MusicMaker SV

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Copyright
This documentation is protected by law. All rights, especially the right to duplicate,
circulate, and translate, are reserved.
No part of this publication may be reproduced in the form of copies, microfilms or other
processes, or transmitted into a language used for machines, especially data processing
machines, without the express written consent of the publisher.
All copyrights reserved.
All other product names are trademarks of the corresponding manufacturers. Errors in
and changes to the contents as well as program modifications reserved.
Copyright © MAGIX Software GmbH, 1994-2014. All rights reserved.
MAGIX is a registered trademark of MAGIX AG
All mentioned MAGIX product names are registered trademarks of

MAGIX Software GmbH
Other mentioned product names may be registered trademarks of the respective

manufacturer.
This product uses MAGIX patent pending technology.
VST and ASIO are registered trademarks of Steinberg Media Technologies GmbH.
Preface 3
Preface
MAGIX Music Maker 2015 offers an easy start and the option to dive deeper into the
world of music production. A giant, high-quality sound archive, an especially intuitive
approach to creating original music, plus many useful functions result in an unbeatable
complete package for making your own songs.
The handling is especially easy and consistent. The included sound files can be combined
with the software synthesizers easily. MP3 songs can be used with audio CD tracks, your
own music recordings and even videos, photos or graphics. Even VST and DirectX plug-
ins or MIDI files can be added easily.
This turns your computer into a universal production studio for music and all other kinds
of multimedia files. The included CD-quality musical building blocks can all be easily
combined since they are all categorized according to tempo and harmony. And for those
of you who want to start making songs effortlessly and straight away, the integrated
"Song Maker" will take care of almost everything for you.
The tutorial (view page 22) starts off by explaining all of the basic features in the
program and then goes on to provide complete, detailed descriptions of each of the
functions. If you prefer to discover the many possibilities of the program by yourself, you
can also use the PDF manual and the Help feature as references. An alphabetical index is
included at the very end.
Have fun with MAGIX Music Maker 2015.
The MAGIX Team

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Support
Dear MAGIX customer,
Our aim is to provide fast, convenient, solution-focused support at all times. To this end,
we offer a wide range of services:
• Unlimited web support:

As a registered MAGIX customer, you have unlimited access to web support offered
via the convenient MAGIX service portal on http://support.magix.net, including an
intelligent help assistant, high-quality FAQs, patches and user reports that are
constantly updated.
The only requirement for use is product registration at www.magix.com
• The online community, on-the-spot support and a platform for exchange:
MAGIX customers have free and unlimited access to the online community at
www.magix.info, which includes approx. 150,000 members and offers the
opportunity to ask members questions concerning MAGIX products as well as use
the search function to search for specific topics or answers. In addition to questions
& answers, the knowledge pool includes a glossary, video tutorials and a discussion
forum. The multiple experts, found round-the-clock at www.magix.info guarantee
quick answers, which sometimes come within minutes of a question being posted.
• Email support for MAGIX products:
For each new MAGIX product you will automatically receive 12 months free
customer support by email.
• Premium Email Support:
For priority support, or if you want the support team to help with non-MAGIX
related hardware problems you can purchase a premium email support ticket.
Proceed as follows:
1. Go to the MAGIX customer support page at http://support.magix.net
2. Sign in using your login details.
3. Click on "Purchase access code" in the navigation bar.
Each ticket corresponds to a specific problem, it will remain valid until the
problem has been solved. A ticket is not limited to a single email.
Please note: To be able to use the Premium email support and free product email
support via the Internet, you have to register your MAGIX product using the serial
number provided. The serial number can be found on the sleeve of the installation disc
or on an insert card included in the package.
• Additional telephone service:

Besides the large number of free customer service offers, we also offer a fee-based
telephone customer service.
Here you can find a summary of our technical support telephone numbers:
http://support.magix.net/
Support 5
Mail (Europe): MAGIX Development Support, P.O. Box 20 09 14, 01194 Dresden,
Germany
Mail (North America): MAGIX Customer Service, 1105 Terminal Way #302, Reno, NV
89502, USA
Please make sure you have the following information at hand:
• Program version
• Configuration details (operating system, processor, memory, hard drive, etc.), sound
card configuration (type, driver)
• Information regarding other audio software installed
MAGIX Sales Department
You can reach the MAGIX Sales Department workdays for help with the following
questions and problems:
• Orders
• Product consulting (pre-purchase)
• Upgrade requests
• Returns
Europe
Monday - Friday, 09:00-16:00 GMT
U.K.: 0203 3189218

Denmark: 45 699 18763
Sweden: 46 852 500713
Finland: 35 89 42419023
Norway: 47 210 35843
North America
9 am to 4 pm EST Mon-Fri
Phone: 1-305-722-5810
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Table of Contents
Copyright 2
Preface 3
Support 4
Introduction 12
What is MAGIX Music Maker 2015? 12
What's new in MAGIX Music Maker 2015? 13
The Features 14
Additional features of the Premium version 17
Overview of the program interface 20
Quick start 22
Play demo project 22
Previewing and loading sounds 23
Create a Project 24
Edit objects 25
Adding software instruments 26
Add videos or images 27
Effects 28
Export Project 29
Burn audio CD 30
Arranger 31
Tracks 31
Track headers and Instrument icons 32
Zoom 33
Timeline and grid 34
Pitch Bar 36
Transport Bar (playback functions) 37
Arranger buttons 38
Multi-touch 39
Media Pool 40
Preview function 40
Soundpools 40
File Manager 43
Instrument settings 45
Table of Contents 7
Templates 46
Keyboard 46
Object Inspector settings 47
Setting Catooh 49
Mouse modes 50
Move selection 50
Move to track 50
Move all 50
Draw 51
Split 51
Stretch 51
Preview audio 51
Scrubbing 51
Replace 52
Context help 52
Arranging Objects 53
Save/load projects 53
Multimedia files and objects 53
Select objects 53
Mute objects 54
Build or split object groups 54
Split objects 54
Duplicate objects 55
Object Handles 55
"Draw in" loops 56
Takes 57
Object properties 57
Mixdown audio 58
Audio Objects 59
Audio formats 59
Load and edit audio files 59
Smart preview for the included samples. 59
Audio recording 60
Import audio CD 63
Change the playback tempo or pitch 67
Song Maker 69
Remix Agent 70
Remix Maker 75
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Harmony Agent 77
Text to speech 78
MIDI objects 79
Arrange MIDI objects 79
Load and save MIDI files 80
Connect MIDI Keyboards 81
Playing and recording MIDI synthesizer 83
MIDI editor 83
Software Instruments 105

Opening the synthesizers 106
Synth objects 106
BeatBox 2 107
Loop Designer 113
LiViD - Little Virtual Drummer 116
Robota 117
Atmos 126
Synthesizer plug-ins 126
MAGIX Vita 128
Additional Vita Solo Instruments 130
DN-e1 134
Audio effects 137

Effects 137
Using audio effects 138
Using plug-in effects 139
Object and master effects rack 140
Equalizer 142
Compressor 142
Parametric 6-band equalizer 143
Enhancer 145
Invert Phase 145
Reverb 146
Sound Warper 149
Gater 150
Backwards 151
Timestretch/Resample 151
Vocal Tune 153
essential FX 155
Vintage Effects Suite 162
Table of Contents 9
Vandal SE 172
Video and Bitmap Objects 178

Video and bitmap formats 178
Video monitor 178
Loading and editing videos and bitmaps 179
Simplify object presentation 179
Video scrubbing 179
Extract sound from videos 180
Video effects 180
Title Editor 180
Video Compression 183
General notes on AVI videos 183
Mixer 184
Slider (Fader) 184
Control groups 185
Track effects 185
VST and DirectX audio plugins 186
FX tracks 186
Master track 187
Reprocess arrangement 188

Export wizard 188
Export as E-Mail attachment 189
Export as ringtone 189
Community upload 190
Additional editing 192
Burn audio CD 192
File Menu 193

New project 193
Load project 193
Save project 193
Save project as... 193
Import 193
Export 194
Backup 201
Settings 202
Exit 208
Edit Menu 209

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Undo 209
Redo 209
Object 209
Track 211
Range 212
Navigation 213
Select all objects 214
Effects Menu 214

Song Maker 214
Audio 214
Video 219
Title 219
View menu 220

Standard layout 220
Zoom Soundpool and Keyboard 220
Arranger 220
Media Pool 221
Video monitor 221
Mix 222
Share menu 223

Manage login details 223
Community upload 223
Use as background music 224
Add to music collection 224
Edit audio objects in external editors 224
Burn audio to CD-R(W) 225
Burn project and used media onto CD/DVD-R(W) 225
Help Menu 226

Show welcome dialog 226
Documentation 226
Update program / Upgrade functions 227
magix.info - Multimedia Knowledge Community 227
About MAGIX Music Maker 2015 227
Buttons overview and keyboard shortcuts 228

Toolbar 228
Keyboard shortcuts 228
If you still have questions 235

Table of Contents 11
Tips for Program Help 235

Uninstalling the program 235
System Requirements 235
Serial number 236
Publishing works created in MAGIX Music Maker 2015 237
More about MAGIX 238

MAGIX Online World 238
magix.info 238
Soundpool DVD Collection 238
Index 240
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Introduction
What is MAGIX Music Maker 2015?

MAGIX Music Maker 2015 is the ideal program for creating professional sounding
recordings without having to learn any complicated musical theory. You can simply
combine the professionally produced loops in the intuitive arranger and mix them to
create your own personal sound.
Are you aiming for a unique sound that will set you apart from the crowd? Then try
creating your own special sounds with the included software synthesizers or load your
own plug-in synthesizers. High-quality effects help to give your tracks the final polish or
you can take things in the other direction and distort them until they are almost
unrecognizable. Express your own creativity by recording your vocals or instruments and
adding them to the project.
Whether rock, techno or film music, you can produce all kinds of tracks using the wide
range of styles available in the program. When you combine elements from different
style libraries the tempo is adjusted automatically to make sure your arrangement fits
together perfectly. Who knows? Maybe flamenco rock or country techno is the next big
thing.
If you need even more sounds and samples, Catooh offers a rich selection of audio, video,
images and professionally created sound effects, which can add even more variety to
your project.
Or how about a remix? Load up your favorite hits from the past and add some fat bass or
a totally modern beat! When you load audio CD tracks and MP3s into Music Maker the
tempo of the song is recognized and adjusted to fit the project. The track can also
automatically be cut into loops.
But music alone isn't everything! You can import images and video files to your project,
include text and add video effects and cool visuals. The finished video can be directly
exported from Music Maker and posted on MAGIX Online Album, Youtube or Facebook
Introduction 13
What's new in MAGIX Music Maker 2015?

