repair or replace the product and return it to you (postage prepaid) or issue to you a credit equal to the purchase price, at its option.

9) LIMITATIONS ON WARRANTY

IK Multimedia warrants only that the program will perform as described in the user documentation. No other advertising, description or representation,whether made by a IK Multimedia dealer, distributor, agent or employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIADISCLAIMS ANY WARRANTY THAT THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF MERCHANTABILITY SHALLBE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED.IK MULTIMEDIA SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF IK MULTIMEDIA IS ADVISED OF ORAWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FORTHE LOSS OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA OR USE OF THE SOFTWARE, OR FROM ANYOTHER CAUSE EXCEPT THE ACTUAL COST OF THE PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THISPRODUCT.

10) CHOICE OF LAW

You agree that any and all claims, suits or other disputes arising from your use of the software shall be determined in accordance with the laws of Itay,in the event IK Multimedia, is made a party thereto. You agree to submit to the jurisdiction of the court in Modena, Italy for all actions, whether in con-tract or in tort, arising from your use or purchase of the software.

11) GENERAL

This Agreement contains the complete agreement between the parties with respect to the subject matter hereof, and supersedes all prior or contempo-raneous agreements or understandings, whether oral or written. All questions concerning this Agreement shall be directed to:

IK Multimedia Production srlVia DellIndustria 4641100 ModenaItaly

1 - SampleTank14

SampleTank 2: Plug-In Sample Workstation

1 - SampleTank 15

SampleTank

Introduction

SampleTank is a revolutionary sample-workstation which combines 3sophisticated sampler/synth engines with high quality multisampledsounds into a plug-in instrument. A killer combination with sequencers likeCubase, Logic, ProTools, DigiTal Performer, Sonar, etc which arecompatible with plug-in instruments.

No other hardware or software synth/sampler lets you browse throughhundreds of the highest-quality natural and synthesized sounds, of thewidest range, with one click, select them in a flash, and have them ready foryou to play in a fraction of the usual time. Tons of professional high-qualitysounds are included with the software, and as such are immediately at yourdisposal.

You have hundreds of sounds, ready to go. Superb Acoustic Grand Pianos,Guitars, Basses, Strings, Orchestral Sounds, Drums and Percussions madewith the finest samples and accurately programmed. SampleTank offersthe widest selection of hi-quality playable sounds with a variety you cannotfind anywhere else!

Just plug and play!

What is SampleTank

SampleTank is a polyphonic, multitimbral, sample-workstation withmulti-effects units and proprietary sound banks, all combined together intoa unique plug-in instrument. SampleTank uses samples as oscillatorwaveforms but the synth engine is much more flexible than conventionalhardware samplers. This makes SampleTank more like a complex work-station than a traditional sampler, with 32-bit floating-point processing ofsuperior quality.

To use SampleTank youll need a MIDI sequencer compatible with plug-ins (or alternatively a plug-in host). An adequate audio card (with low-latency drivers) and a master-keyboard are strongly recommended to play itlike a hardware musical instrument.

Whats new in SampleTank 2

3 synth enginesFor the first time in a sample-based instrument, 3 synth engines can beselected on the fly to provide more sound flexibility than ever before: tradi-tional Resampling (the conventional method of playback that most sam-plers use), Pitch-Shift/Time-Stretch and our all new STRETCH engine.STRETCH (Sampletank Time REsynthesis TeCHnology) gives completesonic control over the tempo, pitch and harmonics of samples. No more"chipmunk sounding" transposition, no more loops and phrases out of sync,no more limitations in musical expression.

Chapter 1

1.1

1.2

1.3

1 - SampleTank16

Multisamples like youve never heard before with STRETCHMultisampled instruments with STRETCH deliver amazing realism andexpression. Your performances come to life with true glide, bending, stac-cato and vibrato with an incredibly rich, vibrant, and natural quality. Plus,pushing STRETCH to the limit can take you to a whole new world ofunheard sonic territories.

Loops become playable instrumentsThe Pitch-Shift/Time-Stretch function allows to sync any loop to thesequencer tempo and to sync various loops together with a single click!Slow the tempo of loops down to zero without affecting the pitch or haveyour loop tuned or singing by changing its pitch in real time without chan-ging its tempo. Play loop phrases with chords in sync and run them throughfilters and effects for the first time in a virtual instrument. OnlySampleTank 2 allows you to use loops as an instrument with unlimitedexpression.

Easy to control 50 parameters synthSampleTank 2 allows full and easy access to more than 50 new synth-engine parameters including multi-mode filters, envelopes, LFOs and morefor your own patch creation. All of these packed into a musician friendlyinterface with everything you need right at your fingertips.

An effects powerhouseSampleTank 2 is the only sample-based virtual instrument to have over30 high quality DSP effects built-in to the module. With 5 effects per instru-ment channel, the ability to sound like a produced album instantly setsSampletank 2 apart from all other virtual instruments. Included areeffects from our award winning AmpliTube and T-Racks plug-ins, plus12 stage phasers, flangers, chorus, delay, reverb, rotary, tremolo... all savedwith the sound for instant recall!

16 layerable multitimbral partsA streamlined interface complete with light-speed control overSampleTank's 16 multitimbral parts - Instant access to MIDI channel,Solo, Mute, Polyphony, Volume and Pan.

Fully expandableSampleTank 2 allows you to import WAV, AIFF, SDII samples, AKAIS1000-3000 and SampleCell instruments directly from the plug-in. Plusthere are currently more than 5,000 native Sampletank sounds availablefrom select world-class sound designers including Sonic Reality, AMG andMasterbits.

Save and exchange song data using the same soundsWith SampleTank 2 you can save every setting for making your ownexclusive patches and presets. Exchange sounds and SampleTank 2 ses-sions in any sequencer, Mac or PC, giving you the ability to collaborate andwork on any system.

1 - SampleTank 17

Full MIDI controlEvery parameter in SampleTank 2 is MIDI controllable for optimal inte-ractive performance. From MIDI program change to full automation andtotal recall, SampleTank 2 delivers the performance features musiciansneed the most.

Instantly compatible with every platformSampleTank 2 is available for Mac0S9, Mac0SX and Windows,VSTi, DXi, RTAS, MAS and Audio Units all from the same box.

Features

Summarized here are SampleTanks 2 main features:

- 16 parts multitimbral sound module with layerable parts.- New mix view and full mix parameters control.- 3 synth engines: new STRETCH and Pitch-shift/Time-stretch plus

traditional Resampling.- New enhanced instrument browsing.- New total sound editing with full access to 50 Synth-Sampler engine

controls.- New Portamento feature for added realism.- New Loop Sync feature for precision and flexibility.- New Zone feature for single sample accurate editing.- Now with 32 built-in DSP effects.

- EQ/Comp.- Reverb, Spring Reverb, Ambience, Reverb Delay, Delay.- Filter, Envelope Filter, Multi Filter, Wah-Wah.- Chorus, Multi Chorus, Phaser, AM Modulation, FM Modulation,

Flanger, Envelope Flanger.- Auto Pan, Tremolo, Rotary Speaker.- Lo-Fi, Distortion, Phonograph, Crusher, Overdrive.- Pre Amp, Tone Control, Cabinet.- Parametric EQ, Channel Strip, Compressor, Limiter.- Slicer.

- Now capable of 5 effects per voice.- Easy to use full MIDI control.- Now responds to MIDI Program change.- Now imports WAV, AIFF, SDII, AKAI S-1000/3000 and SAMPLE-

CELL directly from the plug-in.- New user preset and module save features.- Convenient back up function.- Customizable keywords and sound search function with integrated

sounds database.- 256 notes polyphony.- Customizable display colors.- Available as VST, RTAS, DXi, AU, MAS.- For MacOS9, MacOSX, Windows 2000/XP.

1.3

1 - SampleTank18

2 - Using SampleTank 19

Using SampleTank

2.1 Starting SampleTank in Cubase VST and Cubase SX

Launch Cubase. Open the VST Instruments Panel by pressing F11 or byselecting it from the Panels menu (VST) or from the Devices menu (SX). TheVST instruments rack will open. Click on any of the empty slots (where itsays No VST Instruments) and select SampleTank2 from the list. Now clickon the Edit (VST) or e (SX) button to open the SampleTank 2 interface.

