This text is a subset of the manual of "Samplitude-Pro II".

This demo-version of Samplitude is public domain, it can be
used as a free player for samplitude-ram-projects and
virtual projects with amiga-sound.

prices: 
Samplitude-Pro II - 399.- DM, upgrade from Samplitude-MS: 199.- DM
Samplitude-SMPTE  - 499.- DM, upgrade from Samplitude-MS: 249.- DM

For information or to order write to:
SEK´D, T.Herberger & T.Tost
Zschertnitzer Str.41
01219 Dresden, Germany
EMail CompuServe 100116,2352

For first test-results load the virtual-project "Haendel...VIP"
and start playback with <Space> key. Toggle AMIGA-audio filter
with the <f> key and maninpulate sample-parameters with <p>.

To change language to english choose menu "Einstellung > Sprache
> english".

Attention! Samplitude needs req.library in libs:

1.1  SEK'D software

SEK'D, the Studio für elektronische Klangerzeugung Dresden,
emerged from Dresden conservatory's electronic studio founded in
1984.
One permanent centerpiece has been the development of innovative
AMIGA software tailor-made for the demands of musicians and music
lovers. All programs allow active multi-tasking and thus
complement each other outstandingly.
Our most successful piece of software is Samplitude. It is the
basis of sampling, disk recording, and MIDI sample processing
with AMIGA computers. The easily learned intuitive surface of
Samplitude is esteemed in particular since it permits even
beginners quickly to utilize many professional features.
Junior versions of Samplitude and of the MIDI sequencer,
favourably priced and convertible into professional versions
whenever desired, are destined for beginners and younger computer
freaks in particular.
Our MIDI sequencer MIGNON offers MIDI recording with up to 40
tracks and a wide range of editing. If needed, the sequencer can
response to SMPTE which means synchronization with tape recorders
or video films. The Master Keyboard Controller supplied together
with the professional sequencer version is a program mainly
destined for use by live players. It makes every MIDI keyboard a
master keyboard with fascinating facilities: 8 split zones, 16
setups, dynamics and scaling curves with freehand drawing,
"intelligent" functions for detecting various playing
techniques...
If these live actions still seem insufficient, control MIGNON,
the Master Keyboard Controller, and many other functions remotely
with the IAS Interactive System in a performance - by musical
action only.
Graphic composing is possible with the Graphics Sequencer
software. Graphics made with a usual drawing program become music
in real time mode, notes played are immediately visible as
graphics on the screen...

You will understand that SEK'D offer you a lot in the field of
music software. Let us hope that you, too, will be satisfied with
our programs and have a lot of pleasure by computer music.

1.2  New features of version 2.0

This section is mainly destined for users of former Samplitude
versions 1.xx. It introduces in short the essential novelties of
the present version. The user will thus understand where thorough
reading is worthwhile.
-A fragmented memory is utilized since Samplitude internally
operates with a block structure. A RAM "parcelled out" can then
be employed up to its full range.
-Complete support of Maestro Professional and Toccata boards made
by MacroSystem.
-Real HD recording with the boards mentioned above.
-HD playback on all AMIGAs with hard disk and processor from
68020 (A 1200-HD) through AMIGA sound (12-bit quality).
- Virtual editing and time-line-editing, f.e. 4 Tracks in
CD-quality (only Samplitude-ProII)
-Mixed use of RAM and HD projects.
-The clip is a full project (open through ESC).
-Data can be inserted from the clip into projects with different
sampling resolutions (automatic matching).
-Importing and sampling need no new project to be opened.
-More than ten ranges and locator points can be defined.
-Any desired number of projects.
-Projects can be hidden.
-Project and range managers for representing and activating all
projects/ranges opened.
-Backward playing (sample parameter P).
-Virtual memory Vmem can be utilized.
-Enormous acceleration of functions in Cutting and Editing menus
by fast integer arithmetics.
-SMPTE and MTC-Synchronisation to videorecorders and multitrack-
tapes