New Sounds and Loops
As usual there is a brand new sound archive with various styles ranging from "trendy" to
"retro". In addition to the included sound loops, an additional 1000 loops can be
downloaded for free from the Internet. To download sounds, click on the "Catooh" button
after installing the software and follow instructions.
New Synthesizers
The new Vita Solo Instruments include Analog Synths, Urban Drums and the Vita
Sampler. The Premium version also includes the two new exotic instruments World
Flutes and Celtic Harp. Analog Synths is a massive collection of analog synth sounds that
are perfect for all kinds of music projects. Special sampling technology also ensures that
they don't require a large amount of your CPU resources. Urban Drums offers
contemporary Dubstep and Hip Hop drums in a classic MPC style and the Vita Sampler
provides a simple instrument for jamming and remixing all kinds of audio loops. A loaded
file is automatically split up and can be played on eight pads or the keys on your
keyboard.
Vocal Tune 2
For total vocal control: Voice samples or melodies you sing yourself can be "tuned"
automatically or completely modified. The second version has an improved control
concept based on valuable user feedback. It now includes a detailed and editable pitch
curve and a Split Tool among many other improvements.
Improved screen keyboard with arpeggiator

The key size for the screen keyboard can now be zoomed to any level. A brand new
addition is the arpeggiator that can be used to turn single notes into full chords or broken
chords (arpeggios) automatically.
Harmony editing in the pitch bar and presets for harmony progressions
The pitch ranges in the pitch bar can now be edited which means that the pitches in
specific section of the arrangement can be applied to all tracks simultaneously. One
menu contains suitable pitch progressions and even complete song structures as presets.
When one of these presets is loaded, all existing loops are automatically adjusted to the
chord progression.
Crossfades on a track
All objects on the same track can now be crossfaded with one another. If you move an
object over another one, a crossfade is generated automatically which fades the first
object out while fading the subsequent object in.
Many of the finer details on the interface have been improved:
• Tempo changes (BPM) can now be made during playback, either by tapping or by
entering the value directly.
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• The instrument menu in the track header now has a clearer design. Now you'll find
the instruments in the first menu layer, the sound categories in the second layer and
the actual sounds in the third layer.
• The track FX rack now has a bypass function
• The Magnet/Snap function is now easier to use and labeled clearly with a magnet
icon in the toolbar.
• The time signature can now be selected directly in the transport console.
Music Maker Jam Import and Export
With Windows 8 you can now import Music Maker Jam
http://www.magix.com/de/apps/music-maker-jam/ projects into MAGIX Music
Maker 2015 for further editing. The Music Maker Jam styles are also automatically
available in MAGIX Music Maker 2015.
The Features
Multimedia Library - Soundpool
The included multimedia library provides audio and video building blocks ("samples")
that can be combined in the arranger. The samples are categorized according to styles,
instrument category, and pitch. In short: just about anything can be combined with
anything else. The pitches match one another and the various styles of samples are
adapted to the tempo. The sky's the limit to your creativity. Music Maker also comes
with a range of audio and video effect templates, titles, and graphic animations for video
clips.
Audio effects
MAGIX Music Maker 2015 provides lots of different audio effects. A short overview:
• The Audio Effect Rack supplies Reverb, Echo, Equalizer, Compressor, Time
Processor, Distortion and Filter – classic effects which can be used to produce
almost any sound. The reverb effect, for example, provides professional and realistic
reverb algorithms to add depth and spaciousness to your material. You can correct
tempo and pitch in real time using Resampling, Timestretching or Pitchshifting.
• You can also individually apply all of the effects of the Audio FX rack. Additionally,
you can find a parametric equalizer, bit machine, gater, etc. in the effects menu.
• Vandal SE is a guitar amplifier from MAGIX. You can adjust all the typical settings
on its realistic user interface.
• essentialFX: important bread-and-butter effects that are embedded like VST plug-
ins.
• The Vintage Effects Suite covers "good old" guitar effects that were activated using a
foot pedal in Jimi Hendrix's era: more warmth and fullness with Chorus, jet-like
special effects with the Flanger or ping-pong effects with Delay. The Filter enables
tempo-synchronous frequency filtering.
There are three ways of implementing filters:
Introduction 15
• Object effects: Effects for selected objects These effects can be found in "Effects >
Audio > Audio Effects" or in the context menu (right mouse click).
• Track effects: Effects for complete tracks These effects can be found in the track box
or in the mixer channels.
• Master effects: Effects for the overall sound These effects can be found in the
mastering area of the mixer ( or in the "Effects" menu).
Import
You have the following options for using your own material:
• Audio files in a wide range of formats. You can also use MIDI, video and bitmaps.
The files can be dragged to a track from the Media Pool with a held-down mouse key
(drag & drop). You can find a list of supported formats below (view page 16).
• Audio CDs can be imported directly in the program. Simply place the CD into the
drive and press "CD/DVD" and all the tracks are ready to be dragged & dropped into
the Arranger. Whether for remixes or as sound material for your own compositions -
your personal CD collection has a whole new meaning.
• Use the recording function to record vocals, noises, or instruments and integrate
them into the project.
High-end 32-bit floating point
All sound changes are executed using 32-bit floating point calculation for especially
differentiated and high-quality sounds. This technology is also used in professional
studios. This way, an audio picture with especially high dynamics can be created. Digital
overmodulation and clipping become virtually impossible.
Song Maker
The Song Maker lets you create new projects quickly and easily and complement existing
projects by automating the complicated steps such as sample selection and combination.
The Song Maker takes over arranging whole sections such as intro and refrain. Therefore,
you do not have to do everything yourself – you can omit the arranging and process your
selection from the suggestions.
Own recordings
Use this recording function from MAGIX Music Maker 2015 to record vocals, noises, or
instruments and integrate them into the project.
Audio & MIDI

The MIDI format is extremely important in modern music production. You can use MIDI
files to control external devices such as synthesizers and samplers and internal software
audio generators such as VST plug-ins from your computer.
With MAGIX Music Maker 2015 you can arrange, load, record, edit, and play MIDI files
just as easily as audio files. For MIDI editing, you can use the specialized MIDI Editor
with Piano Roll, Drum Editor, Velocity/Controller Editor and Event List.
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VST Support
Now it is possible to use external VST instruments and effects in all MAGIX Music
Maker 2015 versions. A wide range of DirectX and VST plug-ins are offered in retail
stores or directly on the Internet, greatly expanding the possibilities of MAGIX Music
Maker 2015.
VST instruments and effects are external programs, which must first be installed before
being used in MAGIX Music Maker 2015. You can then find them in the mixer plug-in
slots and in the track boxes at the start of every track. VST effects are applied to an entire
track. VST instruments are controlled by MIDI objects.
Mixer
MAGIX Music Maker 2015 contains a professional real-time mixer with an Effect Rack
and two Insert Effects per channel and for the Master, as well as additional Mastering
Effects. You can group a number of faders of a specific type (for example, volume or
panorama) and use them all together by holding down the Ctrl key. The quickest way to
open and close the mixer is by using the M key.
Harmony Agent
The Harmony Agent provides harmony recognition automatically and determines the key
and chord of any music title. See the guitar tablature of your favorite song in real time for
the project!
Formats and interfaces

Import: WAV, MP3, OGG Vorbis, WMA, QuickTimeTM, MIDI, CD-A (without copy
protection), BMP, JPG, AVI, MXV, WMV
Export: WAV, MP3, OGG Vorbis, WMA, QuickTime, MIDI, BMP, JPG, AVI, MXV,
WMV, CD-A (Premium version)
Media database
Find your recordings, sounds, pictures, and videos quicker and faster with the MAGIX
media database. An existing MAGIX database from the MAGIX Photo Manager or
MAGIX Media Manager is integrated in the Media Pool and can be updated directly from
MAGIX Music Maker 2015. Use the simple search function to find suitable pictures or
MP3 files for your project.
InfoBox
Thanks to the new InfoBox, all important functions can be easily understood as they are
applied. Just hold the mouse over a button that you would like to learn about and read
the infotext in the video monitor.
Note: The video monitor is preset as hidden and can be made visible with the key F3.
Introduction 17
Live Sessions
While the virtual instruments and sounds are played on the available tracks, a new track
can be recorded simultaneously in realtime. What's more, you can also add realtime
effects.
Sound Vision
Sound Vision is a new way of visualizing music which displays audio material at a glance
in the form of a musical galaxy. Sound Vision be activated in the Media Pool.
Internet upload to many platforms

When the song is finished, it should be heard not just by your friends, but preferably the
whole world. This is achieved, naturally, with the help of the web. Under "File > Export >
Community upload" you will find the most impotant communities, where you can upload
your songs.
Additional features of the Premium version

Additional audio effects
• Essential FX Vocal Strip: This combination of effects is specifically designed for
editing speech and vocal recordings.
• Vocoder: produces distorted vocals from synthesized sounds.
• Mastering Suite: a special effect rack for "Mastering". In this process, the mixed-
down music track is "polished" using parametric equalizer, multimax, limiter and
stereo enhancers. You can transfer the sound and dynamic quality of a completed
piece of music to your project using the auto mastering in the mastering suite.
• Am-Track SE: This analog vintage compressor produces an especially warm,
pumping sound. Launch it via the effects menu for selected audio objects or via the
plug-in slot in the mixer.
Additional Styles & Samples
More content: The Premium version comes with more styles and ca. 2,000 additional
samples.
Additional instruments
• Revolta 2: an analog, especially variable and "professional" sounding, 12-tone
synthesizer. With sound matrix, noise generator and nine effect types.
• BeatBox 2 plus: the ultimate groove tool with even more drum kits, automations and
an integrated a more flexible effects section
• Additional Vita Solo Instruments: World Flute with exotic flutes from around the
world and the Celtic Harp for ethereal string sounds.
Object and track curve automation
Effect and volume progressions can be controlled using freely drawable curves – for
individual objects as well as for complete tracks. In addition, you can fade an echo in or
18
out at a specific position in the song by drawing in a curve peak at the corresponding
position.
Video recording
In addition to audio recording, MAGIX Music Maker 2015 provides a recording function
for video from analog video sources for your own video clips.
MAGIX Mastering Suite 2.0

Impressive studio sound just like you hear on store-bought CDs! MAGIX Mastering Suite
is a special effects rack for use with the mixer master channel. The included effects help
you with so-called "mastering"; put the final touch on your completed and mixed music
piece using parametric equalizers, MultiMax, limiter, and stereo enhancers.
Real 5.1 Surround Sound

MAGIX Music Maker 2015 deluxe provides real 5.1 Surround Sound. 5.1 Surround is the
preferred home cinema sound format, which is also supported in the Premium version
when importing, editing, and exporting. With the 5.1 Surround Editor you can move your
sound around the room.
MAGIX Music Editor

Detailed audio editing in real time and specialist for CD burning, sound restoration,
sampling and audio editing.
Revolta 2
Revolta 2 is a powerful-sounding, varied 12-voice analog synthesizer with highly
advanced functions, sound matrix, noise generator, and a complete effects section
featuring nine effect types.
This synthesizer can create any electronic music you can imagine. The sound presets
were created by sound designers for Access Virus and Rob Papens Albino, which makes
Revolta 2 the number 1 choice for beginners and professionals alike.
Also in the Premium version

• Additional tracks: The Premium version offers unlimited tracks (instead of 96 - more
space for even more complex projects.
• Timecode sync: For creating songs in teams on multiple PCs. Simply connect two
notebooks to each other via MIDI and jam together.
• MIDI step recording: Provided for composers unsure of their keyboard playing skills
who want to play perfect melodies. The MIDI editor can be opened by double-
clicking on a MIDI object.
• ReWire: For embedding of other music programs. Programs such as Propellerhead
Reason or Ableton Live can be controlled in MAGIX Music Maker 2015 like a
software synthesizer using MIDI objects.
• Video recoding: In addition to audio recording, MAGIX Music Maker 2015 Premium
provides a recording function for video from analog video sources – for your own
video clips. It can be found in the "File" menu under "Import > Video recording".
Introduction 19
• Curve automation: Effect and volume progressions can be controlled using freely
drawable curves – for individual objects as well as for complete tracks. In addition,
you can fade in or out an echo at a specific position in the song by drawing in a curve
peak at the corresponding position.
• MAGIX Music Editor: Detailed audio editing in real time and specialist for CD
burning, sound restoration, sampling and audio editing.
• MAGIX Print Studio for quickly creating CD covers, inlays and labels.
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Overview of the program interface
Menu bar: This bar provides the most important editing

commands.
Toolbar This contains the buttons for quick editing and the
different mouse modes.
Track headers Complete tracks can be turned on or off (muted) or
played separately (solo). Use the FX buttons to apply
track effects. Load software instruments with the
button in the front.
Arranger You can freely position any multimedia material on
all of the arranger's tracks.
Transport control In the middle you will find the volume control, the
transport control for the playback functions, and the
tempo display.
Zoom functions Here you can enlarge or reduce the view. The
horizontal scrollbar can be stretched and
compressed for zooming.
Media Pool All files listed here can be added to the arranger
using drag & drop.
Arranger buttons Buttons for displaying the mixer and video monitor
with peak meter.
The arranger, video monitor and Media Pool can be positioned anywhere on the screen
or completely hidden. In the "View" menu (F11 key) you can reset the standard layout for
Music Maker.
The maximize buttons on the arranger, the video monitor and the Media Pool let
you display them on the full screen, e.g. to make positioning and editing objects in
the arranger easier.
For very large projects, the video monitor can be used as an overview display (Menu ->
Video monitor -> Project overview).
22
Quick start
This chapter explains the basic functions of MAGIX Music Maker 2015 with a step-by-
step introduction. A systematic description of all program functions can be found
towards the end of the manual.
Tip: Watch the introductory videos and learn some tips and tricks from other users at
magix.info http://www.magix.info/us/search/music+maker/.
Play demo project

When MAGIX Music Maker 2015 is started for the first time it will display a welcome
screen.
To get an idea of what Music Maker can do, click on "Load demo song" and select a
demo song from the menu. Once it is loaded, the Music Maker interface will be
displayed.
Quick start 23
The large area with the horizontal tracks is the arranger. The colored rectangles are
objects. They represent various samples, synthesizers and other sounds. There are also
objects for titles, images and video files.
Look at the individual tracks of the song in the arranger: In MAGIX Music Maker 2015
you can create a complete song by compiling objects. Click on the vertical scroll bar on
the right-hand side of the screen and drag them down (hold down the left mouse button)
in order to be able to see each track.
In the middle you'll find a large volume control, the transport console (view page 37) and
some buttons for opening important windows..
In the lower section of the program interface you can find the Media Pool. You can
switch between the different areas. In Soundpools you will find the included loops that
you can load into the project by drag & drop while holding the mouse key or by double-
clicking.
To play the demo, click on the Play button with the mouse or press the space bar on your
keyboard. A vertical red line (the playback marker) runs across the screen and music will
play from the speakers.
Note: If you do not hear anything, check if the correct sound card is active for playback
in the Setup window (P key). Also make sure that the output of the sound card is
connected to the speakers.
Previewing and loading sounds

Now you can load your first sound into the arranger.
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Create another new, empty project. Simply click on this button.
• Now click on "Soundpools" (1) in the Media Pool.