Now create a new MIDI track in the main arrange window and selectSampleTank2 as its output, rec enable the track and youre ready to play.It you were already working on some midi tracks and you would like to haveSampleTank2 play these parts simply assign SampleTank2 as their outputwithout creating any new MIDI tracks.SampleTank2 is 16 channels multitimbral; select the MIDI channel youwant to use from the Cubase midi track chn parameter.

Starting SampleTank in Logic Audio

Launch Logic Audio. Create an Audio Instrument track or select one if yourdefault song already has some. Go to the Mixer and insert SampleTank2 onthat track from the VST sub menu (PC or Mac OS 9) or from the AudioUnitssub menu (Mac OS X), SampleTank2 will be launched.Double click on the loaded slot (blue) to open the SampleTank2 interface.Return to the Arrange window, select the Audio Instrument track and nowyou can play from your midi keyboard.

16 parts multitimbral usage in Logic:Due to the way Logics Audio Instrument tracks are made, the midi channelselection you apply in the arrange window is forced to be the same for allthe tracks that uses the same Audio Inst. It is anyway possible to useSampleTank2 with more than one channel (up to 16) by selecting all in themidi channel field of the Audio Instrument and selecting the midi channelon the various tracks events.This can also be achieved by switching the transmit midi channel on yourmidi keyboard when you record your parts.

Starting SampleTank in ProTools

Launch ProTools and create your new session. Note that SampleTank2 sup-ports sample rates up to 96 KHz. Going beyond is not advisable, although itis still possible.Create a stereo Audio track (do NOT rec enable it), open the mixer, click onan insert and choose SampleTank 2 from Multichannel RTAS plug-ins list,the SampleTank 2 interface will automatically open.Now create a Midi track, record enable it, and choose one of the 16 channelsof SampleTank 2 as its output from the Mixer window, youre now readyto play.

Chapter 2

2.1

2.2

2.3

2.4

2.5

2 - Using SampleTank20

On some systems a quick play/stop is needed to activate the audio strea-ming and therefore the sound from the plug-in.

As SampleTank 2 is an RTAS plug-in it can be inserted into Audio tracksonly on TDM systems. If youre working with ProTools LE (Digi 001, Digi 002,MBox and other non-TDM systems) then you can insert SamlpleTank2 intoa stereo AUX track. This is convenient in order to save Audio tracks.

Starting SampleTank in Digital Performer

Mac OS 9:Launch Digital Performer and create your new session.Create a Stereo Audio Track (do NOT rec enable it) and, in the mixing board,insert SampleTank 2 into it as an audio effect the SampleTank 2 inter-face will automatically open. Create a Midi track and choose one of the 16channels of SampleTank 2 as its output, rec-enable the midi track andyou're ready to play/record.

Mac OS X:Launch Digital Performer (4.1 or newer) and create your new session.From the 'Project' menu select 'Add Track' > 'Instrument Track' and choose'IK Multimedia SampleTank 2 stereo'. Create a Midi track and choose oneof the 16 channels of SampleTank 2 as its output, rec-enable the miditrack and you're ready to play/record.

Starting SampleTank in Sonar

Launch Sonar and create your new session using, for example, the normaltemplate.Open the Console (pressing ALT+3) and locate an Audio track, make sure itsstereo (default). Right click into the FX insert area (black) of the AudioTrackon the mixer and choose SampleTank 2 from the DXi sub-menu. (.fromthe VSTi sub-menu) After a while the SampleTank 2 interface will appear.

Now locate a Midi track on the Mixer, record enable it, select SampleTank2 1 as its output and the midi channel youre going to use for thisSampleTank part SampleTank 2 has 16), youre now ready to play fromyour keyboard.If you need to record the part do NOT record enable the audio track whereSampleTank 2 has been inserted, instead record enable the Midi Track.

2.6

2 - Using SampleTank 21

Loading and playing instruments

The selection and loading of instruments has been greatly enhanced inSampleTank 2.

The available instruments are displayed at the center of the SampleTankinterface in the BROWSER window (figure 1). The scrollable list of instru-ments has been enlarged to accomodate 16 instruments and also to reflectthe number of available instruments you can simultaneously load in aSampleTank 2 module (16 parts).

The BROWSER list of folders and instruments reflects the same folders andinstruments organization of the hard disk folder where your sounds arelocated. This folder is called the root folder and its location is stored in theSampleTank 2 PREFERENCES (which you can access and change byclicking the PREF button) (figure 2).

Folders are indicated with a white triangle (figure 3). To open a folder, clickon its name in the list or on the triangle. Opened folders display the list ofavailable instruments. To close a folder, re-click on its name or on the trian-gle.

To load an instrument in SampleTank simply double-click on it. It will beloaded on PART 1 (if its the first to be loaded) (figure 4).

All the SampleTank 2 parameters on the interface will now reflect thoseof the loaded parts.

The MIX window (figure 5) allows you to load up to 16 SampleTankinstruments per module, every instrument will be loaded into a PART. Toselect the PART where you want to load an instrument simply click on thePART number or in the middle of the part window.

Once a part is selected the instrument will be loaded into that part. If thepart already contains an instrument, the newly loaded instrument willreplace the previous one (you can UNDO this operation with the UNDO but-ton).

Every PART responds to a MIDI channel (CH.) (figure 6). By clicking anddragging on the CH. number of each PART you easily select the MIDI chan-nel that this PART responds to.

Assigning the same MIDI channel to more than one PART will have all thePARTs responding to the same MIDI channel for building up to 16 partshuge layered sounds.

You can now play the instrument using a master keyboard connected to thesequencer, using a MIDI sequence in the track or by playing theSampleTank 2 mini-keyboard. MIDI activity in the PART is indicated by

fig. 1

fig. 2

fig. 3

fig. 4

fig. 5

fig. 6

2 - Using SampleTank22

the PART led which lights when MIDI is received on that PART (figure 7).

Once an instrument is loaded into a PART the image of the LIBRARY whichthe instrument belongs to will appear on the right side of the interface. ByClicking on the LIBRARY Image further information will be displayed suchas instrument info, copyright info, MACRO controls info (if those are inclu-ded in the instrument) (figure 8).

One or more pre-defined effects will be loaded and displayed in theEFFECTS section of the SampleTank 2 interface. You may also notice theMACRO controls and the SYNTH-SAMPLER controls are updated accordingto the loaded sound.

Controlling instruments: the MIX window

All the controls included in the MIX window are designed to give you imme-diate control over your mix of instruments.

Here you have several controls at your disposal:

- You can change the MIDI channel associated to that PART.

- You can SOLO and MUTE instruments (figure 9).

- You can see the amount of RAM that the instrument is using (MB). Byclicking on the MB button at the top you can also display the entireamount of RAM used by all the loaded instruments (figure 10).

- You can set the maximum polyphony for each specific instrument (byclick and dragging the mouse on the POLY number).

- You can EMPTY the PART with the empty button (figure 11).

- You can control VOLUME and PAN of each specific PART (figure 12)(by clicking and dragging the mouse on the VOL and PAN number).

- You can associate through which STEREO OUT that part is playing(the max number of stereo outputs is set in PREFERENCES by clickingthe PREF button) by clicking and dragging the mouse on the OUTnumber (figure 13).

- You can see the level of the instrument playing with the LEVELdisplay (figure 14).

fig. 7

fig. 8

fig. 9

fig. 10

fig. 11

fig. 13

fig. 14

fig. 12

2.7

Chapter 3

3.1

3.2

3.3

3.4

3 - Controlling SampleTank 23

Controlling SampleTank

OCTAVE transpositionOnce an instrument is loaded it can be quickly transposed by +-2 octaves, in1 octave increments, by clicking on the OCTAVE button. By clicking the but-ton a pop-up menu will appear where you can select the octave trasposi-tion. Once the pop-up-menu is closed,the button is displayed the currentsetting.

POLY/MON0/LEGATOThe POLY/MONO/LEGATO button (figure 15) switches the current instru-ments between polyphonic, monophonic and monophonic with legato. Youcan select one of this mode clicking on the button and selecting one in thepop-up menu. Once the pop-up-menu is closed in the button is displayedthe current setting.

In monophonic with legato (LEGATO) it is possible to control the PORTA-MENTO time (the time of the blending between the notes) with the PORTA-MENTO TIME knob from 1mS to 10 Sec.

MACRO controls section

The MACRO controls (figure 16) are up to four parameters, specific to eachinstrument, chosen by the sound designer to offer the user an immediateway to affect the sound and tailor it to his needs. An orchestra needs diffe-rent parameters than a drum, which again needs different parameters thana synth.