1.3. What can Samplitude do?

Samplitude is obviously not the first sampling program for Amiga,
but it differs from the other programs by the possibility of
editing different samples with different sampling resolutions.
Any  number of projects can be administered simultaneously in
windows of optional size. This is an easy way of data exchange
between several samples.
Samplitude offers another option: zooming with any depth desired
is not only possible along the time axis (horizontal) but also in
the amplitude range (vertical), an urgent need for higher
sampling resolutions in particular.
Mono, stereo, and quadro samples can be used and converted into
each other.
Samples with higher resolution (9 to 16 bits) can theoretically
be reproduced with quality of up to 14 bits by cascading of the
Amiga's sound channels. Actual audio outputs, however, are
possible with up to about 12 bits. This limitation is the result
of hardware tolerances.
The option of data read-in and saving together with the
pertaining software is destined above all for users of a Maestro
board made by Macro System.
In other cases, IFF, MIDI, and dump files can be imported and
exported.
Up to three different sections per sample can be displayed and
edited at the same time, and any number of ranges (loops) and
locator points per sample can be defined and called in real time
mode.
The majority of functions can be executed in real time mode, i.e.
while playing.
Samplitude supports quite different screen resolutions (such as
PAL, NTSC, Interlace, ECS, AA, and A2024).
Caused by the many display facilities, the free choice of window
sizes, and the processing of different sample resolutions,
Samplitude cannot compose its screen as quickly as programs using
exclusively the display of 8-bit samples in a window of
invariable size. You certainly know the speed difference between
normal word processing and a DTP program...
Samplitude naturally has a temporary memory (clipboard) with
which data from various samples can be cut out, copied, and
inserted. The clipboard content can be permanently displayed.
The data stored in the clipboard are swapped in a file. You can
choose the place of this file (such as RAM disk, hard disk or
floppy disk). If you file the clip data on the hard disk, your
RAM will again be free for more important data.
Samplitude keeps samples also in the fast RAM of Amiga; the chip
memory  will not be utilized before the fast RAM is entirely used
up. Other strategies have been developed to reduce the RAM
demand. One of them is the temporary swapping of projects. On the
other hand, many operations requiring large memory regions are
performed through temporary files, if needed.
Playlists permit sequencer-like functions to be performed.
A sample editor requires relatively few alphanumeric inputs, so
that important function that are usually accessible through menus
can be called into action by keys. Such keys become efficient
already without the right Amiga key being pressed. Thus you can
operate the mouse with your right hand and the keyboard with your
left (or vice versa), and you need not run over the screen with
the mouse pointer between menus and projects or gadgets, a really
troublesome work. There is a successful drawing program with
similar options...
Samplitude-ProII contains a komfortable time-line-editor, wich
makes it possible to edit your multi-track samples
non-destructive like in a DTP-software.
For the same reason, the functions of the positioning gadgets can
be controlled with the cursor keys, in cases of need in
combination with the Shift, Alt or Ctrl keys.
The key assignment is explained in the description of the
individual menu items. A summary of keyboard abbreviations will
be found in the Keyboard assignment annex.

1.4. Hardware needed

For using the Samplitude program you mainly need a Commodore
Amiga computer, no matter whether of type Amiga 500, 500 plus,
1000, 2000, 3000 or 4000. As a matter of principle, Samplitude
can be applied on Amiga computers with 2 Mbytes RAM at least.
However, memory capacities of more than 2 Mbytes are recommended
for the operation with higher sample resolutions and longer
RAM-samples.
The program can be used without hard disk, which, however, should
be available for HD-recording and -playback.
If you want to hear the results of your effort, the audio outputs
of the Amiga computer must be connected to a monitor. A stereo
set is even better.
Better results you get with special audio-hardware, f.e. the
Toccata- or the MaestroPro-board from MacroSystem.
Making samples with the Amiga requires a sound sampler which can
be connected to the parallel port. It can be a sampler that is
compatible with the Audiomaster.
Best sampling-quality you get with the 16-Bit audio-boards
Toccata and MaestroPro (for AMIGA 2/3/4000).
For direct to disk-recording with this boards you need
disk-capacity:
Stereo-16Bit-44.1kHz:   about 10 MBytes
Mono-16Bit-44.1 kHz:   about 5 MBytes
Stereo 8 Bit-22 kHz:     about: 2.5 MBytes
Mono 8Bit-22kHz:         about 1.25 MBytes
For HD-recording you need at least a 68020-Processor (A1200 HD).
For HD-playback of 4 tracks in virtual projects you need at least
a 68030-Processor (A3000, A4000, A2000 with A2630) and a fast
harddisk (>400 KB per second transfer-rate).