• Various "Styles" (2) are shown on the left hand side of the Media Pool. Styles
represent particular musical genres. Click on one of the styles to display the loops
that match this genre.
• Now, select which instrument you would like to use under instruments (3). On the
right all of the loops (5) will be listed and you can select the sound you want. The
selected sound will play back automatically.
• Most instruments are categorized according to pitch. Click on the pitch (4) to listen
to the sound in the corresponding pitch. Other instruments, like drums, are not
categorized according to pitch.
• To load a file into the arranger, simply press the Enter key. You can also drag the file
from a table onto a track in the arranger. Once you let go of the mouse button, the
file will appear as an audio object (or MIDI object) at that position.
Create a Project
Start playback now.
To load new samples into the arranger, you do not need to interrupt playback. MAGIX
Music Maker 2015 has a "Smart Preview" function: You can simultaneously preview new
samples in the Media Pool – they always run in sync with the song in the arranger. This
function considerably simplifies the search for suitable samples for a song you wish to
create.
This way, any number of loops from any style can be dragged from any folder into the
arranger and placed on top of one another, on multiple tracks, or behind one another.
Quick start 25
The pitch of the first loop is displayed in the pitch bar. When additional loops are are
added underneath at the same time position, they are automatically adjusted to the same
pitch.
Take note of the two markers at the top of the bar ruler – they represent the start and
end points of the range to be played (playback range). Playback is "looped" in this range
which means that it repeats continuously. New loops can be added when possible.
If you want to create a new part for the song you can reposition the start marker by left-
clicking on the bar ruler and the end marker by right-clicking on the bar ruler. Or you can
use the right arrow key (view page 35) to move the playback area its entire length to the
right.
Each object can be moved in any way in the arranger with the mouse; horizontally on a
track as well as vertically between tracks.
Note: There is one important limitation to the movement of objects on tracks. The
Soundpools contain two different kinds of loops: audio & MIDI. You can recognize MIDI
loops by their icon in the list. You can recognize MIDI loops by their corresponding icon
in the list . These loops only produce a sound when combined with a software
synthesizer (view page 104). This synthesizer is automatically loaded to the track
where the MIDI object is placed. These objects should not be moved to other tracks
once the synthesizer is loaded to a particular track.
Edit objects
Even though it's possible to make great projects with the audio building blocks provided,
you will probably get to a point where you want to add your own personal touch by
shortening or removing objects or adjusting the loops in specific areas.
All objects can be shortened or looped by moving the mouse to one of the lower corners
of the object until it turns into a stretch symbol. You can now stretch or compress the
object length as much as you like. If you make the object longer than it originally was, it
will be played back as a loop. This way you can create rhythm tracks from short drum
samples simply by stretching them.
If an object is selected, additional "handles" will appear on it.

26
Two fade handles are found on both top corners, which can be dragged inwards in order
to fade the object in and out. The handle at the top center can be used to adjust the
volume of audio objects and the transparency of video objects.
All objects can be split into multiple objects. To do so, open the "Edit" menu, click on
"Object", and select the "Split objects" option. The selected object will be split at the
position of the playback marker.
This can be done even faster using the special splitting mouse mode, found in
the mouse mode button in the tool bar, or by pressing "Ctrl + 6".
Right-clicking on an object opens the context menu with the options available for that
specific object in the Timeline mode.
Tip: You'll really notice the advantages of object-based editing when you start to use
Object Effects! You can apply audio effects to each individual audio object. For
example, you can cut a sample to create an object for the last beat before a pause in the
project and add an echo effect. Or create some crazy drums by applying various filter
effects to each beat in the loop. There's no limit to the creative possibilities!
Adding software instruments

The included audio loops in the Soundpool are of the highest quality and melodically
synchronized. But sometimes it's good to have a bigger selection of beats and melodies
or a way to create your own ideas. In this case you need software instruments.
While audio objects consist of pre-made recordings, the sound from software
instruments (synthesizers) is created during playback on the computer. The resulting
sounds are not as refined but allow for total control of every musical detail.
A selection of the loops included in Music Maker are intended as control files for
software synthesizers (MIDI loops). The sound progressions of these loops can be edited
in the MIDI Editor (view page 79). You can also record your own melodies by connecting
a MIDI keyboard.
In MAGIX Music Maker 2015 a distinction is made between VST instruments and object
synthesizers.
Object synthesizers are standalone objects in the track and can be moved, cut and
arranged just like any other objects. Various object synthesizers can also be put together
on one track. The control of the sound creation takes place within the object synthesizer.
VST Instruments are always loaded to one track and controlled by MIDI objects in the
track. MIDI objects only contain control information (notes) that is used to create sounds
in VST instruments. Various MIDI objects arranged on one track control the same
synthesizer and that means a maximum of one instrument per track.
Quick start 27
To open the folder with the software instruments in MAGIX Music Maker 2015 switch to
the Instruments folder in the Media Pool.
• As with all Media Pool objects, the instrument that is selected will automatically
produce a preview sound.
• Drag the desired synthesizer into an arrangement track by holding down the mouse
button.
• For object synthesizers a synth object will be created and a settings dialog for the
synthesizer will open. You can "program" the synth here. The resulting synth object
can be moved, cut, stretched or adjusted with effects just like an audio object.
• VST instruments are loaded to a track and a preset MIDI object is added to the
track. Double-clicking on it opens the MIDI Editor where you can make adjustments
to the melody.
• Or you can switch to Keyboard view in the Media Pool. Here you can play the
synthesizer using your computer keyboard. You can also record your playing by
clicking on the large red record button.
Tip: You can access the sound programs of the included VST instruments with the
button on the far left of the track.
Experiment with the various synthesizers in MAGIX Music Maker 2015 and take
advantage of each of their individual strengths.
Add videos or images

Perhaps you would like to make a video clip? To do so, open a folder with video or photo
files in the Media Pool under Data Manager and select the ones you want to use in your
project.
28
You can activate a video monitor using the middle button on the right below the
arranger.
A preview of the selected video file is shown on the video monitor.
Once you have found a matching video, use

the mouse button to drag it onto any track
(like previously with the audio files). You can
place as many video and photo files as you like
under your music.
You can adjust the length of the individual

image objects with the help of object handles
(view page 25).
In the Media Pool templates you will also find animated text templates (view page 180)
(Titles), video effects (Video FX) and visualizations that you can use to spice up your
videos.
Effects
You should take time to experiment with the effects. In the context menu you can select
the effects for the objects. Effect modules can be opened and adjusted to get the exact
sound you want.
Effects can also be dragged onto objects by holding the left mouse button or double-
clicking. Simply open the Templates folder in the Media Pool and test out the effects
listed in Audio FX by clicking on them. As with all other entries in the Media Pool, effects
in this folder always have a preview as well. If you like an effect and wish to apply it to an
object in the project, simply click on it, drag it onto the object, and release the mouse
button.
Tip: Use the object inspector in the Media Pool to display all important object effects.
Another option for using effects is to apply Track Effects. These effects influence all of
the signals on a track making it a quick way to apply the same effect to several objects.
They also affect the audio output of track synthesizers. There are no audio effects
available for MIDI objects so object effects can't be used on them.
Quick start 29
You can also select from a variety of useful track effect presets by clicking on
the button on the corresponding track. These are organized according to the
instruments and applications.
Export Project
When your project is ready, you would normally want to do something with it "out in the
real world". For example, show it to friends. To do so, you must first export your work
from MAGIX Music Maker 2015.
You can find the most important functions in "File > Export > Common export functions".
• Export as MP3: You can transfer your

project in MP3 format to a portable
player.
• Burn onto CD or DVD: The classic
way to present music. You can burn
single songs or complete albums
directly to CDs.
Tip: In the Premium version, you can

use the integrated CD mastering and
burn program to do this. Click on "File"
and select the "Export project -> Burn
audio CD-R(W)" option to export your
project. The project will be loaded into
the CD mastering program MAGIX
Music Editor and can be burned
straight to disc from there.
• Upload to the MAGIX Online Album: When the song is finished, it should be heard
not just by your friends, but preferably the whole world. The easiest way to do this is
with a MAGIX Online Album of your own.
• Publish on Facebook (YouTube/SoundCloud): With these options you can publish
directly on the popular online platforms.
• Export in various formats: In the "File > Export" menu you will also find all supported
export formats for creating an audio or video file (for music videos) from your
project.
Note: The export calculations don't affect playback performance. Even if playback on
your computer begins to stutter because too much RAM is being used for videos and
30
effects, the export file will still be calculated correctly. We recommend placing already
finished passages of complex projects via the export or mixdown function into a single
file to free up some processing power (and tracks). This kind of file can be reloaded into
the project and edited further with the other parts.
Burn audio CD
To burn an audio CD, first export your project as a WAV file:
• Click "File" and select the "Export project -> Audio as wave..." option.
The WAV file created can be burned as an audio CD with the included burn program
MAGIX Speed burnR.
Tip: You can use an integrated CD mastering tool in the Premium version and a burn
program to do this. Click on "File" and select the option "Export project -> Burn audio
CD-R(W)" to export your project. The project will be loaded into the CD mastering
program MAGIX Music Editor and can be burned straight to disc from there.
Arranger 31
Arranger
Tracks
The arranger is organized into tracks. Each track corresponds to a channel on the mixer
(view page 184). You can use this channel to control volume, apply effects, mute or solo
all of the objects in the track. The loops of the same instrument are typically grouped
together on one track (bass track, vocal track, etc.) which makes it easier to edit them.
Additional tracks can be added with the button at the bottom of the arranger
or by selecting the "Add track" option in "Edit" menu (Ctrl + I)
To move a track you can open the Effects menu (view page 32) of the track and select
"Move Track Up" or "Move Track Down". Tracks cannot be deleted, but those that don't
have any audio objects are automatically deactivated and that means they don't use any
computing power!
If the tracks in the arranger are not long enough, you can increase their length by
pressing the minus button (-) to the right. The size of the project adapts itself
automatically when objects exceed the space for them on the right-hand side or when
new objects are loaded.
32
Track headers and Instrument icons