These four parameters, from left to right, A, B, C and D, will display differentlabels according to the instrument they are associated with. A completedescription of the A, B, C, D parameters can be found by clicking on theLIBRARY image several times.

Inactive knobs (those without a linked parameter) are shaded in gray. Youcan modify sound parameters immediately after loading the instrument byturning the MACRO A, B, C, D knobs accordingly.

All MACRO parameters can be controlled through MIDI control change (seeparagraph 3.9).

SYNTH-SAMPLER section

SampleTank 2 give you full control of its powerful synth engine in thenew SYNTH-SAMPLER section. Here you can control more than 50 parame-ters divided into 7 sections. Although the SampleTank 2 engine offersgreat complexity, the user is facilitated by seeing the engine parameterspresented as they would be using a traditional synth architecture with oscil-lators, although sample based, (figure 17) plus the ability to switch between3 different types of sample engine.

fig. 15

fig. 16

3 - Controlling SampleTank24

Synth here is where you select the synth engine type, from:Resampling, Pitch-Shift/Time-Stretch/STRETCHHere is where you perform Time and Pitch manipulation.

Envelope 1 Amplitude (Volume) envelope controls.Envelope 2 Pitch & Filter envelope controls.

Filter LPF, BPF, HPF filter with selectable slope: 6, 12 or 24 dB/Oct.

LFO1 5-waveforms LFO useful to modulate Volume, Pitch & Filter.LFO2 5-waveforms LFO useful to modulate Volume, Pitch, Filter &

Pan.

Velocity Here you can control the way the midi velocity affects thesound, modifying the way it affects Volume, Filter, Pitch, etc.

To display one of these sections simply click the appropriate button (figure18). The section youre currently displaying will have the button highligh-ted.

You can edit all instruments parameters in the SYNTH-SAMPLER section byadjusting the Knobs of this section once youve loaded an instrument. Eachof the 16 instruments you can load in SampleTank2 can have differentSAMPLER-SYNTH settings.Your modification will be kept when the song session youre working issaved. You can also SAVE these modifications into an INSTRUMENT PRESET(see paragraph 5.1).

All SYNTH-SAMPLER parameters can be controlled through MIDI control

fig. 17

fig. 18


change (see paragraph 3.10).

For more information about SampleTank 2 SYNTH SAMPLER section seechapter 7.

EFFECTS section

Each SampleTank 2 instruments can be programmed with 5 effects each.The effects are displayed in the effects slots (figure 19). The 1st effect slotcontains always an EQ, compressor. The other 2-5 effect slots can containone effects choosen from among 32 DSP effects.

To view the list of available effects once youve loaded an instrument, clickon the arrow at the right in each of of the 2-5 effects slot (figure 20). A pop-up menu will appear displaying all the 32 DSP effects which are availablein SampleTank 2 (figure 21).

Now move the selection with the mouse and click on an effect to load it. Theselected effect name will now show in the effects slot (figure 22). To emptyan effects slot, simply select the NO EFFECT option.

To view and change each effects parameters, click on the desired effectsslot. A frame will appear around the slot indicating that effect is selected(figure 23). Only the selected effect will be shown on the interface at anytime. The effect knobs are labeled corresponding to the effects parameters.The unused knobs will be shaded in gray. Above each effect knob you canread a label corresponding to its function. Below the effect knob is its cur-rent value.

To activate an effect, click on its ON button to the right (figure 24). The but-ton is highlighted(figure 25) and the effect is active. All active effects areinserted in the instrument chain following a patch order from top to bottomof the effect window. To deactivate an effect, click on the ON button again todeactivate the effect. The button will turn normal.

You can BYPASS all effects at once (i.e to hear the sound dry) by clicking onthe BYPASS button (figure 26). You can also LOCK into SLOTS effect preven-ting them to change when a new instrument is loaded. This way you canprevent instrument settings of effects overriding your own settings.

The tempo-related effects in SampleTank 2 can also be synced to BMP ofthe sequencer (when the sequencer allow this function). In this case theeffects will also present a BPM ON/OFF switch (figure 27). When switchedON the effects will be linked to sequencer tempo (and its measure unit willturn to division of the beat).

You can also save multiple or single effects settings and Load these settingswith the SAVE MULTI, SAVE and LOAD button (figure 28). The effects set-tings are saved as .STFX file. A dialog window will appear when you click

3.5

fig. 19

fig. 20

fig. 21

fig. 22/23

fig. 24/25 fig. 26

fig. 27 fig. 28

3.6

3.7


one of these buttons asking for saving or loading files.

As with the sound parameters, effect parameters can be controlled throughMIDI control change (see paragraph 3.10).

MINI Keyboard

SampleTank 2 new MINI keyboard (figure 29) act both as display of thenotes youre playing and as an input device for playing SampleTankinstruments.

You can play any notes of the 7 octave mini keyboard simply by clicking thenote with the mouse.

You can also play chords directly with one click by selecting which chordyou want to play with the CHORD button. A pop-up menu will display themost common type of chords (figure 30). Selecting one of these (it will bedisplayed in the button) will cause the chord will be automatically playedwhen the mouse is clicked on any of the MINI keyboard notes (figure 31).

ZONE control

By clicking the ZONE button you will switch into the ZONE mode (figure 32).The MINI keyboard will display how the samples are mapped on the key-board by a series of zones of alternate color. When the keys show no colorit means that no sample is associated with those keys.

To activate a zone simply click on it with the MINI keyboard (figure 33) orhitting the corresponding key on your midi keyboard. By doing this you canchange any of the SYNTH-SAMPLER parameters just for this zone (you canfor example change only the attack of a snare sample in a drum kit). Thesesettings will be applied ONLY to that specific zone, leaving the othersuntouched.

The ZONE editing is very powerful and extremely detailed because it offersyou control at the sample level. As for all the others instrument parameters,you can also SAVE zone modifications into an INSTRUMENT PRESET (seeparagraph 5.1) for faster access.

fig. 29

fig. 32

fig. 30

fig. 31

fig. 33


LOOP sync

In SampleTank 2 syncing loops to the sequencer tempo or syncing variousloops together is as easy as a simple click.

Simply load into a part one of the loops which came with the XL collectionand click the LOOP SYNC button (figure 34). Automatically the loop will besynced with the sequencer tempo (when using sequencers that allow thisfunction). Now, even if you change the BPM tempo of the sequencer, theLOOP will remain synced!

To sync various loops together, at sequencer tempo, simply load each oneinto separate parts and click SYNC LOOP for each of these parts.

All the three synth engines provided can be used in conjunction with theLOOP SYNC feature, select your preferred one in the SYNTH-SAMPLER sec-tion (figure 35). Each one of them will provide different characteristics byusing the PITCH or TEMPO knobs:

ResamplingWill Sync loops and also the Pitch is affected when Tempo is changed (figure36). This is the method used by conventional samplers, it changes at the sametime both the pitch and the tempo of a sample, as turntables do. It offers the clea-nest possible sound, since it simply reads the samples slower or faster, withoutapplying any complex math on the sound.

Pitch-Shift/Time-StretchWill Sync loops, offering independent controls on Tempo and Pitch and thePitch is NOT affected when the Tempo is changed (figure 37). This is the bestengine to use on loops (which generally are constructed from a mix ofvarious elements).

STRETCHSTRETCH can also sync loops providing independent controls on Tempoand Pitch (and Harmonics) (figure 38) and the Pitch is NOT affected when

3.8

fig. 34

fig. 35

fig. 36

fig. 37

fig. 38

3.9


Tempo is changed. However STRETCH works best with single instrumentsand not mix of instruments; therefore it can be used when the LOOP is madewith a riff or a phrase made by a single instrument. On unpitched sound(like percussion) STRETCH can produce weird (but interesting) results.

Its important to know that to perform LOOP SYNC, SampleTank 2 mustknow the loops BPM, and it will detect this information from:

- the instrument name - the instrument keywords

It will first scan all the keywords and in case the BPM information is mis-sing the name of the sample will be considered as a source for the value.

A 3-digit number either in the name or in the keywords will be consideredthe LOOPs BPM (figure 39). All the loop sounds produced by IK Multimediaalready contain this info in the instrument. You can insert the BPM of yourown loops adding a keyword to your instrument (see paragraph 4.1) clickingon the USER KEYWORD field.

Also dont forget to insert the BPM (which will be added as a keyword)when you import external loops (see paragraph 6.1) to perform immediatelythe LOOP SYNC function on them later.