...
2.1  The three different project types

Physical projects
In the case of RAM projects, the samples are completely kept in
the AMIGA's main memory. These data are usually saved in the
directory "RAP:" (RAM projects).
It is likewise possible to use the virtual memory (Vmem).
Samples of HD projects are kept in files, most sensibly on hard
or exchangeable disks. Only those parts of samples required
immediately (for display, editing, and playing) are loaded into
the computer's main memory. The pertaining data are usually in
the logical directory "HDP:" (HD projects).

Virtual projects (VIP, Samplitude Professional V 2.0 only)
They are a continuation of the playlists known from Samplitude V
1.xx. They contain a number of sample sections, not actual
samples. Many virtual projects can use samples with different
sampling resolutions at the same time but only with the same
sample rate for playing. Virtual samples permit object-oriented
operation with samples.
The actual audio data is represented in rectangles (so-called
objects) in several samples.
An object is an image of a sample or of a range marked in it.
This is the reason why an object does not contain audio data but
references to the physical sample.
A detailed description of operation with virtual projects will be
found in the section dealing with the Object menu.
The pertaining files are normally in the logical directory "VIP:"
(virtual projects).

3.1.2  Quickstart with Toccata board
(This function is not included in the Demo-version, but you can
learn about the Pro-version...)
The following sections inform users of the Toccata board made by
MacroSystem about the working steps required for getting first
results.
Arrange the board on a free slot of your AMIGA. Suitable details
will be found in the manual of the Toccata board.
Let us assume that you use a cassette recorder or any other audio
source (such as CD player, tuner, microphone). Connect it by
means of a suitable cable with a Toccata input.
You can begin if you have arranged the hardware and successfully
installed Samplitude on the hard disk.
Select from menu item Project > Sampler > Toccata. A window for
some board settings will be visible. We recommend the following
settings for a first test:
RAM       - the available RAM is used for recording.
16 bits        - recording with CD quality.
Stereo         - recording in stereo mode.
Sample rate    - select a sample rate for recording, such as
            44,100 for CD quality.

Use the Control gadget to open the mixer window of the Toccata
board. Now select the correct input to which the input signal is
applied, such as AUX1. Preamplification is also possible; we
recommend a slight emphasis of 3 to 6 dB for LINE level.
The output loudness of the board (output), most sensibly the
maximum, must likewise be set.

Actuate the Level gadget. You will see two modulation displays.
You must here be able to see the exact level If there is a signal
from the audio source. If the source is working but nothing can
be seen, check all connections and the board installation.
Adjust the signal that it does not overmodulate and close the
display window if the pointers move along with the rhythm of the
music.
You can now start recording with the Record gadget. Actuate Stop
after a few seconds. A new window is opened and the recorded
sample shown after this.
For playing your project simply press the space bar. This starts
reproduction, first through the AMIGA outputs. You should make
sure that the AMIGA's audio outputs are connected with an
amplifier, mixer or directly with the monitor speaker.
A few more steps are necessary if you want to get the benefit of
Toccata's full digital quality:
-Select menu item Settings > System and set the Toccata board in
external reproduction.
-Use key p to open the sample parameter window and select EXTN
for external reproduction.
-Make sure that the output of Toccata is connected with an
amplifier, mixer etc. so that reproduction is audible.
-Again start reproduction by means of AMIGA's space bar.
Your sample should now be audible in best quality through
Toccata's audio outputs.
If nothing can be heard, check whether the output level in
Toccata's mixer page has been turned up. This window is
accessible through menu Project > Sampler > Toccata, gadget
Control.

Next should be a test of recording right on the hard disk.