At the beginning of each track there is a track header with controls and displays.
Instrument icon: When you drag & drop a MAGIX Soundpool sample onto an
empty track an icon will appear in the track header. You can replace this icon by
right-clicking on it and selecting a different one. A left-click on the icon opens
the menu for the track synthesizer (see below).
The Peak Meter can be found beside the icons. Here, you can control the volume
of the track and see if the track produces any audio at all.
The track name is located to the left of the track number. You can rename the
track by double-clicking on the field.
You can use the Mute button to shut off the sound of a track or the Solo button
to play only the sound from one particular track. The Solo function is not
exclusive which means you can use it to play back the sound from several tracks.
On the lower border of the arranger, underneath the track headers you will find
the buttons Reset Solo / Mute which you can use to restore the previous solo
and mute settings of all tracks with one click.
Left-clicking on the field with the instrument icon opens a menu with the
sounds from the included software synthesizer which can be loaded to
the track. This software instrument will then be used by all MIDI objects
in the track. You can find out more about this in the chapters Software
Synthesizers (view page 104) and MIDI objects (view page 79).
The track header of a track with a loaded synthesizer has a
few additional controls. With the arrows (2, 4) you can
switch back and forth from the previous to the next sound
in the software instrument and the gear icon (3) opens the
instrument editor.
Here you can open the Track Effects menu. In it you will find presets for
track effects sorted according to the instrument type.
With the "Move track up/down" commands you can sort your tracks. A lit FX
button indicates that the track effects are active.
With REC you can activate the track for an Audio or MIDI recording.
Arranger 33
A simple click puts the track into Audio Recording mode. This also
activates monitoring which means you can hear the input signal of
your sound card during playback. (Find out more in the section
Listening to the input signal - monitoring (view page 61) ). If you start
recording now (R key), the audio recording (view page 60) will start.
The recorded audio material is added to this track in the playback
range (view page 35).
Clicking this button again puts the track into MIDI Recording mode. If
a software instrument is loaded, you can play it with a hooked-up
MIDI keyboard (Monitoring). If you start recording now, a new MIDI
object will be created in the track, the MIDI Editor will open and the
MIDI recording (view page 86) will begin.
Zoom
The vertical zoom function sets the
number of visible tracks. On many tracks
zooming is useful for selectively editing a
track or an object in full view.
Use the horizontal zoom functions to set up the visible section of the project on the
timeline.
Clicking and dragging on the bottom border of a track allows you to adjust the height of
the display.
Move/Zoom with the scroll bar

The horizontal scroll bar can be dragged apart and pushed together at the edges in order
to quickly zoom in and out of the timeline. Dragging the middle of the scroll bar moves
the visible section. The vertical scroll bars correspondingly control the tracks shown.
You can tell which part of the project is being displayed by the size and position of the
scroll bar. If the entire project is displayed, then the scroll bar will fill out the progress bar.
Complete view may be set by double clicking the scroll bar.
A track may not be diminished without limit, and the number of maximum displayable
tracks is also limited, meaning not all tracks may be able to be viewed at once.
Zoom buttons
Zoom menu: Certain zoom levels may be selected by right clicking the
horizontal scroll bar or by clicking the zoom menu. You can also jump to
certain positions in the project here.
Enlarge objects: Vertical and horizontal zoom stages are enlarged so that
all of the selected objects are displayed at maximum size. If the function is
switched off, the regular zoom stage will be restored.
34
Optimize view (view page 220)
Zoom buttons: Buttons for zooming in and out
Move/Zoom with the mouse wheel

The visible section can be moved, reduced, and increased in size by using the mouse
wheel.
Displayed tracks Mouse wheel

Number of displayed tracks, increase/decrease track Ctrl + Mouse wheel
height
Moving a visible section Shift + Mouse wheel
Enlarge or reduce the visible section (Zoom) Ctrl + Shift + Mouse wheel
Menu "View > Arranger > Horizontal scrolling" interchanges the horizontal and vertical
functions of the mouse wheel. This means you can use Shift and Ctrl+Key for zooming
and scrolling the tracks instead of for the visible duration. This corresponds with the
performance of the mouse wheel in the old Music Maker version.
Timeline and grid

A timeline is located at the upper edge of the arranger. It is used for orientation in the
project and can be used to determine the playback range or quickly set the playback
position (see below).
Snap/Grid
At top of the toolbar there is a field for entering the grid step size.
The grid ensures that the objects and the start, end & play markers only snap into place
at specific positions so they can be positioned precisely according to the beat. When an
object or marker is close enough to a grid snap point, it automatically jumps or "snaps" to
this position. For example, if the grid has been set to "1/2 Note", the objects and markers
will snap into position when they are close enough to a half beat position (1:1, 1:3, 2:1, 2:3
on the bar ruler).
Note: "Close enough" refers to the screen display, so the distance of the object from the
desired position in screen pixels. If you have zoomed in to just a few bars, but have the
grid set rather coarse (e.g. 1/2 notes), it is possible that objects can be moved to
positions between grid positions.
This way, there won't be any gaps between the objects and beat-matched cuts are made
possible. The selection ranges from full beats to 1/64 notes. Triplet values are also
possible. The setting "Frames" is important for videos and allows objects to snap to
single frames in video files.
Arranger 35
In addition to the beat grid, two consecutive objects will seamlessly snap together. This
prevents undesired gaps or overlapping. This also works if they are located in different
tracks.
"Only Objects" deactivates the beat grid and the grid will now only affect the object
edges. You can also deactivate the grid entirely by selecting "No Grid" or pressing the
shortcut Ctrl + F12.
With "Select time signature" you can switch the bar ruler to irregular time signatures,
such as ¾ beat.
Playback area - Start and end markers

In the upper area of the timeline, there are two markers between which the playback area
is displayed, which can be played back as a loop (endless).
The length of the playback area is shown in the colored section. The number before the
period indicates the number of bars, the number after the number of quarter notes. A
tilde (~) in the indicator means that the playback range does not have the exact pattern
length and the loop is therefore "non-circular". Double-click on the selection to set the
playback range for the whole project.
This area is also the basis for the commands in the „Edit > Section” (view page 212)
(Copy, Cut, Paste...).
To reposition the start marker left-click the upper half of the timeline. The end marker is
always moved together with the start marker, this means that the length of the playback
range remains constant. To set the end marker right-click with the mouse. The start
marker will not be moved, thereby changing the length of the range. You can also drag
each of the markers to the desired position with the mouse.
Move playback range with the keyboard

You can move the playback range also with the keyboard. Alt + cursor keys shift the
playback range by one full length forwards or backwards. Also press "Ctrl" to shift the
playback area a quarter of its length. With "Shift + Alt + cursor keys" you can halve or
double the length of the playback range. With "Ctrl + Shift + Alt + cursor keys" you can
extend or shorten the playback range by a beat. Use this function to the give the playback
area a smooth beat length (multiples of 2).
Note: If you deactivate the option „Cursor keys move playback marker” (view page 221)
in the "View" menu > "Arranger", you do not have to press the Alt key. However, it is
necessary in order to move the playback marker with the cursor keys.
36
When you move the playback area while a playback is running, the old area is always
played to the end and smoothly changed into the new one after. In this way you can
remix your tracks in real-time with the keyboard!
Move playback marker

The playback marker can be moved independent of the start marker. Just click on the
lower portion of the timeline. Once the playback marker reaches the end marker,
playback will recommence at the position of the start marker. If the playback marker has
been set to the right, outside of the area, the project will be played to the end. The
stretched out playback range will then be played as a loop.
Use the cursor keys to move the playback marker with the keyboard. The option "Move
playback marker with cursor keys” in the "View" menu > "Arranger” (preset on)
interchanges the Alt-Key function. If you deactivate this option, you can move the
playback marker with Alt + cursor keys and only require the cursor keys to turn down the
playback range.
Pitch Bar
A pitch bar can be found below the timeline.
When a Soundpool sample is moved to an empty section of the project, the relevant
pitch and the corresponding key will be displayed in the pitch bar. The key can differ
depending on the Soundpool. This can help to maintain the same pitch in order to
prevent disharmonious sound combinations when adding more loops.
When a "false" pitch is moved to a pitch section, you will be asked to automatically
adjust the pitch. The relevant selection is saved with "Do not show this message again".
This means that the this automatic customization will always or never be carried out
hereafter.
Note: You can reactivate all deactivated queries with "Do not show this message again"
by clicking on the tab "Reactivate notice dialog boxes" in the program settings (P key or
File menu > Settings > Program settings...).
Clicking on the small arrow on a pitch opens a menu where you

can set the pitch for all the loops of this duration in the
arrangement. There is also a command for splitting the pitch
range at the playback marker position.
Arranger 37
Clicking on a pitch opens a menu where you can load a preset

song template. Some of these templates are typical chord
progressions that can help you put loops together to form song
parts. Others are complete song structures with entire song
sections (e.g. verse, chorus etc.) that are defined by your chord
progressions.
You can hide the pitch bar by going to View > Arranger.
Transport Bar (playback functions)

The transport bar's functions enable you to control the playback behavior of the project
using the mouse.
Tip: Using the space bar on your computer's keyboard you can start and stop playback
much more easily. (Overview of all keyboard shortcuts (view page 228))
Playing an endless loop (looped object) can be deactivated here.

Playback will always stop when the end marker is reached.
Back to start: With this button the start marker is quickly moved to the
beginning of the project. Another click on "Back to start" moves the
start marker and the playback range to the beginning of the project.
Stop: The stop button stops playback. The playback marker returns to
the position from which it started.
Play/Pause: This button starts continuous playback of the project. If

the playback marker reaches the end marker, the range between the
start and end marker will be played back as a loop. Another click on
Play stops it at the current position of the playback marker (Pause).
Record: Depending on the settings in the track header (view page 32)
an audio (view page 60) or MIDI recording (view page 86) will be
started. With the gear icon next to it you can open the dialog for
recording audio (view page 62) with additional settings options.
Volume control
38
The volume control is to the left of the transport controller. With it, you can quickly
control the overall volume of your project. To regulate the volume of individual tracks,
use the mixer (view page 184).
Clicking on the speaker icon mutes the entire sound output.
Under the volume control there is a peak meter that displays the master signal peak level
and an indicator for incoming MIDI signals.
Time Display
The time display is beside the
transport console.
This is where the current playback position is displayed. By right-clicking it is

also possible to switch the time display to show the remaining time (relative to
the end of the project) or to choose various units of measurement, e.g. hh:mm:ss
or frames.
With the position slider you can quickly move the playback marker within the
visible range.
The current pitch is displayed at the top and below it the project tempo in BPM
(beats per minute). The tempo is determined by the first sample used in the
project. To enter a new tempo, click on the number and enter a BPM value in the
field. Finalize the entry by pressing the Enter key. The objects in the arrangement
are adapted using time stretching.
Time Signature: Here there are various time signatures such as 3/4-, 4/4- or
5/4 which can be selected for the project.
Click on BPM to open the Tap Tempo Dialog where you can set the tempo by
"tapping" it out. Simply click the tap button at your desired tempo or press the T
key. The tempo is measured and displayed in the dialog. Apply the tempo by
clicking on "OK".
Metronome: This button activates a click track that is played back during
recording. This helps with maintaining the right beat and tempo when recording
instruments or vocals.
Arranger buttons
The Arranger buttons for quickly opening and closing all the most important windows
can be found underneath the last track in the Arranger.
Opens the mixer (view page 184) where tracks can be mixed by adjusting
volume, setting the position in the stereo panorama and adding effects.
Opens or closes the video monitor (view page 178). The video monitor
displays the video and images files that have been loaded into Music Maker.
It can also be used as a peak meter, overview of the project or as an info box
for help text.
Arranger 39
Multi-touch
In Windows 8, Music Maker can also be easily used with a touchscreen. Provided that
you have a multi-touch enabled screen, you can also perform all of the normal mouse-
click actions and dragging actions with a finger on the screen.
To facilitate the touch control, MAGIX Music Maker 2015 also has a special display
mode in which the loops in the media pool, the keys of the virtual keyboard, and the
menu entries are enlarged. Turn on this mode with the tab key or with the special
buttons in the relevant mediapool tab.
Pressing and holding is interpreted as a right-click and opens the relevant context menu.
You can scroll in the arranger and the mediapool with two fingers. To do this, touch the
screen with two fingers and move them together in the desired direction.
In addition, you can zoom in the arranger with the familiar "pinch" gesture used on
smartphones. Touch the screen with two fingers and decrease the distance between the
fingers to zoom out Increase the distance between the fingers to zoom in. The zoom
always functions in both directions, that is, it changes both the track height (and thus the
number of tracks displayed) and the duration displayed.
40
Media Pool
The Media Pool in MAGIX Music Maker 2015 lets you search for, preview, and load all
supported media types, e.g. the audio and MIDI loops included, tracks from audio CDs,
MP3 files, software instruments or effects.
The upper edge of the Media Pool contains buttons that display the Media Pool in
various ways:
• Soundpools offers a database view of all soundpools.