To apply the LOOP SYNC features to more than one instrument simulta-neously with a single click, simply activate GLOBAL SYNC in the PREFE-RENCES window (see paragraph 3.11).

MID CTL association

While SampleTank 1 had fixed MIDI control association, SampleTank 2has implemented a new extremely flexible method. You can now associateany MIDI CTL (MIDI controls) to any SampleTank 2 knob, to fully controlyour SampleTank 2 with hardware controllers and keyboards.

A different MIDI CTL association can be created for any of the 16SampleTank2 parts.

The procedure to associate MIDI control is as follows:

1) click on the MIDI CTL button (figure 40)2) click on any of the knobs you want to automate (figure 41)3) a pop up window will be displayed with the name of the knob parame-

ter and a field for associating the MIDI CTL written N/A (not available)(figure 42)

4) click and drag on this field to change the MIDI controller number (figure 43)which you want this knob will respond

5) to de-associate a MIDI CTL from a knob simply select the N/A(not avai-lable) value on it.

fig. 39

fig. 40

fig. 41

fig. 42

fig. 43

3.10

3.11


In the window you will also find the min./max. value of the knob youreassociating. You can easily personalize the range to be controlled with anexternal MIDI CTL by changing the min/max. value.

MIDI CTL association are saved with your song data as all the soundstweaks you may have done.

If you want to SAVE with the sound a specific MIDI CTL association, you cansave a USER PRESET sound (see paragraph 5.1). This way loading the soundwill automatically load its MIDI CTL assocation.

You can associate any kind of hardware controls to SampleTank 2 para-meters this way. Note that for compatibility with SampleTank 1 CCs from 12to 15 are associated to the MACRO knobs (old A, B, C, D knobs inSampleTank 1).

PROGRAM CHANGE association

With SampleTank 2 you can also associate MIDI PC (program change) toany of the sound. Simply click an instrument on the BROWSER and thenclick the PROGRAM CH. button at the top of the list of instruments (figure44). This will display the MID PC association window (figure 45). Simplyclick and drag on the number you see at the side of the instrument name inthis window (from 0 to 127). The N/A value means no association is made.

You will also be able to save the PROGRAM CH. association into a file withthe SAVE MAP button. The LOAD MAP button (figure 46) loads a previouslysaved PROGRAM CH. map.

By associating MID Program Change to the instrument you will be able toproduce your own General MIDI set for playing General MIDI file. Also youcan use PROGRAM CH. to load sounds live by sending a simple PROGRAMCH. to SampleTank 2.

Preferences

Click on the PREFS button (figure 47) to display the SampleTank 2 prefe-rences window.

In the preferences window (figure 48) you can:

- Select the ROOT folder for your SampleTank instruments.

- Select to automatic RELIST the instruments browser window.Allow you to switch off auto relist at start up, this can be useful to greatly speed up the SampleTank 2. start-up which could take sometime in case you have a very large set of instruments on your hard drive. If the automatic relist at startup is turned off SampleTank2 willstart quickly and will show an instrument list created relying on a

fig. 44

fig. 45

fig. 46

fig. 47

fig. 48

30 3 - Controlling SampleTank

cache file previously created. This means any change in the structureof the istruments wont be shown in the Instrument Browsing window. To manually update the instruments list simply click the button RELIST. This can be pressed at any time to be sure the list is up-to-date.

- Activate GLOBAL SYNC. This preference allows to use the SYNC-LOOPonly once for all the loops loaded in the parts. They all will be syncedwith one click when GLOBAL SYNC is activated.

- Activate the number of supported outputs according to the sequencerplatform. A slider allows you to select the number of stereo outputs tobe used by the module. This number may vary among the platforms.Once the slider is set to a value youll be able to set the desired out-put pair to the sequencer Mixing desk from the mix area, but onlyafter closing and reopening SampleTank 2. This is becauseSampleTank 2 declares how many outputs it will put on the mixerat the startup.

The maximum number of outputs available is 16 but it may be lower depen-ding on various platforms limitations.

All the information included in the preferences is also stored in theST2Pref.txt file as well as other info. The ST2Pref.txt file can be found here:

Windows: ST2Pref directory relative to install directoryMac OS9: ST2Pref directory in extensions folderMacOSX: IKMultimedia\SampleTank2\ST2Pref directory relative to

users preference directory

The file contains:

AkaiImportPath= the path where AKAI CD programs have been con-verted last time

SampleExtractPath= the path where AKAI CD samples have been con-verted last time

SampleImportPath= the path where the samples have been imported lasttime

Color= the color of the SampleTank 2 displayLuminosity= the luminosity of the SampleTank 2 displaySaturation= the saturation of the SampleTank 2 displayFirstRun= used to detect if this is the first run of the plug-inFlatVelocity= velocity value when velocity setting is set to flatGlobalSync= GLOBAL SYNC activated/deactivatedInstrumentPath= the path where the SampleTank instruments are

installedReload= RELIST at start-up activated/deactivatedRegID= authorization codeSerial= serial number


VstOutputs= max. number of output in VST (1-8 stereo outputs)AUOutputs= max. number of output in Audio Units (1-8 stereo out

puts)BrowseUp= midi note number thats assigned to the browse UP

(notes from 0 to 127, -1 means disabled, Arrow UP, see 3.12)

BrowseDown= midi note number thats assigned to the browse DOWN (notes from 0 to 127, -1 means disabled, Arrow DOWN, see3.12)

Other controls

RELISTThe RELIST button (figure 49) allows you to refresh the list of sounds. It isuseful when sounds are copied manually in the ROOT folder while the plug-in is opened. Clicking RELIST produce a refresh of the list, including the newsounds.

SampleTank 2 automatically performs a RELIST at start-up (unless this isdeactivated from the PREFERENCES window to reduce program start-uptime) and each time an Instrument user preset is saved.

Arrow UP-DOWNThese 2 arrows (figure 50) allow you to switch between the sounds andautomatically load them into the currently selected part. These 2 buttonsare by default associated to the midi keys C0 and D0, respectively so thatyou can select and load sounds from your midi keyboard.To change this assignment or disable it you will need to manually changethe ST2Pref.txt file (see 3.11)

Volume and PanYou can set the Volume and Pan of each single instrument using the Volumeand Pan knobs.

COL/LUM/SATThis 3 knobs (figure 51) allow you to change the dominant color of theSampleTank 2 interface. The COL knob will switch among colors, LUM willcontrol luminosity and SAT saturation, so you can fine-tune the aspect ofSampletank 2 to your own preference.

Information (i)By clicking on the I button, the credit interface will be displayed. Clickinganywhere on the credit interface will return to normal mode.

Keyboard modifiersYou have some keyboard modifiers which allows you to fine controlSampleTank 2 knobs:

- for finer adjustment of any parameter hold down the CTRL key while drag-

3.12

fig. 49

fig. 50

fig. 51

32

ging the knobs

- clicking on any knob while holding the ALT key will cause the control tojump to its default.

3 - Controlling SampleTank

Chapter 4

4.1

4.2

4 - Organizing instruments 33

Organizing instruments

SampleTank 2 immediately provides thousands of different instruments.Due to the sheer quantity of sounds, organization and accessibility becomeessential factors for the professional user.

SampleTank answers this concern with two complementary ways ofaccessing files: a search function and user-defined categories.

Keywords and User Keywords

All SampleTank native and converted instruments have a set of hiddenkeywords which can be used to locate any instrument directly.

Each SampleTank sounds can contain to up to 32 hidden keywords whichhave been incorporated by the sound-designers. In addition to these fac-tory-keywords, with SampleTank 2 the user can add up to 8 userkeywords by clicking on the USER KEYWORDS field (figure 52).A pop up window will display (figure 53) asking you to insert the userkeywords separated by commas (,). After closing the window the userkeywords will be displayed in the USER KEYWORDS field.

User keywords are particularly useful for personal searches or for insertingthe BPM of loops in order to use the LOOP-SYNC function.

Search function

To begin a search, click on the SEARCH field (figure 54). A pop-up windowwill open asking for your search keywords (figure 55). You can insert mul-tiple keywords separated by commas (,). When you click OK all the instru-ments whose set of keywords match the current search will be immediatelydisplayed in the instruments list (figure 56). You can load any of them,without further browsing.