Again select Project > Sampler > Toccata but Disk instead of RAM
in the setting window. This requires correct installation of
Samplitude on the hard disk and availability of the logical path
HDP:.
Clicking on Record makes another requestor for the actual start
of recording visible since the former recording, if any, must be
deleted before, which takes some time for longer samples.
Start recording. A hard disk activity should be noticeable. An
additional time display is visible in the setting window. You
should consider that a one-minute sample requires about ten
megabytes on the hard disk, so that you better end recording in
due time.
Now start sample reproduction with the space bar. Reproduction is
through the AMIGA or Toccata outputs according to settings in the
Sample parameters window.
Your project should now be played directly from the hard disk. If
you detect interruptions or minor discontinuities in playing,
eliminate these faults by proceeding as follows:
-Open item System in menu Settings.
-There you will find the range Play/Record buffer top left. The
buffer HD test is responsible for playing the project from the
hard disk. Increase the value of this buffer, e.g. to 16,384 or
32,768 bytes. Now playing ought to be correct, but more memory
space is required and the cursor follows the current position in
larger steps (the buffer size). The problem is the best possible
compromise between reliability (large buffer) and fast response
(small buffer).
The buffer HD studio is responsible for reproducing playlists and
virtual projects and should have at least the same size as HD
test.
Another setting can be tested if you use a hard disk formatted in
the fast file system (FFS) which ought to be standard: select
gadget Device instead of DOS in Disk access of the same editor.
Thus, Samplitude will have access to the file no longer via the
standard AMIGA DOS routines but directly through the block
structure of the disk. One advantage, among others, is an extreme
acceleration in positioning of a very long file. This setting is
urgently recommended if playlists are made for longer HD projects
since pauses or discontinuities at transit points between the
single ranges will occur and cannot be eliminated even by largest
buffers.
If also reproduction directly from the hard disk is possible
without faults, you can say you successfully mastered the first
problems in operation with Samplitude. Refer to Sections from 3.2
for detailed explanation of single functions.

...
3.2. Range marking

To mark a range, move the mouse pointer to one of the sections
shown and press the left mouse button. Keep the button pressed
and move the pointer in the section. You will see how an inverted
rectangle is represented between the start point and the topical
mouse pointer position. Now release the left mouse button.
The limits of the chosen range appear in the text line below the
title bar.
If you want to mark a different range, click on a position
OUTSIDE the inverted range but INSIDE the section. The old range
disappears, and you can now mark a new range.
If you only want to vary a bound of a range already existing
(i.e. beginning, end, upper edge or lower edge), click with the
left mouse button inside the existing range. Keep the mouse
button pressed and leave the range in the direction of the bound
to be changed. When you have left the boundary line, this edge
(and no other but this) will follow the movement of the mouse
pointer. Release the mouse button when you have reached the
position desired.
This is a way of maintaining appropriate bounds and to change the
desired edge only.
Problems may occur if the entire section is covered by the range
already. Now you have two possibilities:
Either you have another section which is not entirely
superimposed by the range, so that you can click into this
section outside the range and immediately release the button
again. The former range disappears, and a cursor or a very small
range becomes visible. Now you can newly define the desired range
in the original section.
The other way: Simply press keys 1 (Home) or 7 (End) on the
numerical block on the right of the keyboard. These are the
commands for Cursor to Start or Cursor to End. The old range
disappears, and you can now define the new one. (The functions
Cursor to Start or Cursor to End can also be found in the Range
menu.)

...
3.3. Playing ranges

Samples being processed can be made audible if you press the
space bar.
If a range has been defined, it will be played from beginning to
end over and over again. Varying the range changes to playing the
new range immediately.
If nothing but a cursor has been specified, you will hear your
sample from the current cursor position to the end of the sample.
If you first press the Shift key and the space bar in addition,
you will hear your sample from its beginning up to the beginning
of a defined range or cursor. A range, if defined, will be
repeated permanently after this. If a cursor has been defined,
the section between this cursor and the end of sample will be
repeated.
Sample playing can be interrupted by pressing the space bar once
more.
It is very useful that almost all Samplitude functions can be
executed while the sample is played.
You should know that all sample resolutions can be played
immediately. Data are converted in real time mode, i.e. while
playing. This means that the processor is partly occupied by the
conversion of data, so that the capacity for data processing is
reduced. This is certainly no problem if you use an Amiga 3000 
or 4000- it has sufficient computing capacity even in such cases.
It can become somewhat critical if your Amiga is the 500 type.
You can see it by a considerably reduced working speed of the
system. It is advisable to interrupt playing before other
operations are executed.
Short ranges and high sampling rates in particular can overstrain
the system so that the mouse pointer cannot be moved any longer
and the program fails to response to actuation of the space bar.
In such cases press both mouse buttons at the same time to abort
playing.