• The File manager is very similar to Windows Explorer. It controls and loads media
files of all types from the hard drive.
• Instruments displays a list of the available software instruments (view page 104).
• Under Templates (view page 46) you can find the presets for all types of audio,
video and title effects.
• The Keyboard enables software synthesizers to be played and recorded directly via
the on-screen keyboard.
• The object Inspector offers quick access to properties of objects, e.g. audio effects
for audio objects. For MIDI objects (view page 79), a smaller version of the MIDI
Editor is shown, which allows you to edit the selected object.
• Catooh connects directly to Catooh.
Preview function
There is a preview function for all files: By simply clicking an audio object, the pre-
listening function starts via the sound card. Video, graphics and text objects are shown
on the video screen.
As the project plays on, you can experiment with sounds from the Media Pool (see Smart
Preview (view page 59)).
Note: Even while previewing, audio files are adapted to the current tempo using
timestretching (you can deactivate this in the "Audio/Video options" menu).
Soundpools
This view in the Media Pool is used to control the Soundpools. You can access the
included Soundpools through the clearly laid out database view that lets you arrange the
display of the loops according to styles, instruments and pitch.
While installing Music Maker, if you no longer have the Soundpools installed on your
hard drive, insert the installation DVD into the DVD drive. The contents of the Soundpool
media will now be imported into the database. Other Soundpool media are automatically
recognized and added to the media database.
Media Pool 41
Note: Under program settings -> General (view page 203), you will find different
options for maintaining and displaying the Soundpool database.
Soundpools already present on the hard disk can be imported into the
database by clicking "Add styles".
Soundpools from previous versions of Music Maker or additional Soundpool collections

that you have purchased can also be integrated into the Media Pool this way.
A Soundpool consists of one or more styles. Styles are sound libraries that belong
together and cover a certain musical style. The sounds (sample or MIDI loops) of one
style all have a certain tempo. You can mix loops from different styles, and the tempos
will be adjusted accordingly. Within a style, loops are ordered according to instruments,
and one instrument folder contains different sounds. Each sound can have a different
pitch (except for drums and effects sounds).
All of the styles that are available in the database are displayed in the first column. The
second column lists the instruments.
The list of samples found is created after entry selection in the first two columns. With
"Ctrl + click" you can reduce or expand a selection. No selection ("Ctrl + click" on a single
selected element) or clicking on "Select all" shows all entries from this category. If you
select an instrument (e.g. "Drums" and "Percussion") and no style, all drums and
percussion samples in the whole database will be displayed.
Simply clicking on the loop starts the preview. Clicking on the numbers 1 to 7 changes the
pitch. The pitch for that loop is set when you click on a different loop.
You can sort the list according to criteria (Type, Name, BPM, Length in bars, Favorite,
Style) by clicking on the column header.
The list can also be filtered:
Clicking on the star in the sample list marks the You can display only audio loops, MIDI
loop as a favorite. You can use the filter loops or both. For the difference between
"Favorites" to display only the loops that you have audio and MIDI loops see below.
marked as favorites.
42
An entry field for full text search is located above the match list.
In the search field, you can search the list of

the samples found according to a certain
sound file name.
Sound Vision view: This button displays all Soundpools as

galaxies.
Displays the loops larger to improve the touch control.
Audio Loops and MIDI Loops

In Music Maker a distinction is made between audio and MIDI loops. Audio loops are
normal audio files that have a specific number of bars (1, 2, or 4) and can be played back
as loops. MIDI loops consist of a MIDI Take (view page 57) that contains the notes
(MIDI file) and the sound settings for a particular software instrument. Both types of
loop have advantages and disadvantages:
Icon Advantages Disadvantages

Audio • Recordings made on • If the original tempo of the loop
professional studio equipment is changed with timestretching
with top quality instruments the sound quality can be
and expensive synthesizers. negatively affected.
• They require less computer • The melody and rhythm are
power than sounds reproduced already set in the recording and
in realtime. can only be adjusted with
complicated pitchshifting.
MIDI • Pitch and tempo changes don't • Software instruments process
require additional computer the sound in realtime and
power and don't affect the therefore require more
sound quality. computer power.
• You can use the MIDI Editor to • Even the most high-quality
change the melody of the loop samples don't sound quite as
any way you want. natural as real instruments.
SoundVision
This alternative display of the Soundpool library shows all available sounds graphically.
No matter how large the Soundpool collection is, you can view the entire library using
this 2-dimensional display. This "galaxy" can now be accessed via the mouse to collect
all of the sounds you want.
Media Pool 43
The large clusters of "stars" are the styles, and these are arranged from inside to outside
with increasing tempo. Eventually they form a center - the styles furthest out have the
highest tempo.
Within a style are the individual instruments (e.g. keys, pads, sequence) formed in a
circle, and the drums are in the middle. Every instrument group has a certain color
assigned to it which is the same in every style. The individual sounds are points encircled
by the individual pitches, if available.
You navigate throughout the Sound Vision view by moving the selection displayed with
the mouse; the mouse wheel enlarges or diminishes the view. The points (which
symbolize the sound loops) can be manipulated exactly as in the Media Pool list view, i.e.
select by double clicking and load by double clicking or via drag & drop.
File Manager
The file manager works very similarly to Windows Explorer. It can be used to access and
load media files of all kinds: Videos, photos, MP3 files, audio CD tracks, and RTF text files
for titles.
The Media Pool consists of a file list to the right (the actual “Media Pool”), in which all
loadable media types (and, if required, further subfolders) are listed, and the navigation
area on the left-hand side.
All supported multimedia files and subfolders of the currently selected folder are
displayed in the file list. All entries can be loaded into the arranger tracks by double
clicking or via drag & drop.
Navigation buttons
Forwards/Back The "Back" button always returns you to the
folder where you were previously.
Up The "Up" button brings you to the next highest
folder level.
View These buttons switch the file view list between
icons, lists, or details.
Various file list view modes

The file list displays all supported multimedia files and subfolders of the currently
selected folder. Three different views (list, detail, large symbols) can be set by right
clicking on the options or Media Pool's context menu.
44
List: Only file names are listed.

This view mode displays the
most files simultaneously.
Details: The details section

displays the type, size, and date
of modification for every media
file beside the name. The list can
be sorted by clicking on any of
these details.
Large symbols: These can be

quite useful, since they show a
preview frame for each movie
and picture file. This allows you
to sort through the material
quicker. The disadvantage is that
it takes longer for the file list to
be displayed.
Deleting, copying, and moving files

All files listed in the media window can be selected, deleted, or moved into other folders
via drag & drop, just like via Windows Explorer. This way, all objects desired for
placement in a project can be collected in a separate folder beforehand.
Additional functions can be accessed via the context menu, i.e. by right clicking an entry.
My Projects
This button opens the "My Projects" folder. This is a subfolder of "My Projects" that is
named after the program (i.e. MAGIX Music Maker 2015, only featuring "_" instead of
empty spaces). This is created automatically when the program is installed. All new
recordings and projects are saved here automatically as a preset, and finished projects
are exported here. You may change the save location as you see fit via Program settings
> Folders (view page 202).
My Files: This displays the contents of the "My Files" folder. This is normally the save
location of videos, pictures, music, etc. (in the corresponding subfolders).
My MP3s
This provides quick access to your own MP3 collection. When this button is pressed for
the first time, you can select the folder where your MP3 files are saved. You may also
change this path later via "Program settings", the "Folder" tab (Y key or "File" menu >
"Settings" > "Program settings").
Media Pool 45
Database
This button displays the media files on your computer in a well-
structured database view.
This means the files are no longer displayed according to where they are stored in the
different folders but are grouped according to general characteristics. The top "folder
level" is the difference in audio, video or image files; subfolders would be, for instance,
the date for photos or the artist for MP3 files.
In order to present media data on your PC in a database view, you first have to add them
to the MAGIX database. To do this, click on the database button to the right and select
the option Start media manager for photos and music.
This opens the corresponding MAGIX program and the database scan function of the
program.
MAGIX Music Maker 2015 comes with the free photo and music management programs
MAGIX Photo Manager and MAGIX Music Manager. If you have the corresponding free
versions, MAGIX MP3 Maker or MAGIX Digital Photo Maker, they will be used instead.
By right clicking on "Database" and clicking on "Database search", you can open a special
search dialog in which you can carry out a targeted search for media.
Search the database

Quick search: Simply enter a keyword and highlight the data type (photo, audio, video).
All available Database columns are searched for the keyword.
Expert search: Here you can restrict your search by stating search criteria in the
following way:
Database column Condition Comparison item
e.g. dimensions greater than 800
You can search up to three database columns that are connected via "and" or "or"
simultaneously.
"AND" means only those files will be listed that match all criteria.
"OR" means only those files will be listed that match at least one of the criteria.
Instrument settings
This button opens the folder containing your software instruments. You can read more
on this in the Software Instruments (view page 104) chapter.
46
Templates
The folders for installed effects presets will be opened. Even saved audio and video effect
presets as well as title templates end up in these folders, so that over time, a complete
library of your own presets will be created.
The buttons to the left open the folders for audio effects ("Audio FX"), presets for the
Vintage Effects Suite ("Vintage FX"), presets for the Live Performer ("Live Pads"), the
LiViD drums synthesizer, title templates ("Titles"), video effects ("Video FX"), and
animations ("Visuals").
You can also add effects by drag & drop. They can simply be dragged onto the
corresponding object using the mouse.
Tip: When an audio effect lands on the audio objects by right-clicking the context
menu, the dialog for the particular audio effect (view page 137) will open and you can
adjust it more precisely!
Keyboard
The keyboard enables software synthesizers to be played and recorded directly via the
on-screen keyboard.
If a track synthesizer is not present, then a new track will be added and a new synthesizer
plug-in will be added when the view is switched to "Keyboard" (Vita with Sound
Acoustic Bar Piano).
The keyboard always controls the synthesizer in the track for which MIDI recording has
been activated.
You can click the keyboard with the mouse to play the instrument. The closer to the
bottom edge you click on the "virtual keys", the louder the sound will play. Of course, you
Media Pool 47
can't seriously play music by clicking with the mouse (this function is more suitable for
testing out sounds quickly). That's why you can also play the keyboard with the keys on
your computer's own keyboard.
Note: This works only after you first click once on the keyboard using your mouse.
Otherwise, pressing the computer keys will function as keyboard shortcuts (view page
228) for the different functions in Music Maker. If the computer keys control the
program's keyboard, then the piano keys will display the corresponding keyboard
characters.
You can use the arrow keys to select the next or previous sound of the
synthesizer or they can be selected directly in the list field on the side.
This button opens the editor window for the synthesizer for fine tuning
the sound.
Arpeggiator
The arpeggiator is a special function that can be used to create full chords
or broken chords (arpeggios, i.e. the notes of a chord played in quick
succession) by pressing a single key.
C note C major chord C major arpeggio with 1/16 notes
This button activates the arpeggiator.

This switch determines whether the played note will generate no chord, a major
chord (Dur) or a minor chord (Moll).
This switch determines the type of arpeggio. When set to the far right, a normal
chord is played. The other positions are up, down or up and down. The figures
are repeated as long as the note is played.
The tempo of the arpeggio is set here and can range from 1/4 notes (slow) up to
1/32 notes (very fast).
Object Inspector settings

The Object Inspector offers quick access to properties of objects, e.g. audio effects for
audio objects. For MIDI objects (view page 79), a smaller version of the MIDI Editor is
shown, which allows you to edit the selected object.
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Audio Objects
If an audio object is selected the object inspector will open featuring the audio object
view
This displays the available object effects (view page 138) in a clearly laid out list. The
button at the front switches the effects on and off. Clicking on the effect name opens the
settings dialog.
MIDI objects
If a MIDI object is selected, then the Object Inspector shows a smaller version of the
MIDI Editor. The MIDI Editor in the Object Inspector operates in the same way as the
"bigger" version in its own window, but the menu and several playback and recording
settings are not available.
Media Pool 49
For more information, please read the section MIDI Editor in the chapter "MIDI
objects"!
Setting Catooh
You can preview multimedia files from the Online Content Library Catooh, load them into
the project, and edit them further .
Please read the chapter entitled Catooh!