By clicking RELIST you will be returned back to the ROOT folder level. Youcan use up to 32 different keywords at a time; all must be separated by com-mas. Using more keywords further refines the search, meaning that only theinstruments containing ALL the keywords will be displayed.

Examples of searchable keywords:

60s, 70s, 80s, accordion, acoustic, afro, agogo, alto, ambience, ambient,analog, asian, B3, bandoneon, bass, bassoon, bd, BDs, bell, berimbao,blues, bongo, bpm, brass, british, brush, cabasa, cello, choir, chord, cho-rus, church, clarinet, classic, classical, clavi, conga, contralto, country,cowbell , cuica, d'n'b, D'n'B , dance, darabuka, distorted, DJ, djembe,doumbek, drive, drum, drum'n'bass, dub, echo, effects, efx, electric,electronic, ethnic, female, ff, fingered, flanger, flute, FM, fretless, funky,fusion, fuzz, FX, glockenspiel, gong, groove, guiro, guitar, harmonica,

fig. 52

fig. 53

fig. 55

fig. 54

fig. 56

4 - Organizing instruments34

harp, hi-hat, hihat, hip-hop, horn, house, indian, industrial, jazz, jungle,loop, male, natural, nylon, oboe, octave, orchestra, organ , oriental ,pad, pandeiru, percussion, pizzicato, r'n'b, recorder, reggae, repinique,rock, sax, saxophones, shaker, slap, snare, snares, spanish, staccato,string, strings, surdo, synt, synth, tabla, tamborine, tampura, tanta,techno, tenor, timbale, timpani, trance, tremolo, trombone, trumpet,viola, violin, voice, wind, wood, woodwind.

You do not need to type your keywords every time: you can define a list ofshortcuts, allowing you to effect a search with a single click. This is espe-cially useful to organize your sounds in readily accessible categories per-fectly tailored to your work and projects.

To create a search shortcut, do the following: once youve performed thedesired search, click on the SAVE button (figure 57). Youll record the cur-rently listed keyword(s) as a new user-defined category. Now click on thearrow on the right of the SEARCH field. The categories pop-up menu willshow all user-defined categories (figure 58). Move the selection with themouse and click on the keyword of your choice to begin searching. You cansave up to 10 different search categories. Saving more will overwrite theoldest saved search.

When the user-defined category is no longer required, you can remove itfrom the list.Click on the DELETE button (figure 59) to cancel the current user-definedcategory.

Instruments location

A SampleTank instrument is made of three essential files:

- .STH containing the instrument name and description- .STI containing the instrument program- .STW containing the instrument waveforms

As already mentioned - by default all the SampleTank instruments areplaced in the following directory tree:

- SampleTank Instruments (root folder)

During installation, all of the .STH and .STI files and .STW files will be pla-ced in the aforementioned folder. You can change the ROOT folder at anyti-me by pointing to another folder in the PREFERENCES window (figure 60)by clicking the BROWSE button.

To remove an instrument you can manually remove it from the ROOT folder,taking care to remove all of its 3 files.

4.3

fig. 57

fig. 57

fig. 58

fig. 60

4 - Organizing instruments 35

Managing sound organization

Knowing how SampleTank keeps track of its instruments, you can nowmove, duplicate and regroup them (and their folders) at will; using any filemanager in your system. Just remember, when you make changes to aninstrument, to make them equally to all three instrument files, and to clickRELIST in case the automatic relisting is disabled in the SampleTank2 pre-ferences. They must be moved together or the instrument will not work cor-rectly.

You can also act directly on the directory path. For example you can organi-ze your instruments outside of the default folder, or have more than oneSampleTank Instruments folder and switch between them.

In this case, remember that you need to select where the instruments folderis located, by means of the ROOT preferences; or SampleTank wont findthe instruments. As soon as you change the ROOT preferences by selectingyour new root folder, your personal instrument list will be displayed in theinterface.

Even if you've changed the instruments organization of the root folder afterusing them on a song, these will be always loaded when you re-load thesong containing those instruments associated to the song's tracks.

You can even keep the instruments folder over a network of computers inorder to have different computers able to access to a single instruments fol-der, having SampleTank loading instruments from the network.

SampleTank instruments format are also multi-platform . This way instru-ments can be freely shared by Macintosh and Windows machines withno problem.

4.4

4 - Organizing instruments36

Chapter 5

5.1

5.2

5.3

fig. 62

5 - SampleTank save function 37

SampleTank save function

Save and work with Preset Instruments

In SampleTank 2 you can edit the sound at will and save it as a UserPreset sound. To do this you need always to start from a parent soundwhich is a sound with waveform data (like a native SampleTank sound oran imported sound). This is the reason why User Preset sounds are also cal-led child sounds. Simply load a sound into a part, edit it in the SYNTH-SAMPLER, EFFECTS, ZONE, etc.. sections and then click SAVE on the USERPRESET area (figure 61).

A dialog window will appear asking to name the sound (figure 62). Whenyou click OK, you will see that the parent sound now have a small blacktriangle and the User Preset sound name will appear below the Parentsound (figure 63). The black triangle is collapsible, you can close/open it byclicking on it, and allowing you to save as many as presets of a parent soundas you want and displaying them at will.

When a USER PRESET sound is created, a file with .STIP extension is madeinto the folder of related the Parent Sound. Distributing .STIP files to userswhich own the same Parent sounds allows for USER PRESETS to be exchan-ged among SampleTank 2 users.

USER PRESET can also be deleted by clicking on the DELETE button in theUSER PRESET area and renamed with the RENAME button (figure 64).

Save Module

You can also save the entire SampleTank 2 module set-up in a MODULEPRESET.

A MODULE PRESET can be used to save a complete set of SampleTankinstruments or complex multilayered sounds.

By Clicking the SAVE module button (figure 65) a dialog window will ask togive a name to your module preset. By clicking on the MODULE NAMEdisplay a pop-up menu will appear (figure 66) showing all available MODU-LE PRESET. Simply choose one from the menu list and it will be loaded inSampleTank 2. You can also SAVE AS or DELETE MODULE presets.

The MODULE PRESETS file are saved by default to the folder SampleTank 2Presets, which path its relative to the program installation directory..

Back-up function

The back-up function allows you to produce a back-up folder where all theinstruments data (used in the current SampleTank 2 instance) will be pla-ced. Simply click on the BACK UP button and a dialog window will ask youto select or make a folder (figure 67). All of the data of the instruments used

fig. 61

fig. 64

fig. 65

fig. 66

fig. 67

fig. 63

5 - SampleTank save function38

in this SampleTank 2 instance will be copied to this folder, including even-tually made User Presets.

The back-up function is very useful when archiving songs and closing ses-sions, ensuring that all instruments used by SampleTank 2 for that parti-cular session will be easily retrieved.

It also allows you to have several producers working on a project and easilysharing the same materials.

6 - Importing instruments in SampleTank 39

Importing instruments in SampleTank

Import sounds in SampleTank 2

SampleTank 2 can import WAV, AIFF and SDII samples and AKAI S1000-3000 in Mac and PC and SampleCell instruments in Mac.

You can import a single file for loading a loop or multiple files to build yourown multisampled banks. Sampletank 2 accepts mono and stereo WAV,AIFF and SDII sounds at 22-96Khz, 16-24 bit and with loop-points.

To import sounds in SampleTank 2 click on the IMPORT button (figure 68),a pop-up menu will open asking you to select from the various formats(SAMPLE, AKAI S1000-3000, SAMPLECELL) (figure 69). Select one formatand the corresponding dialog window will appear (figure 70).

Import samples and loops in WAV, AIFF and SDII

Click on the IMPORT button and choose SAMPLES from the popup menu.Now Sampletank 2 will prompt you for a folder selection, here you needto select the folder that contains the samples you want to import.

Important: the samples cannot be individually selected here, this dialog isonly used for selecting a folder that contains the audio files.

Once the folder has been selected you will be presented with the SampleConversion window:

- To select the samples to be converted simply check the checkboxes youfind on the right of the names (figure 71).- To select them all at once select the checkbox at the very top, the one whichselects the entire folder.

To hear a preview of the samples from here click the PLAY button. Click itagain to stop the sound (its name will change to STOP while playing).

Chapter 6

6.1

6.2

fig. 68

fig. 69

fig. 70

fig. 71

6 - Importing instruments in SampleTank40

Root notesSampleTank 2 has a powerful system that can automatically span all thesamples on the keyboard just knowing which is the root note of the singlesamples. This allow for a lighting fast instrument creation procedure, and atthe same time, avoid the necessity of long and tedious graphical adjustmentof all the zones.