...
4.3    Object (Samplitude-ProII only)

4.3.1  Virtual projects (VIP)

Virtual projects are probably the most powerful function of
Samplitude-Pro II.
Virtual projects from any number of physical projects (i.e. RAM
and HD samples) can be used for creating a complex arrangement.
All cutting operations are virtual which means that they do not
destroy the original sample. Consequently, the appropriate
cutting position, cutting length etc. can be found by testing
without material being lost.
Even if the available audio hardware can put out two channels
only (stereo mode), operation with more than two tracks in the
virtual project is possible and useful. A stereo project, for
instance, can slowly fade over to another one with the moment of
fading being determined by shifting of the relevant objects.
An AMIGA with processor 68030 can mix four tracks in 16-bit
quality or eight tracks in 8-bit quality to the stereo outputs
and put them out.
A typical screen with a virtual four-track project has the
following layout:

The process of integration of physical samples into a virtual
project is as follows:
-Open a RAM or HD project.
-Mark the entire project as a range (key a) or the range to be
integrated into the virtual project.
-Give the range a name so that the ranges can be discriminated
later on (such as assignment of the range to a function key or by
"Define range -> other").
-Generate a new virtual project by means of the project menu.
-Pull the range from the physical sample into the virtual
project.
-The sample(s) appear(s) in the virtual project on the spot over
which you have released the mouse.

A VIP is in any case somewhat longer than the samples in it.
Consequently, the first sample fills the range by about 80 %. The
representation is newly arranged if more samples are generated or
shifted to the rear.

Three small gadgets have been arranged left of each track:
The M (for mute) gadget is used for muting a track. If this
gadget is activated (inverted), the pertaining track is not put
out (muted) when the project is played. Several tracks can be
muted at the same time. This mode is changed over by a click on
the gadget.
The S (for solo) gadget makes only this one track audible while
playing. The other tracks are not put out. No more than one track
can be in the solo mode.
The solo mode disregards possible muting of this track. This
means that the state of the mute gadget is irrelevant if the solo
gadget for this track has been activated. The mute gadgets will
not be active when a track is in solo mode.
The L (for lock) gadget locks the state of a track in cutting
operations. If this gadget (left of each track of a virtual
project) has been selected, the corresponding track will be
locked in cases of cutting operations (NOT in cases of object
operations). The content of the track remains unchanged in any
case.

The virtual object has two different types of representation:
-In Text mode, the name of the range and the name of the real
project are represented within the object.
-In Sample mode, the samples are represented as usual; vertical
zoom, however, is not possible. Horizontal zoom can be performed
in the usual way so that objects can be aligned relative to each
other with sample accuracy.
You will quickly learn that the text mode is much faster (and
usually more easily to survey). Changeover is, as before, by
means of the menu item Setting > Drawing mode or with the ~ key
(under the Esc key).

Your objects can have different colours, too. It is then
necessary to use the Range colour function for assigning a
background colour to a range already defined in a physical
project.
You will see a colour requestor. Click on the desired colour and
then on the OK gadget.
All objects arising from this range will have the background
colour which was active when you left the colour requestor. This
is the reason why black (colour no. 1) should not be chosen as
background colour
It is principally possible to use Samplitude on a screen with 8
or 16 colours so that more colours for the different objects are
available. However, you will have to put up with operating speed
reduced considerably in the case of computers without AA chipset.

Virtual projects have two different processing modes:
-the Normal mode in which ranges can be defined as before by
mouse clicks, and
-the Object mode in which objects can be selected and shifted
with the mouse.

Changeover between the two modes is by means of gadget <- (top
right in the project window). If the object mode is not
activated, object manipulations can be executed if the right
AMIGA key is kept depressed. This means that a single object can
be shifted in the normal mode, too, if the right AMIGA key is
kept depressed during drawing. As a matter of principle,
Samplitude treats its objects in a similar way as the workbench
with its icons.

Selecting an object with the mouse
An object is selected by actuation of the left AMIGA key and
clicking on the object with the left mouse button at the same
time. If the object mode (see above) has been activated, object
selection requires clicking with the left mouse button only.
If objects have been selected already, selection will be
cancelled. Selection is visible by two rectangles, height about
eight pixels, in the corner bottom right of the object. The frame
about the object is additionally inverted as long as  the left
mouse button is kept depressed. Selection of an object in this
way simultaneously cancels selection of all objects selected
before.
A double click on an object opens the pertaining real project.
The range representing the object is marked at the same time.

Selecting several objects with the mouse
If a Shift key is actuated along with the right AMIGA key (object
mode not active), an object can be selected without selection of
other objects being cancelled.

Cancelling selection of objects
Selection of all selected objects is cancelled if the right AMIGA
key is kept depressed and the left mouse button used to click on
the side of an object.

Moving objects
One or several objects selected can be shifted with the left
mouse button depressed. Shifting is possible horizontally (along
the time axis) as well as vertically (in the track number).
Release of the left mouse button deposits the objects in the
current position. If several objects had been selected in
different tracks, the selected group can be shifted vertically
only in a range that all objects remain within the tracks.