50
Mouse modes
MAGIX Music Maker 2015 offers special mouse modes for arranging and editing objects.
A small arrow next to the mouse pointer symbol allows different modes to be
set.
Move selection
This is the preset mouse mode in which most changes are made. Left clicking
selects an object. When the "Shift" or "Control" keys are pressed, multiple
objects can be selected.
Hold down the mouse button to move selected objects.
In this mode the objects can be faded in or out or their lengths can be changed using any
of the five handles. Please refer to the "Arranging objects" (view page 52) chapter. Right
clicking on an object opens the context menu with the most important effects and
settings available for that specific object.
If an effect curve is active (only available in the Premium version of Music Maker), the
curve handles can be selected and moved. Double clicking on the curve creates new
handles.
Shortcut: Ctrl + 1, number key 1
Move to track
This mouse mode behaves basically like the mouse mode for individual objects,
but moving objects
results in all other objects behind the object moving in sync on the track. This is practical
if space is needed at the start of a track, since all objects can be moved together without
moving them underneath each other.
Move all
This mouse mode behaves in principal just like the "Single object mouse mode",
but during moving, all objects on all tracks will be moved together from the mouse
position.

Mouse modes 51
Draw
In this mode you can insert further similar objects behind an already loaded
object.
Starting from the first object, the following objects are always inserted synchronously so
that you can also think of this mode as the insertion of a "Mute" automation from a
continuous loop. You can read more about this in the section "Drawing in loops (view
page 56)" in the chapter "Arranging objects".
Split
You can split objects quickly with this mouse mode in order to remove
unwanted parts or attach various effects to parts
of objects.
Stretch
This special mode is for customizing the length of objects.
Objects can be on the lower handles stretched or compressed. Audio material is

therefore lengthened via timestretching without changing the pitch itself The middle
object handles allow the object's pitch to be changed using pitchshifting in the range of -
7... +7.
Preview audio
In this mode you can individually preview audio objects in the project. By clicking
on the audio object it will be played back from the start to the end of the solo
for the entire duration and independent of the start and end markers in the timeline. The
objects are protected against inadvertent moving in this mode.
Scrubbing
By holding down the mouse button, the project can be previewed at the point
where the cursor is positioned.
52
The playback marker follows the mouse movements. This mode is especially suited to
searching for specific parts of a project.
Replace
This mouse mode simplifies searching for suitable samples: Left mouse click on
a MAGIX
Soundpool object to switch the object automatically with another from the same
instrument category. Shift + left mouse click keeps the object but changes the pitch. Ideal
for quick experimentation!
Context help
This mouse mode allows you to open the corresponding "Help" section by
clicking on any area of the MAGIX Music Maker 2015 screen.
Shortcut: Alt + F1
Arranging Objects
In MAGIX Music Maker 2015 you can jointly and uniformly load, arrange, edit, and
export different multimedia file formats. This chapter describes the basic way of working
with multimedia objects. This includes audio objects, video objects, graphics, midi
objects, and synth objects. Later chapters will describe the particulars of the respective
formats.
All object editing is virtual, non-destructive, and is calculated in real time during play. The
multimedia material is thus not destroyed (non-destructive editing) and any change can
be cancelled with the multi-stage undo function ("Ctrl + Z"). You can experiment to your
heart’s content without having to fear that you will change or damage the original
material.
Save/load projects
"Project" refers to all objects found in the arranger (audio, video, MIDI, songs, graphics,
synthesizers) along with all their positions, fades, lengths, volumes, brightness settings,
and effects.
Projects can be saved via the menu "File"as an MMM file and loaded again.
When loading projects you must ensure that all media files used (audio, video, image
files) are available in their respective folders. To save projects completely, to archive
them, or to edit them using a different computer, use the function " Save project and
used media..." from the menu "File" > "Backup". The entire project along with the media
files will then be saved in one folder.
Multimedia files and objects

All multimedia files supported by MAGIX Music Maker 2015 can be previewed or
listened to in the Media Pool by clicking on the file name and dragging it into the arranger
with the mouse held down (Drag & Drop). The files are displayed as objects in the tracks
after the mouse is released.
Right-clicking on an object opens the context menu with the most important editing
options available for that specific object.
Select objects
To edit or delete objects using the menus, you must first select them. To do so, simply
click on the object you wish to select. When the Shift key is pressed, multiple objects are
selected. Object modifications like cutting, moving, effect allocations and so on, apply to
all selected objects together.
54
To visually highlight the current selection, the object handles (see below (view page 55))
of the selected objects are displayed.
Several objects can be selected quickly by clicking on the first object in the first track with
the mouse and dragging out a square for selection. All objects entirely or partially within
the square will be selected (rubberband selection).
Mute objects
Each object can be muted individually. Simply select the objects you want to mute and
press Ctrl + M (or use the corresponding command from the context menu).
Build or split object groups

Several objects can be combined to make up a group and avoid the objects being
unintentionally moved out of relation to each other. To create a group, select the
respective objects and the command "Edit Menu > Object > Group > Form group"
(Keyboard shortcut: Ctrl + G).
Once they are combined, clicking on one object of a group will select the entire group,
allowing you to move, copy, or delete the group as a whole. To ungroup objects, use the
corresponding command in the "Edit" menu or the keyboard shortcut Ctrl + U.
Split objects
All objects can be split. This way, two new independent objects are created. To do this
select the object and move the playback marker to the position where you want to cut by
clicking on the timeline.
Click on this button in the upper toolbar (view page 228) or click on "Edit” >
"Object" and select the option "Split objects” or press the "T” key. It's even
easier with the mouse mode "Split objects (view page 51)".
The two new objects keep all object effects (view page 137). For example, you can then
design a loop in a more varied manner by first overlaying an object as a whole with an
effect before cutting it into several parts and then varying the effect parameters in the
individual parts.
You cannot easily combine two such object parts again. But you can edit them together
by joining them together in a group. To do this you can select the individual parts and
select the command "Group" (Ctrl+G).
Duplicate objects
To duplicate objects select the object(s) and select in the "Edit" menu > "Object" >
"Duplicate objects" (Ctrl + D). A copy of the object appears right beside the original
which can be moved to any position with the mouse.
Tip: Speed up this process by clicking on the object to be copied with the mouse while
holding down the Ctrl-key. This generates a copy, which you can immediately drag to
the desired position.
Another way to duplicate is by using the copy/edit commands from the "Edit" menu >
"Object" or "Section". For the latter, all objects will be copied in the playback range (view
page 35).
Object Handles
You can fine tune the object start, end, and volume as well as the fade-in and fade-out
with the object handles for each object.
Shorten or loop objects

Objects can be shortened by dragging the lower right corner to the left. During this
process the mouse pointer turns into a double arrow. An object can be shortened from
the start in the same way, e.g. if too much silence was recorded before the actual audio
began. To do this, simply use the handle in the lower left corner. This can be used to
shorten samples or recordings without having to cut them.
To extend the object again, drag the object boarder outwards. If you drag the object
beyond its original boundaries, it will loop (i.e. repeat) until the end of the object is
reached. This allows you to create, for example, a complete drum track from a short
drum loop, or a long video from a short video sequence.
Normally an object is always looped over the full length of the underlying data material
(audio or video file). To set a clip from a file as a loop, shorten the object at the front and
the back with the handles and choose the in the "Edit" menu > "Object" > "Loop section"
> "Insert user-defined loop". This function is very useful for setting your own recording as
a loop, as the silence at the beginning of a recording can be cut away.
Fading Objects
An object can be faded in or out with the handles to the left and right upper corners of
the object. The length of the fade can be adjusted with the handles.
56
If an object on a track is moved to a position where it overlaps with another object, the
length of the overlap will automatically become a crossfade. This means that the first
object is faded out while the subsequent object is faded in simultaneously. The duration
of the fade-out is equal to the duration of the fade-in but can be adjusted using the upper
handles.
Crossfade
Setting object volume

Using the volume handle located centrally at the top of the object, you can set the
volume of individual audio, synthesizer, or MIDI objects.
In connection with the ability to cut objects (see above), this makes it possible to edit the
volume progression in detail.
The drum loop in the first bar was cut into individual parts in the second bar and the volume varied.
You can adjust the overall volume of a track or the volume performance between the
tracks more conveniently in the Mixer (view page 184).
Note: The handle serves the transparency settings for videos, images, and title objects.
"Draw in" loops

Audio loops can be drawn into the arranger tracks with the mouse.
For this you have to set the mouse mode to "Draw objects" by clicking on the
corresponding icon in the mouse modes menu. Now an audio sample has to
be loaded which will serve as a template and which will then be drawn into the
following area of the track as a loop in the track.
This works as follows:

1. Load any loop from the Media Pool into the arranger.
2. Click on an area further back on the same track and hold down the mouse button to
draw in the loop.
Starting from the first object, the drawn-in loop area is always synchronous with the
beat. This means that the drawn-in loop is not played from the beginning, but rather
starts from the position where the original loop would be if you had continued to this
position. Or, to put it differently, a running loop can be found on the track and you can
draw in at which position you can hear it ("Mute automation").
The synchronous start of the object in this mode has another consequence: If an object is
moved, then only object borders are moved, but the underlying loop, however, always
remains intact.
Takes
Every object can be saved as a "Take". Takes save all editing done on an object, like
object length, fade settings and all object effects. MIDI takes save the instrument
controlled by them (MIDI output or software instrument).
Takes are saved as "TAK" (*.tak) files and take up virtually no space on the hard disk.
This means you can cut a sample, add various effects to it and save it as various takes in
order to use these together with all their editing in other MAGIX Music Maker 2015
projects. Instead of repeatedly saving the original sample, only the object and effect
settings are saved. You can also save Synth objects as takes which creates your own
preset libraries for the synthesizer.
The MIDI loops included with MAGIX Music Maker 2015 (you'll recognize them
in the Media Pool by this icon) are also takes because the MIDI files (view page
79) only sound the way they were intended when combined with the right
synthesizer sound.
Attention When loading takes, the audio or video file for which the take was added
must be in the original folder.
Keyboard shortcut: Alt + Shift + S
Object properties
This function displays all the information about the currently selected objects, such as file
name, position on the hard disk, tempo, etc. The object editor also defines the foreground
and background color of every object in the project.
In the "Tempo/Pitch" tab, information on the patched/determined tempo and pitch of

the audio object is shown. Furthermore, there is an overview of how the various
timestretching/pitchshifting operations affect the entire audio object. The tempo/pitch
58
adjustment when loading the sample, the effect of the master tempo fader, and the time
processor as object effect tracks are offset against one another, but they may not mesh
properly. For this reason, there are two buttons which can be used to double/halve the
object speed. Try using these buttons if the tempo of some loops is incorrectly
interpreted as twice or half the speed.
Mixdown audio
If the arranger becomes too full to manage, the system is out of RAM, or you just want to
”summarize” your production, use the mix down function to convert the entire project
into a single audio and/or video file.
To do so, choose the "Mixdown" function from the "Edit" menu. You can choose a name
and a destination for storing the mix down object. The default directory is ”My Projects”.
If only audio objects are in the tracks, a wave file will be created. If audio and video
objects are combined, you can choose whether an audio or a video file will be created.
The objects of the arranger or the area will be replaced by the new object.
MAGIX Music Maker 2015 automatically normalizes the audio file, i.e. the loudest part of
the wave audio object is identical with the highest figure of the 16-bit resolution ceiling.
This guarantees the same sound quality, even if you repeat the mix down procedure or
you combine the mix down file with other wave audio objects again and again.
Tip:The mix down function is very helpful if you want to go on working with the mix-
down object. To create the finished end version of the song or video it is recommended
to select the "Export project" function in the "File" menu instead of the "Mixdown"
function.
Shortcut: Ctrl + Shift + G

Audio Objects 59
Audio Objects
Audio formats
MAGIX Music Maker 2015 can load audio files in the formats Wave (.wav), Ogg Vorbis
(.ogg), Windows Media Audio (.wma), MP3 (.mp3), AIFF (.aif), FLAC (.flac) and CDA
(audio CD tracks). The audio data of a file are displayed as an object in the arranger of
MAGIX Music Maker 2015. The material will be displayed as a waveform, optically
representing the sound to make editing easier. MAGIX Music Maker 2015 can export
files in all formats listed above.
In addition, the Premium version can load and export the Surround formats (after
activating the encoder) MP3 Surround, Surround WMA and wave (6-channel
interleaved).
Load and edit audio files

All importable audio files can be accessed from the Media Pool and previewed (as
sound) by clicking the file name. Any file can be moved into the Arranger using Drag &
Drop. Tracks from audio CDs can also be integrated into the project using drag & drop.
Edits, fine positioning, volume settings, and fading in and out may all be adjusted directly
in the Arranger using the object handles. See chapter "Arrange objects”.
Smart preview for the included samples.