- If you select just one sample then the default root note will be C4 but youcan change it by typing a different note value in the ROOT NOTE filed.

- If you select more than one sample then the samples will automaticallybe spanned on the keyboard with equal spacing taking the root notes fromthe name of the samples or from the Wav internal saved data, accordinglyto what its selected on the ROOT NOTE FROM selector.

NAMEUse this to automatically span the samples on the keyboard taking the rootnotes from the names of the samples. For example, if you have 4 piano sam-ples you might call them:

- my piano c2.wav- my piano c3.wav- my piano c4.wav- my piano c5.wavIn this case SampleTank2 will automatically span the samples on the key-board by recognizing the c2, c3, c4, c5 portions of the names you gave.This way having even the most complex keyboard spanning done its a bree-ze.

SAMPLEUse this when you want SampleTank 2 to obtain the root notes by lookingat the internal WAV or AIFF data chunk saved by some applications, forexample the slices saved by Recycle are called 001, 002, 003, 004 etc.. butthe correct root notes are stored in the Wav chunk.

Velocity SplitsSampleTank 2 allow for complex automappings both for the Root Notes(as we mentioned above) and for Velocity Splits.Up to 8 velocity splits are allowed.

If you select VELOCITY FROM NAME ON then the system will automaticallyhandle setting all the velocity splits points for you by just looking at thename of the samples. The convention in this case is: wherever in the nameenter a v followed (without spaces) by a velocity number. This number willbe considered by SampleTank2 as the top velocity value that sampled willbe assigned to.


So, for example:

trombone c2 v32.wav, will be mapped from velocity 0 to 32trombone c2 v80.wav, will be mapped from velocity 33 to 80trombone c2 v127.wav, will be mapped from velocity 81 to 127

And another example:

Lets say you have 8 piano samples, 4 piano and 4 forte and youre goingto create your own multisampled instrument of this Piano, with velocitysplit.

You might name the 8 files in this way:

1. my great piano c2 v64.wav2. my great piano c3 v64.wav3. my great piano c4 v64.wav4. my great piano c5 v64.wav5. my great piano c2 v127.wav6. my great piano c3 v127.wav7. my great piano c4 v127.wav8. my great piano c5 v127.wav

The first 4 samples will be mapped from 0 up to 64, the other 4 from 65 to127.

The Sample Conversion window allows for entering some additional datawhich might be very useful in SampleTank 2, once the instrument will beconverted.

NAMEType here the name of the SampleTank 2 instrument youre going to crea-te.

BPMEnter the value of the BPM, if you know it, of the loops youre importing.This is useful for the SampleTank 2 LOOP SYNC feature. Entering the BPMvalue in this field will make this value encoded into the instrument forever,and this will ensure that the LOOP SYNC feature will always work properly.If this value is not entered then SampleTank 2 will try to identify the BPMfrom the name of the instrument.

TITLEYou can enter here the title of the Library youre converting from. This infowill appear on the SampleTank 2 interface in the Library picture area.

COPYRIGHTYou can enter here the copyright information of the samples youre conver-ting.


INFOA short notepad for useful information regarding the samples youre con-verting, this info will appear on the SampleTank 2 interface in the Librarypicture area.

KEYWORDSAdd here, separated by a comma, all the keywords you want to associate tothe instrument youre creating (up to 30). This will make the SEARCH func-tion inside SampleTank2 to work successfully on this instrument.

Once the fields are filled you can proceed with the creation of the instru-ment, selecting the destination clicking on BROWSE. If you want the newlycreated instrument to be immediately accessible of course youll need toselect a destination thats inside your SampleTank Instruments Root Folder.Now click CONVERT and the instrument will shortly be created, and auto-matically highlighted on the SampleTank 2 BROWSE window.

Import AKAI S1000-3000

Click on the IMPORT button and choose S1000-3000 from the popup menu(figure 72).

- Mac: SampleTank2 will ask for an AKAI S-1000 or S-3000 CD and the CDROM drive will open.

- Windows: youll be prompted for a drive selection, select the CD ROM drivewhere you have inserted the AKAI CD.

As soon as the CD tree has been scanned the AKAI CD CONVERSION win-dow will appear, showing the CD partitions on the left.

In order to browse the CD content and select which Programs you want toconvert click on the small triangles on the left of the partitions names. Thiswill open the partitions and will display the volumes.

Now open the volumes too and youll see all the programs contained insi-

6.3

fig. 72


de, followed by all the samples contained in that volume. You can now clickon the checkboxes on the right to select the program (or programs) youwant to convert, you can also select samples and in this case a newSampleTank 2 instrument with default settings will be created.

Note that if you select a single program you will be able to enter a new,more comfortable, name that will be assigned to the SampleTank 2 instru-ment. If you select multiple programs then the names will automatically bethe same of the AKAI programs because its not possible to specify all ofthem with a single field.

As you may have noticed that selection checkboxes are also present nearVolumes, Partitions and even on the entire CD: this allows for multiple con-versions of ALL the programs present in the selected Volumes, Partitions orin the entire CD.

While browsing the AKAI CD is always possible to hear a preview of thesamples selecting one and clicking on the PLAY button. Click it again to stopthe sound (its name will change to STOP while playing).

Also the AKAI Conversion window allow for entering some additionaldata which will be very useful in SampleTank2, once the instrument will beconverted & created.

NAMEType here the name of the SampleTank2 instrument youre going to create,this is only active converting a single program, not doing multiple conver-sions.


TITLEYou can enter here the title of the Library youre converting from.

COPYRIGHTyou can enter here the copyright information of the samples youre conver-ting.

INFOA short notepad for useful information regarding the samples youre con-verting.

KEYWORDS


Add here, separated by a comma, all the keywords you want to associate tothe instrument youre creating (up to 30). This will make the SEARCH func-tion inside SampleTank 2 to work successfully on this instrument.

Once the fields are completed you can proceed with the creation of theinstrument, selecting the destination clicking on BROWSE. If you want thenewly created instrument to be immediately accessible of course youllneed to select a destination thats inside your SampleTank Instruments RootFolder.

Now click CONVERT and the instrument will be created shortly, and auto-matically highlighted on the SampleTank 2 BROWSE window.

Tip: SampleTank 2 allows for assigning multiple parts to the same MIDIchannel. This way you can multiple-convert those CDs where parts of theentire instruments are divided in multiple programs but should play, onceloaded, on the same channel. For example there are many great Drum KitsCDs where there are separate programs for Kicks, Snares, Hi-hats and so on.With SampleTank 2 you can load, once converted, the Kick, Snare, Hi-hat,Toms, Cymbals programs on the part 1, 2, 3, 4, 5 assigning the same midichannel to all the parts. This way youll be able to play the whole kit withthe same track, using separated programs, and being even able to apply dif-ferent SampleTank 2 effects on the various pieces of the kit.This can be very useful also with orchestral sample CDs.

Import SampleCell

SampleCell conversion of both programs and banks works only onMacintosh since most of the SampleCell CDs are Mac-formatted. Click onthe IMPORT button and choose SampleCell Inst from the popup menu ifyou want to convert Programs (or Instruments) (figure 73).

Click on the IMPORT button and choose SampleCell Bank from the popupmenu if you want to convert Banks in this case SampleTank 2 will automa-

6.4

fig. 73


tically convert all the Instruments that refers to the Bank(s) youre conver-ting (figure 74).

Now SampleTank 2 will prompt for a folder selection, here you need toselect the folder that contains the SampleCell programs or banks youwant to import.

Important: the programs or banks cant be individually selected here, thisdialog is only used for selecting a folder that contains the items you want toconvert.

Once the folder has been selected you will be presented with theSampleCell Conversion window. You can now select using the checkboxon the right all the Programs or Banks you want to convert.

Also the SampleCell Conversion window allows for entering some addi-tional data which will be very useful in SampleTank 2, once the instru-ment will be converted & created.

NAMEType here the name of the SampleTank 2 instrument youre going to crea-te, this is only active converting a single program, not doing multiple con-versions or converting SampleCell Banks.


TITLEYou can enter here the title of the Library youre converting from.

fig. 74


COPYRIGHTYou can enter here the copyright information of the samples youre converting.INFOA short notepad for useful information regarding the samples youre con-verting.

KEYWORDSAdd here, separated by a comma, all the keywords you want to associate tothe instrument youre creating (up to 30). This will make the SEARCH func-tion inside SampleTank 2 to work successfully on this instrument.