Changing object edges in virtual projects
The corners top left and bottom right of a selected object are
inverted. The two rectangles have the function of handles with
which the start or end of an object can be manipulated. If you
click with the mouse on the frontal rectangle and keep the mouse
button depressed, you can shift the start of the object to the
front or rear. The start can be shifted only up to the beginning
of the physical sample and up to the end of the object.
Analogously, the end of the object can only be shifted up to the
end of the physical sample or up to the beginning of the object.
If several objects have been selected, such changes refer only to
the corresponding edge of the sample which was last to be
selected.

Overlapping objects
No more than one object can be played in a track (channel) at the
same time. An object shifted over another one covers the earlier
one. You may compare it with a sheet of paper covering another
sheet entirely or partially. The object part which is not visible
will not be played. Shifting the rear object permits the
invisible part of the frontal object to be made visible and
audible again.

Raster
Rasters act on the shifting of objects and marking of ranges.
There are three different raster types:
-The range raster can be made by means of the function Range as
raster. This means that raster marks are set with spacing of the
length of the range used.
-After selection of the function BPM raster, the desired BPM
number for the raster can be put in through a number requestor.
-Object raster: Objects cannot be shifted but to the beginning,
end or hot spot of another object. The reference point is usually
the front edge of the object to be shifted. A hot spot for the
object is considered when it is defined.
If several objects have been defined, alignment is in any case
relative to the front edge or hot spot of the object which was
last to be selected (and is under the mouse pointer). The
distance between selected projects remains constant which means
that not all objects are aligned along the raster.
The function Object raster is an easy way to rearrange audio
patterns as desired and nonetheless to produce cutting edges that
are exact by samples.

In the case of loading of virtual projects, all pertaining
physical, i.e. RAM and HD projects are opened first (unless they
are not yet open). The windows of these projects are not opened
for better clearness; these projects remain hidden for the time
being.
The project window for the virtual project is opened after this.

...
Resample
This is another way of influencing the length of a sample.
Contrary to the two functions specified above, the factors for
variation can be as desired. The following window is opened:

The factor refers to the length and sampling rate as well. You
can put in values greater or smaller than 1.0. The new length
results from the old length multiplied by the factor. This factor
can be specified by you; the new length and sampling rate are
calculated and displayed automatically. The old length and
sampling rate are displayed below on the left. These values
cannot be changed since they have been defined by the current
sample. Right of the old sample length is the new one resulting
from the old length and the factor specified above. The new
sample length, however, can also be edited; the factor and the
new sampling rate will then be calculated anew. This is the same
with the new sampling rate: it can be varied, and the results are
new values for the factor and sample length. Specification of
half-tones is possible in addition to the actual factor. The
resultant factor is so that the sample is modified as follows:
With the sampling rate maintained, the sample would be detuned by
the number of half-tones specified. Possible values are +36 to
-36, i.e. three octaves in either direction. The specification of
half-tones refers to factor 1.0 in any case which means that
previous changes in this editor are neither considered nor
overwritten.

The Resample function offers two modes:
Res 1: Resampling with maintenance of original sampling rate
Res 2: Resampling with subsequent matching of sampling rate
The square algorithm from Version 1.xx has been omitted since the
yield in quality is small in comparison with the time needed.

A new time stretching function has been added:
Time stretching permits e.g. drum loops to be accelerated or
decelerated without a change in pitch. On the other hand, a
sample can be tuned higher or lower without a change in time.
Time 1: Time stretching with maintenance of original sampling
rate
Time 2: Time stretching with matching of sampling rate
The entry Range characterizes the sample length inserted or cut
out in time stretching. The optimum size distinctly depends on
the sample material, so that this range can be taken from the
range marked. A range of 1,000 Hz has stood the test for 44. kHz
samples.
Time companding (sample length reduced and sample varied by +n
half-tones) brings better results than time stretching in most
cases. Consequently, matching of two samples should be carried
out by reducing the longer one rather than vice versa.

After resampling/time stretching you can select whether the
original project is maintained (e.g. for first testing the result
and then newly to resample, if needed) or not. In the former case
the original project keeps its name, whereas the new project gets
the name "Temp". If working with HD projects, take care that the
new project must be closed or renamed prior to new resampling
since two projects with the same name cannot exist on the disk.