The included samples can be previewed while the project is being played. They are
always played in time with the song. This means that if you combine loops from different
styles that have different tempos they will automatically be adjusted to the current
project tempo even in the preview.
You can compose a song in realtime by loading different samples and searching for
suitable new building blocks during playback.
Start the playback and select a loop by simply clicking the mouse. The loop will be used
as a preview on the next available track and played back together with the pre-existing
audio material. Update the preview by selecting another loop. You can then try out the all
of the soundpool samples in the context.
As a preview, the loop will always be extended to the entire length of the playback range.
The result is therefore immediately audible, even if the loop is originally shorter than the
selected playback range. If you adopt the loop in the project (double-click or press the
Enter key), it will be introduced in its original length at the beginning of the playback
range.
60
Tip: You can also use key commands to quickly change the playback area (view page
35) by using the arrow keys. This will let you add loops to your project with more
precision.
Audio recording
Your own sounds like vocals, speech, noises, or instruments can be easily recorded in
MAGIX Music Maker 2015 using the audio recording function.
Click the REC button in the track box to specify the track for the recording.
The display in the track box will change
The input signal will be played back featuring all track effects (if there are any) (live
monitoring (view page 61)).
Live monitoring requires the use of ASIO drivers (view page 205).
Click the red button on the transport bar to start the actual recording.
Click on the gear icon next to it to open the dialog box "Audio
recording" (view page 62) with various settings options. This dialog
box can also be opened after starting the recording.
Adjusting the signal level

Adjusting the signal level to the sound card is also recommend to get the best sound
quality when recording digitally.
Once a recording source is connected to the sound card, the small gear wheel button
next to the Record button opens the recording dialog and starts the recording source.
You can now adjust the recording level with the help of the LED display in the record
dialog.
If the adjustment is set too high, distortion occurs and the incoming signal must be
reduced. If you have linked the sound source directly with the sound card without a
mixer, this can only be done via the Windows system settings "Sound". You can access
this directly from within the recording dialog via the “Recording level” button. You will
see which sound card input is already being used with the amplitude in the small peak
meter in the settings dialog. Double-click on this and change in the tab "Level",
If you reduce input sensitivity by using the input fader, the resolution at which the analog
signal is digitized is also reduced. Try to set these automatic controllers to the loudest
sound level possible! The yardstick for the optimal level setting is the loudest part of the
material. The loudest part should be adjusted to the maximum.
Audio Objects 61
Note: Not all sound card drives fully support the Windows system mixer; this
functionality can also potentially fail. Some sound cards also come with its own mixer
application in which you can control the input level. If both fail, you need to match the
level to the analog source.
Listening to the input signal - monitoring

You usually want to listen when you record something. This is called monitoring. There
are different ways of monitoring in Music Maker.
Live monitoring
This is the preset method and allows you to listen to the input signal via the audio
processing of Music Maker, that is, with all effects, i.e., the track effects as well as the
AUX send effects and master effects.
You can therefore hear your vocals or guitar recordings with the necessary effects while
recording or jam live to a finished project.
An ASIO driver is needed for monitoring. Professional soundcards come with such
drivers. For any soundcards that don't have this there is the MAGIX Low-Latency driver,
which provides any sound card or on-board sound chip that is fitted with WDM drivers
with an ASIO driver. For more information see the Menu "File" > "Settings" "Program
Settings" > "Audio/MIDI" (view page 205)section.
There will be a short delay (latency) caused by processing the audio signal. This delay
amounts to just a few milliseconds with modern sound cards. You can deactivate this
option should it still disturb you. To do this, uncheck the "Direct monitoring" box in the
recoding settings dialog.
System monitoring
You may already hear your input signal or two input signals with live monitoring before
you have activated the track for recording. This is due to the fact that the line-in input is
configured so that its signal is directly routed to the output. This is a feature of the
Windows operating system and not of Music Maker. The purpose of this is to allow you
to connect external audio sources, such as MP3 players, via the input and listen directly
through the computer speakers.
To disable this unwanted "monitoring", click on "Peak control" in the "Audio recording"
dialog box, double-click on the input used (identifiable on the peak meter amplitude),
and change the tab "monitor" in the subsequent settings dialog. There you can deactivate
the option "Use this device as playback source".
On the other hand, you can also use this type of monitoring if the live monitoring is not
suitable, because the ASIO driver does not function in a stable way. Or if you don't want
to use the live monitoring because you find a small latency disturbing. However you then
cannot listen to the Music Maker effects.
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Note: Not all sound card drives fully support the Windows system mixer; this
functionality can also potentially fail. Some sound cards also come with its own mixer
application that provides monitoring.
External monitoring with a mixer

You can also monitor without using the computer with an external mixer. Small mixers
with a USB connection that are both mixers and sound cards are suitable for this. It is the
same as with the system monitoring (no latency but also no effects). But it has the
advantage that you have direct access to the input level and monitoring level in the
mixer. The external mixer enables you to use the in-program live monitoring. But you
must be careful not to create any feedback loops, thus avoiding a repeat recording of the
output signal.
Audio recording dialog
Audio Input: Selects the sound card for the recording.
Save audio file as/storage location: Here you can select the title of the audio file you
wish to record. You can also select the folder where you wish to store the file.
Recording quality: Sets the sound quality of the recording. In the preset menu you can
choose between AM Tuner, FM Radio, CD Audio, and DAT (Digital Audio Tape).
Audio Objects 63
Mono/Stereo: The recording can be made in mono or stereo. Mono recordings are
recommended for song and instrument recordings made using only one standard mono
microphone. This reduces the required memory space in half.
Peak control: This opens the Windows system dialog for the selected sound card drivers.
There you can customize the input level and deactivate the system monitoring (view
page 61).
Level indicator (L/R): Use the level indicator (peak meter) to monitor the strength of the
input signal. Please read more on this in the section 'Adjusting levels'.
Direct monitoring: Select this option to switch the live monitoring on and off. Please read
more on this in the section Listening to the input signal - monitoring (view page 61).
Advanced: Use this button to open a window containing a selection of three special
functions.
Advanced settings
• Normalize after recording: This option raises your material to the correct volume
level after recording is completed. In order to achieve good audio results, you should
try to record the source as loud as possible without overmodulating it. The Peak
Meter display here helps in the recording dialog.
• Realtime adaptation of the sample rate: This automatically adapts the sample rate if
the file you wish to record to the sample rate of the current project.
• "Ducking" (reducing the sound volume): This is a function for video dubbing. To add
narration or other sound material to a video that already has sound volume levels
set, activate the option ”Automatic reduction of sound volume of remaining audio
tracks”. This automatically reduces the volume of audio objects in the project during
the recording session (”ducking”). This is achieved using an automatically
configured volume curve: Before and after the recording other tracks will be faded in
or out, resulting in a homogeneous total volume level. (Lowering of volume level
during spoken comments is also called "Ducking".)
Import audio CD
Entire music tracks from audio CDs can be imported into the project through the Media
Pool in the same way as importing files from the hard drive.
1. Insert an audio CD into the CD/DVD drive of the PC

2. Go to your CD/DVD drive in the Media Pool (File Manager, Computer). The
individual CD titles appear in the file list.
3. A simple mouse click starts the playback of the CD title for sampling purposes
4. Drag & drop the track from the CD into a track of the current project and it will be
digitally scanned and copied to the hard drive. The files will be saved in the import
folder (may be specified in "File" > "Settings" > "Program..." > "Folder" (More
information can be found in the section "Folders" on page 207)).
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5. The CD track appears in the track as an audio object and can be played back or
edited immediately.
Use the CD import dialog for more advanced control of the import process, e. g.
importing sections from music tracks. You can access this dialog box via "File" > "Import"
> "Import audio CD track(s)..." (Keyboard shortcut: C)
CD import dialog
In the CD import dialog box you can select tracks from audio CDs and partially or fully
import them into the project. You can also select and configure the used drive if you have
more than one drive. The data is imported digitally which eliminates any loss in sound
quality. The CD tracks are imported into the project as wave files. The files are saved in
the import folder. (File menu > Properties > Program settings > System > Path settings
(More information can be found in the section "Folders" on page 207))
To import audio CD tracks, insert an audio CD into the drive and select "Import > Import
audio CD track(s)" from the File menu. A dialog with a list of the CD tracks will open. If
you have more than one drive, you may have to first select the drive containing the CD.
You can do this in CD drive options .
On the left-hand side in the list you can choose which track(s)/title(s) you wish to
import from the CD. Several subsequent tracks can also be selected by holding the
"Shift" key + mouse clicking; "Ctrl + mouse-click" selects several individual tracks. By
clicking on "Select all tracks", all audio tracks will be selected, e.g. for copying the
complete CD.
Now click on "Save selected tracks..." This will open the "Save audio to..." dialog, where
you can specify the name and target address of the audio files. The audio files are
subsequently numbered depending on their names (name -> name_1.wav,
name_1.wav...). "Save" starts the audio copying process. A progress bar is displayed.
Audio Objects 65
Once ripping is complete, the dialog will be closed and the tracks are inserted into the
project as individual objects.
In the top right field, details on the total length and the memory capacity of the selected
track/section are displayed.
Transport control: This lets you start and stop playback

just like on a real CD player and skip forward and
backward in the playlist.
With the faders below it you can go to a specific position
in a track. To import just a specific section of a CD track,
choose "Start selection" at the beginning of the section
and "End selection" at the end.
Use the small "Volume" faders to control the preview volume. The chosen drive appears
below it. In the right selection box you can select the read speed, and in the left one you
can select the export mode (see Configuring the CD-ROM).
CD drive options: Here you can change the settings and select the drive for importing the
CD if you have installed several CD drives (see also CD-ROM drive dialog).
Copy-protected audio CDs

According to the copyright act it is forbidden to copy a CD with copy protection.
However, an owner of a CD may create a backup copy for himself - even if it's a copy-
protection CD. The problem is, however, that you cannot create a copy from copy-
protected CDs, as they cannot be read with a conventional PC drive. In order to create a
backup of such a copy-protected CD you have to play it on an audio CD player and
record it as a regular analog recording via the sound card.
Keyboard shortcut: C
CD/DVD drive list
Configuration: This button opens the configuration dialog, where various special settings
can be made.
Reset: sets drive settings back to default.
Add: Creates a new drive in the list, which first requires special settings.
Delete: Deletes selected drive from the list.