Once the fields are filled you can proceed with the creation of the instru-ment, selecting the destination clicking on BROWSE. If you want the newlycreated instrument to be immediately accessible of course youll need toselect a destination thats inside your SampleTank Instruments Root Folder.

Now click CONVERT and the instrument will be created shortly and auto-matically highlighted in the SampleTank 2 BROWSE window.

7 - SYNTH-SAMPLER controls 47

SYNTH-SAMPLER controls

Resampling controls (figure 75)

PITCH: controls the tuning of the samples by applying Resampling.Increments are in semitones and range is +/- 3 octaves.

FINE: controls the tuning of the samples by applying Resampling.Increments are in cents and range is +/- 1 semitone.

BENDER: controls the tuning deviation given by the pitch bender wheel.Increments are in semitones and range is +/- 2 octaves.

Pitch-Shift/Time-Stretch controls (figure 76)

PITCH: controls the tuning of the samples by applying Pitch Shifting.Increments are in semitones and range is +/- 3 octaves.

FINE: controls the tuning of the samples by applying Pitch Shifting.Increments are in cents and range is +/- 1 semitone.


TEMPO: controls the speed of the samples by applying Time-stretching.Default is 100% which means same speed of the original, range is from 10to 1000% (1/10 to x10 the original speed).

OVERLAP: controls the amount of data thats mixed between the Time-stret-cher grains. Adjust this parameter to your taste, depending on the nature ofthe sample youre going to Time-stretch.

STRETCH controls (figure 77)

Chapter 7

7.1

7.2

7.3

fig. 75

fig. 76

fig. 77


Activating the STRETCH engine for the first time will make SampleTank2 pre-analyze it. This will take some time, depending on the size of the sam-ples. Once the pre-analysis has been completed it will be stored so that itcan be readily available for future sessions.

STRETCH can be very useful because it allows for a number of featuresthat were simply not possible with conventional samplers:

-- cchhaannggiinngg tthhee ttiimmbbrree ooff aaccoouussttiicc iinnssttrruummeennttss,, eevveenn rraaddiiccaallllyy

-- ppllaayyiinngg oonn tthhee kkeeyybbooaarrdd ssaammpplleedd pphhrraasseess iinn cchhoorrddss,, wwhhiillee mmaaiinnttaaiinniinnggtthhee ssaammee TTEEMMPPOO oonn aallll tthhee cchhoorrdd nnootteess

-- sslloowwiinngg ddoowwnn oorr ssppeeeeddiinngg uupp ssaammpplleedd pphhrraasseess wwiitthhoouutt cchhaannggiinngg tthhee ppiittcchhaanndd oorr tthhee ttiimmbbrree

-- sslloowwiinngg ddoowwnn oorr ssppeeeeddiinngg uupp nnaattuurraallllyy ccyycclliinngg iinnssttrruummeennttss,, ssuucchh aassoorrggaannss wwiitthh rroottaarryy ssppeeaakkeerr oorr iinnssttrruummeennttss wwiitthh vviibbrraattoo,, wwiitthh ccoonnttiinnuuiittyy

-- sslloowwiinngg ddoowwnn oorr ssppeeeeddiinngg uupp ttiimmee--eevvoollvviinngg iinnssttrruummeennttss oorr pphheennoommeennoonnssuucchh aass ssttaaccccaattoo ppllaayyiinngg,, oorr nnaattuurraall rreevveerrbbeerraattiioonn

-- ppllaayyiinngg vveerryy rreeaalliissttiicc gglliiddeess oorr ppoorrttaammeennttooss oonn aaccoouussttiicc iinnssttrruummeennttss

-- mmaakkiinngg ssiinnggllee--ssaammppllee iinnssttrruummeennttss aabbllee ttoo ccoovveerr aa vveerryy wwiiddee rraannggee oonn tthheekkeeyybbooaarrdd wwiitthhoouutt bbeeccoommiinngg uunnrreeaall ((aanndd ssoo mmaakkiinngg ssiinnggllee nnoottee oonnee sshhoott--ssaammpplleess,, wwhhiicchh ccaann bbee uunniiqquuee oorr lliimmiitteedd aavvaaiillaabbiilliittyy ssaammpplleess,, ffiinnaallllyy uussaabblleeffoorr yyoouurr mmuussiicc))

-- hhaavviinngg aa ssaammpplleedd pphhrraassee ttoo ssiinngg ((wwiitthh tthhee hheellpp ooff tthhee mmoonnoo--lleeggaattoo ffeeaa--ttuurree)) tthhee nnootteess yyoouu nneeeedd aanndd nnoott tthhoossee ooff tthhee oorriiggiinnaall pphhrraassee

-- aanndd.... mmaannyy mmaannyy ootthheerrss!!

PITCH: controls the tuning of the samples by applying STRETCH resynthe-sis. Increments are in semitones and range is +/- 3 octaves.

FINE: controls the tuning of the samples by applying STRETCH resynthe-sis. Increments are in cents and range is +/- 1 semitone.


TEMPO: controls the speed of the samples by applying STRETCHresynthesis. Default is 100% which means same speed of the original,range is from 10 to 1000% (1/10 to x10 the original speed).

HARMONICS: controls the tuning of the samples, therefore the global


Timbre of the samples, by applying STRETCHrResynthesis. Incrementsare in semitones and range is +/- 2 octaves.

Filter controls (figure 78)

TYPE Selects the filter mode:

- LPF: low pass filter, attenuates high frequencies leaving lows passingthrough.- BPF: band pass filter, attenuates both high and low frequencies allowing mids to pass through.- HPF: high pass filter, attenuates low frequencies leaving highs passing through.

SLOPE Selects the slope or steepness of the filter:

- 6: roll off is 6 dB per octave (1 pole)- 12: roll off is 12 dB per octave (2 poles)- 24: roll off is 24 dB per octave (4 poles)

FREQ: Controls the Cutoff frequency of the filter, expressed in Hz.

RES: Controls the Resonance or Q of the filter. Its active for 12 and 24dB/Oct filters, not for 6 dB/Oct.

Envelope 1 and 2 controls

Envelope 1 (figure 79)

Envelope 1 is used to control the amplitude or volume of the samples play-back.

ATTACK: Controls the time the sound will take to reach the nominal levelonce the key is pressed.

HOLD: Controls the hold time of the amplitude envelope, useful to keep thelevel steady for a certain time before it starts to fall down to the sustain

7.4

7.5

fig. 78

fig. 79


level.

DECAY: Controls the decay time of the amplitude envelope, its the time thevolume will take to reach the sustain level.

SUSTAIN: Controls the level of the sustained portion of the sound (while themidi key is kept pressed).

RELEASE: Controls the time the sound will take to disappear completelyonce the key has been released.

LEVEL: Controls the master level of the Amplitude envelope. Useful to glo-bally increase or decrease the level of an instrument or of a single sample(when ZONE editing is on).

Envelope 2 (figure 80)

Envelope 2 is used to control the Tuning (pitch) of the samples and/or thefrequency of the Filter.

ATTACK: Controls the time the Pitch and / or Filter freq will take to reach thenominal value once the key is pressed.

HOLD: Controls the hold time of the Pitch / Filter envelope, useful to keepthe Pitch or Filter freq steady for a certain time before it starts to fall downto the sustain value.

DECAY: Controls the decay time of the Pitch / Filter envelope, its the timethe Pitch and / or Filter freq will take to reach the sustain value.

SUSTAIN: Controls the Pitch of Filter freq of the sustained portion of thesound (while the midi key is kept pressed).

RELEASE: Controls the time the Pitch or the Filter freq will take to return tonominal value once the key has been released.

FILTER: Controls the depth of the Envelope 2 intervention over the Filter.The center of the knob is 0 and at this value there is no Envelope 2 modula-tion to the Filter. Range is from 10 to +10, so modulation can be positiveand negative.

PITCH: Controls the depth of the Envelope 2 intervention on the Pitch of thesamples. The center of the knob is 0 and at this value there is no Envelope

fig. 80


2 modulation to the Pitch. Range is from 6 to +6, so modulation can bepositive and negative.

LFO 1 and 2 controls

LFO1 (figure 81)

WAVE: Selects the waveform of the LFO1, can be: Triangle, Square, Saw,Sine or Random (sample and hold).

SPEED: Controls the speed or rate of the LFO1. Expressed in Hz.