A frequent application of the resample editor will be generation
of duplicates of a range (such as one bar of music) which have
the same sampling rate but different pitch .
Let us assume you want to transpose a range two half-tones
downwards without changing its sampling rate.
Two steps are needed:
First select menu Editing > Resample and there mode Time 1. Enter
2 in gadget Half-tones. Values between 300 and 2,000 are useful
as range length (bottom right).
Now start time stretching by OK.
The requestor Close original project? must be answered Don't
close. Now listen to the result. Make a new attempt with another
range length if there are disturbing echoes or delays.
If you work with HD projects, you must now rename the project
from Temp to some other name such as Time+2. This should be done
with menu Project > Rename.
Now comes the second step:
First select menu Editing > Resample and there mode RES1. Enter
-2 in gadget Half-tones.
Requestor Close original project? must be answered Close this
time since usually nothing will go wrong in resampling.
You now have a sample of the same length and sampling rate but
tuned down two half-tones.
If you want to arrange it behind your original sample, mark the
new one by key A, copy it into the clip by C, move the cursor
with End to the end of the original (click before), and insert
the clip by I. You should now save the new range with Shift +
function key so that you can call it exactly whenever needed.

...
Filter on/off
This function enables and disables the AMIGA audio filter.
Shortcut: f

...
Display keys
A separate window informs on important shortcuts which cannot be
derived directly from the menus. This mainly includes functions
for defining sections and ranges.
Shortcut: Help key

...
Speech
Samplitude has been localised, that means, you can change the
programs language. The integrated language is german, for other
languages you need locale.library in libs: and f.e.
samplitude.catalog in
programs-path/catalogs/english/samplitude.catalog.

The AREXX-Port of Samplitude has the name "rexx_samplitude".
The commands are:

ABOUT
opens a window with informations about the program

SCREENTOFRONT
brings the screen to front

SCREENTOBACK
brings the screen to back

SORTWINDOWS
sorts all windows on the Samplitude-screen

OPENWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S
opens one of these windows:
	- HELP: the window with the shortcuts
	- PMANAGER: the project-manager
	- RMANAGER: the range-manager
	- WORK: the display of DOS-Calls

CLOSEWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S
closes one of these windows:
	- HELP: the window with the shortcuts
	- PMANAGER: the project-manager
	- RMANAGER: the range-manager
	- WORK: the display of DOS-Calls

OPENPROJECTWINDOW PROJECTNAME/A
opens the window of the named project

CLOSEPROJECTWINDOW PROJECTNAME/A
closes the window of the named project

ZOOMINHORI PROJECTNAME/A
zooms in horizontally

ZOOMOUTHORI PROJECTNAME/A
zooms out horizontally

ZOOMRANGEHORI PROJECTNAME/A
shows the marked range horizontally

ZOOMALLHORI PROJECTNAME/A
shows complete project

ZOOMINVERT PROJECTNAME/A
zooms in vertically

ZOOMOUTVERT PROJECTNAME/A
zoomt out vertically

ZOOMRANGEVERT PROJECTNAME/A
shows the marked range vertically

ZOOMALLVERT PROJECTNAME/A
shows complete range vertically

CUT PROJECTNAME/A
cuts the marked range out of the project

COPY PROJECTNAME/A
copies the marked range into CLIP

INSERT PROJECTNAME/A
inserts the CLIP into the project

OVERWRITE PROJECTNAME/A
overwrites the marked range with the CLIP

ERASE PROJECTNAME/A
deletes the marked range in the project

KEEP PROJECTNAME/A
extracts the marked range

ZERO PROJECTNAME/A
sets the marked range to zero (silence)

REVERSE PROJECTNAME/A
reverses the samples in marked range

INVERSE PROJECTNAME/A
inverts the marked range

AMPMUL2 PROJECTNAME/A
doubles the amplitude of the complete project

AMPDIV2 PROJECTNAME/A
halfes the amplitude of the complete project

SETRANGE PROJECTNAME/A,LEFT/N,RIGHT/N
sets range-borders to defined values

LASTERROR
outputs last error-message

PLAY PROJECTNAME/A
playback of the marked range in the project

LOADRAM PROJECTNAME/A
loads a RAM-project, the complete path-name is required.
In case of succes the function returns the project-name.

LOADHD PROJECTNAME/A
loads a HD-project, the complete path-name is required.
In case of succes the function returns the project-name.