DEPTH: Controls the master level of the LFO1

DELAY: Controls the time the LFO1 takes to reach the nominal modulationvalue after a key is pressed.

LEVEL: Controls the effect the LFO1 has on the Level (Volume) of the sam-ples, useful to create Tremolo or Fading effects.PITCH: Controls the effect the LFO1 has on the Pitch (Tuning) of the samples,useful to create Vibrato effects.

FILTER: Controls the effect the LFO1 has on the Filter Cutoff frequency.

FREE RUN: Selects if the LFO starts its run when the key is pressed (FreeRun=OFF) or if it is always running (Free Run = ON).

LFO2 (figure 82)

WAVE: Selects the waveform of the LFO2, can be: Triangle, Square, Saw,Sine, Random (sample and hold).

SPEED: Controls the speed or rate of the LFO2. Expressed in Hz.

DEPTH: Controls the master level of the LFO2

LEVEL: Controls the effect the LFO2 has on the Level (Volume) of the sam-

7.6

7.7

fig. 81

fig. 82


ples, useful to create Tremolo or Fading effects.

PITCH: Controls the effect the LFO2 has on the Pitch (Tuning) of the samples,useful for creating Vibrato effects.

FILTER: Controls the effect the LFO2 has on the Filter Cutoff frequency.

PAN: Controls the effect the LFO2 has on the stereo panning of the samples.

Velocity controls (figure 83)

CURVE: Selects the velocity response of the selected part. Default is NOR-MAL; other values are Comp1 and 2 which are compressed, Exp1 and 2which are expanded.

AMP: Controls the effect that MIDI velocity has over the Volume of theinstrument.

FILTER: Controls the effect that MIDI velocity has over the Filter Cutoff fre-quency.

PITCH: Controls the effect that MIDI velocity has over the Tuning of the sam-ples.

RES: Controls the effect that MIDI velocity has over the Filter Resonance orQ.

LFO1 DEPTH: Controls the effect that MIDI velocity has over the LFO1strength.

ENV2 SUSTAIN: Controls the effect that MIDI velocity has over the value ofthe Envelope2.

7.7

fig. 83

8 - SampleTank multi-effects unit 53

SampleTank multi-effects unit

SampleTank multi-effects unit

SampleTank contains an integrated multi-effects engine (figure 84)which offers high quality DSP effects giving the maximum flexibility, crea-tivity and realism to all the instruments. All the effects are top-class andhave been designed with sound-shaping in mind.

In SampleTank there are four slots for the insertion of effects (for each ofthe 16 instruments which can be opened in a single SampleTank module).These may contain preset effects which are part of the instruments. You canchange and re-assign effects among those provided with SampleTank atwill.

Each effect is customizable through a series of parameters linked to aneffect knob. All effect knobs are also MIDI-controllable and can be automa-ted in your sequencer.

Effect list

There are one fixed plus four customizable effect slots in SampleTank 2(figure 85) . The first slot is dedicated to EQ/COMP while in each custom slotthe user can open one of the 32 DSP effects available. You can now insertthe same effect in more than one slot.

Slot 1

EQ/Comp (figure 86)

Equalization and compression are applied by default on the first slot. Thiseffect features a semi-parametric EQ and an easy-to-use compressor. Bothunits feature very high quality giving an extremely well sounding equaliza-tion and an analog-style compression.

- LOW GAIN: boosts/reduces low frequencies. This is a low shelving filter.- MID FREQ: adjusts the center frequency.- MID GAIN: boosts/reduces middle frequencies. This is a wide bell filter.- HIGH GAIN boosts/reduces high frequencies. This is a shelving filter.- COMP: applies compression.

Slot 2-5:

REVERBERATION AND DELAY

Reverb (figure 87)Reverb Delay (figure 88)Ambience (figure 89)

Chapter 8

8.1

8.2

fig.84

fig.85

fig.86

fig.87


The reverbs included in SampleTank add reverberation and ambience to thesound, creating spatial depth from large halls to small rooms. All the 3Reverb and Reverb Delay:

- TIME: sets the length of the reverberation.- COLOR: sets the reverberation tonal character, from dark to bright.- DENSITY: sets the number of reflections generated by the reverb.- SIZE: sets the size of the virtual chamber thats being emulated.- LEVEL: adjusts the mix between dry and wet signals.

Ambience:

Produces a very short reverb, useful for emulating the ambience typical ofsmall closed spaces, like studio rooms or little concert suites.

- TIME: sets the length of the reverberation.- SIZE: sets the size of the virtual chamber thats being emulated.- LEVEL: adjusts the mix between dry and wet signals.

Spring Reverb (figure 90)

This reverb sounds very close to a real mechanical spring unit, with all thewarmth they have but with that typical metallic and resonant vibe. Thisreverb is mono.

- TIME: sets the length of the emulated virtual spring, giving shorter orlonger reverb tails.

- LEVEL: adjusts the mix between dry and wet signals.

Delay (figure 91)

Delay is an effect that adds echoes to the sound.

- MODE: you can choose from simple mono delay to a sophisticated multitapped stereo delay.

- FEEDBACK: sets the number of echoes that the effect produces .- DELAY: sets the amount of time between the echoes.- LEVEL: adjusts the mix between the dry and wet signals.- BANDWITH: sets the bandwidth of the echoes, raising the knob will

give a sound similar to one of the old analog or tape delay units.

FILTERS

These effects apply various types of filters to the sound by cutting some por-tions of the audio spectrum. These are resonant filters, which gives to theeffects a character similar to the one of some old synthesizers.

fig.88

fig.89

fig.90

fig.91


Filter (figure 92)

In this filter FX the Cutoff frequency can automatically sweep by the effectof a built-in LFO. The LFO can sync with the BPM of the song.

- FREQUENCY: specifies the frequency at which the filter begins to atte-nuate.

- RESONANCE: emphasizes the overtones in the region of the cut-off fre-quency. This gives a particular, vintage character to the sound, espe-cially if used with 4 pole low pass filter.

- DEPTH: the filter cut off frequency can sweep automatically by theeffect of the envelope of the signal thats passing through. This controlsets the amount of modulation.

- SPEED: sets the speed of LFO modulation.- MODE: sets the type of filter. You can choose from various types, low

pass, band pass and high pass. They all are available in three differentslopes, from a very natural and pleasing 1 pole to a techno 4 pole.

Envelope Filter (figure 93)

In this filter FX the Cutoff frequency can automatically sweep by the effectof the envelope of the audio signal passing through it.

- FREQUENCY: specifies the frequency at which the filter begins to atte-nuate.

- RESON ANCE: emphasizes the overtones in the region of the cut-off fre-quency. This gives a particular, vintage character to the sound, espe-cially if used with 4 pole low pass filter.

- DEPTH: the filter cut off frequency can sweep automatically by theeffect of the envelope of the signal thats passing through. This controlsets the amount of modulation.

- MODE: sets the type of filter. You can choose from various types, lowpass, band pass and high pass. They all are available in three differentslopes, from a very natural and pleasing 1 pole to a techno 4 pole.

Multi Filter (figure 94)

This is a particular kind of filter where instead of selecting the type of filter(LPF, BPF or HPF) you can use them all together with independent levels.

- CUT OFF FREQ: controls the Cutoff frequency of the filter.- RESONANCE: controls the Resonance of the filter.- DISTORTION: controls the amount of distortion the filter will produce.- LP GAIN: controls the level of the Low Pass section of the filter.- HP GAIN: controls the level of the High Pass section of the filter.- BP GAIN: controls the level of the Band Pass section of the filter.- NOTCH GAIN: controls the level of the Notch section of the filter.- LEVEL: controls the global output volume of the filter

fig.92

fig.93

fig.94


Wah-Wah (figure 95)

This effect simulates a typical wah-wah guitar pedal.

- WAH: sets the cut off frequency of the wah effect. Use it (via midi con-troller) to manually create wah wah effects.

- AUTO: when turned up the wah effect can work as an auto-wah, movingits center frequency automatically. The movements are detected fromthe original signal amplitude.

MODULATIONS

Chorus (figure 96)Multi Chorus (figure 97)

SampleTank comes with two different types of chorus. The first is a clas-sic stereo chorus which adds space and depth to the sound. The second is aspecial type with a random pitching character. The first gives a sense ofmodulation, the second is designed to be less regular and noticeable.

- DEPTH: sets the amount of pitch shifting generated by the chorus.- SP

sampletank 2 manual

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