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Load setup: Loads the current drive list and all configuration data from a *.cfg file.
Save setup: Saves the current drive list and all configuration files in a *.cfg file.
CD/DVD-ROM configuration
Drive Name: Lets you edit the name of the drive in the list. This is useful if you create
more than one entry accessing the same physical drive.
Host Adapter Number: Lets you specify the number of your SCSI adapter - normally 0.
Bus ID: Here you can enter the ID of your CD-ROM drive. Be sure to set the correct ID,
there is no error checking!
Bus LUN: sets the LUN parameter, normally 0.
Alias: Lets you select the manufacturer type of your CD ROM drive.
Normal copy mode: copies audio files without any software correction.
Copy mode sector synchronization: copies audio files with a special correction
algorithm. This is especially useful, since many CD drives have problems finding an exact
position again and gaps can occur.
Burst copy mode: optimizes the speed of the copy process, no software correction is
used.
Audio Objects 67
Sectors per cycle: defines the audio sector count that should be read from the audio CD
in one cycle. The higher the number of sectors, the faster the copying process. Numerous
SCSI systems have problems with more than 27 sectors.
Sync sectors: sets the count of audio sectors, which should be used for software
correction. A higher number results in a better synchronization but also in a slower
copying process.
Change the playback tempo or pitch

If you want to combine audio material you have recorded yourself from different sources,
samples from Soundpools, or songs from CD with each other, then you will often need to
adjust the tempo or pitch of audio objects to match each other. There's an automatic
function which automatically adjusts the tempo of audio objects when they are loaded to
the project's tempo, plus advanced tools like the <Remix Agent> and the Time Processor.
Automatic tempo adjustment when loading

In general, MAGIX Music Maker 2015 automatically adjusts audio files to the project
tempo. In normal cases, you won't need to worry about the different tempos of audio
files and Soundpool samples, since these are automatically matched. But since automatic
processes can fail too, the following process explains when you may need to "manually"
adjust things.
In the new project (empty), the tempo will be determined by the first samples loaded
into it. All additional audio files will then be automatically adjusted to this tempo. If you
are planning a remix which is composed of different samples with different tempos, then
try to add the most important sample first. This minimizes sound distortions compared
to the other samples via timestretching.
In order to be able to correctly adjust an audio object to the tempo, its output tempo
must first be detected. If the sound is a Soundpool sample, then the tempo saved therein
("patched") will be used, and the tempo adjustment will always work.
For all other (short) samples, an attempt will be made to automatically provide the
tempo. If the sample is not cut exactly, i.e. it does not contain an exact number of beats
or is incorrectly interpreted by the automatic detection process, then this may not work.
The sample will then be incorrectly stretched. In this case you can try to manually adjust
the sample.
The <Remix Agent> launches optionally for longer samples ( > 15 seconds), e.g. entire
songs from CD or MP3s. This also gives you the option of either adjusting the sample to
match the project or the project to the sample.
MIDI objects for controlling synth objects always have the correct tempo because they
are always aligned with the project tempo.
In the dialog Program settings ("Y" key) -> Import, you can deactivate the automatic
tempo adjustment or limit it to patched samples.In the dialog Program settings (view
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page 204) ("Y" key) -> Import, you can deactivate the automatic tempo adjustment or
limit it to patched samples.
Change tempo or pitch of individual objects manually

You can change the pitch and the tempo of the selected audio objects. You can access
these tools via the effects menu or the Object FX effects rack.
The playback tempo can be quickly changed via the stretch mouse mode, i.e. by
compressing/stretching the audio object's lower handles, in which case the tempo will
change but the pitch will not be influenced.
For example, to fit a "non-circular" loop with the stretch mouse mode (view page 50) in
a current project, proceed as follows:
1. Load the sample. Music Maker will try to fit it into an even number or bars. Set
the appropriate track to solo and place the playback range exactly above the
sample.
2. Select it and click on Enlarge Object at the bottom left of the arranger window
. The object will be displayed at the maximum size.
3. Turn off the raster (in the list field at the top right of the arranger or with
Ctrl+F12)
4. Now start the playback and move the end marker of the playback range to the
right until the loop "runs around". You can rely on your hearing and not just on the
waveform display.
5. Now shorten the object on the playback range length.
6. Deactivate "Enlarge Object" and turn the raster back on.
7. Switch to the stretching mouse mode (Ctrl+7) and stretch or squash the object to
an even number of bars.
8. Deactivate "Solo", set an even playback range, and start the playback. The loop
should run perfectly in time. To set the object as a loop, select "Edit > Object >
Loop section > Set custom loop".
To match the pitch of the loop to the current project, you can also change the pitch using
the mid handles on the object in the stretch mouse mode.
The Time Stretch/Pitch Shift Effect allows you to use different algorithms. The best
results often depend on the respective audio material and the different algorithms (see
Audio Effects Chapter > Timestretch/Resample). You can improve the sound by opening
the Effect Dialog via the "Effects Menu > Audio > Pitch & Tempo > Time Stretch & Pitch
Shift" or Shift+P, and try out the different algorithms via the "Setup" button.
The tempo setting on the transport controller allow the project's tempo to be changed
retroactively. This affects all objects contained in the project, and in some circumstances
this can lead to an increased demand on the system and dropping out during playback. If
this occurs, use Apply function in the effects rack (view page 141) or the function
Combine audio (view page 212).
Audio Objects 69
Song Maker
With the help of the Song Maker, you can automatically arrange multiple audio objects
(loops) using included samples for songs or song parts without having to drag them
individually from the Media Pool into the corresponding tracks. Considering the relatively
random selection of loops that are combined you shouldn't expect the Song Maker to
produce a chart-topping hit, but it can be very helpful as a basis for making your own
adjustments and additions to create a cool project.
Activate the Song Maker by pressing the “Song Maker” button or from the Effects menu.
Select a music style.

Select the instruments that you want to use. If, for example, you only want a
rhythm section with drums and bass, deactivate the other instruments with a
mouse-click.
Select the song part or parts that you want to create. The parts differ in their
harmonic structure and instrument density, for example verses have fewer
instruments than refrains, while there are accompaniment variations between
the 1st and 2nd verses as well as in the refrains. The pitch sequence from verse
to verse remains the same. If you activate all parts, Song Maker creates a
complete song in the typical structure of a classic pop song, i.e. intro-verse-
chorus-verse-chorus-bridge-(transition or solo)-chorus-outro.
Use the sliders to the right to set the speed and the length of your song.
"Chaos" draws a different loop of the corresponding instrument for each new
object. Normally, the same loop is continuously used in various pitches for each
element of the song such as verse, chorus etc. If you use "Automatic", a new
song in a randomly generated style will be created automatically, as soon as a
song has been played.
Now click on "Create Song". Song Maker automatically compiles a project. The
following is only a suggestion.
Use the play button to preview the song maker's suggestion. If you don't like the
results, you can repeat the process. Before you do this, right-click on the
instruments you want to keep in the project to prevent them from being
overwritten. You can return to a previous status anytime by clicking on "Undo"
or "Redo".
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Once you're happy with Song Maker's suggestion, click on "Apply". The building
blocks are only now added to the arranger. A click on “Cancel” closes Song
Maker and returns to the original project status.
Tip: If you start the Song Maker for a project that already has audio material in it, this
material will not be affected. This means you can apply the Song Maker repeatedly
saving only the parts you like until you have a final project. You can also create song
parts one after the other. The results from the Song Maker are always added at the start
marker position. If you decide you want to replace the chorus you can simply set the
start marker (view page 35) at that position.
Keyboard shortcut: W
Remix Agent
To create a remix, elements from a completed song or components of a song are added
and removed creating a new song. In order to combine your own loops and beats with a
given song, it is important to know the exact tempo (in BPM - beats per minute) of the
song. The Remix Agent in Music Maker allows you to define the tempo of MP3s or
imported tracks from a CD.
Once the tempo has been determined, you can optionally match the tempo of the project
to the tempo of a song, the tempo of a song to the tempo of an existing project, or divide
a song into individual beats (remix objects), which can then be rearranged as desired.
Requirements for using the <Remix Agent>

• The song must be longer than 15 seconds.
• The songs have to contain "rhythmic" music.
• The track must be in stereo.
Note: If one of the above requirements is not fulfilled, the Loop Finder can be used.
If audio files longer than 15 seconds are dragged into the project, the Remix Agent is
started automatically.
Workflow of Remix Agent

The Remix Agent works in 4 steps:
Step 1: Checking the start marker

Step 2: Tempo recognition
Step 3: Specifying beat starts
Audio Objects 71
Step 4: Application of BPM and beat recognition
Step 1: Checking the start marker

Place the play cursor at the position where detection should start in the object by clicking
the timeline. If the object contains a longer intro without beats but rather calm
synthesizer pads, you should position the start marker after the intro.
Furthermore, the start marker should always be positioned just before a beat hit, even
better, just before a beat at the start of the bar.
Step 2: Checking the automatic tempo recognition

After opening the Remix Agent by pressing the "Continue" button, it will begin to analyze
the audio material and try to determine the tempo. The object is played back while a
metronome click relative to the event can be heard and numbered green beat lines
appear in the waveform.
The following will be indicated:
• Position of the start of the measure (one): red lines.

• Position of the other quarter notes (two, three or four): green lines.
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• Reliably recognized positions: thick lines.

• Unreliably recognized positions: thin lines.
• Tapping is indicated by additional blue lines.
Note: If the tempo or bar information of the object you wish to analyze is already
available, these are displayed as dots at the respective positions above the display of
the wave shape.
Under the waveform on the left side the established tempo is displayed in BPM. There is
a small transport console in the middle to make navigating easier. The slider serves as a
position controller. To set the metronome volume, an additional fader and mute button
are provided on the right-hand side.
Change beat positions and tempo

The automatic tempo recognition doesn't always work right away. If you don't hear the
metronome clicking in time with the music, click the "No" button in the upper section of
the dialog in order to access the manual tempo input dialog.
To correct the metronome speed and any timeshift that may occur between the
metronome clicks you can use the tempo correction as well as the "Tap tempo" button:
Tempo correction: The Remix Agent provides various speed settings – the speed the
Remix Agent determined as the most probable is preset. If this tempo isn't correct, you
can choose another one from the list. The next time you play back the song it should be
in sync with the metronome.
On/Off beat correction: Now it may happen that the tempo is right, but the beats have
been displaced. "On/off beat correction" provides a number of alternatives for moving
the beats according to the complexity of the rhythm. Try out various alternatives until the
metronome clicks are in sync with the beat.
Tap tempo: Instead of selecting the tempo under "Change Tempo", you can click
rhythmically on the "Tap tempo" button or press the "T" key. Additional blue lines are
displayed in the wave display. After at least four taps, the Remix Agent attempts to
select the correct tempo from the list in "Tempo correction". The display next to the "Tap
tempo" button displays the current status. Keep tapping until the red display showing
"Unlocked" changes to the green "Locked" setting.
Use the "0" key to manually set the quarter beats while the music plays. Surrounding
markers will automatically be removed to ensure that the set tempo remains intact.
You can move the markers with the mouse. If you hold down the "Ctrl" key
simultaneously, the subsequent markers are also moved. If the metronome clicks now
correspond with the music, you can continue to the next step.
Audio Objects 73
Step 3: Determining the start of a bar:

Next you can set the time signature. The default setting is 4/4 but you can adjust this if
necessary. The beat at the start of the bar should coincide with the high sound of the
metronome, or the red line in the waveform display.
It can now be corrected in just one step: If the start of the bar can be heard, click on "Tap
One" once using the mouse or press the"T" key on the keyboard. Alternatively, select
how many quarter notes the "One" is to be moved back. Use the "0" key to manually tap
the position of the beginnings of the bars during playback. This allows you to correct the
beginnings of the bars in longer sections.
Continue to the last step if the starts of the bars are now correct.
Step 4: Applying BPM and bar recognition

This lets you determine what you want to do with the analyzed audio material. The
following option is available:
• Create remix objects from the analyzed audio material

• Adjust the project tempo to that of the analyzed audio material and vice-versa.
• Save only the tempo and beat information in the audio file for possible editing later
on.
Following this, you can also start the Remix Maker (view page 75) and the Harmony
Agent (view page 77).
Create remix objects

The song is split bars into individual objects according to beats. The following uses are
possible:
• Create loops from complete songs which you can then use with your own material.
Important: Not all remix objects are suitable for loops. Less complex material such
as drums from an intro are ideal.
• To remix songs, that is, change the order of the objects, cut and duplicate individual
parts or beats of the song, or enhance the song with various other loops or synth
objects. Why don't you try placing a techno beat under your favorite tune?
• For mixing 2 songs: The beat and tempo match perfectly so you can fade without
"side effects".
You also can activate this function from the "Object" menu only if the tempo information
has been saved.
Audio quantization: The new objects are precisely fitted into the bar grid of the project.
There are slight tempo variations in “hand-made” music, so that different bar lengths can
occur. To make sure the objects fit into the bar grid of the project, the time processor is
automatically activated and object-timestretching used so that the difference in length is
corrected.
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Use resampling for small corrections: If the required corrections are not too significant,
you can use higher-quality resampling instead of time-stretching. You should then no
longer change the master tempo as this may result in considerable pitch changes.
Remix objects in loop mode: New objects are put into loop mode. When extending the
length of the object using the right object mouse handle, the object is continuously
played back in original length.
Set project tempo to object tempo: (See "Adjust tempo”)
Note: The time correction allocated to the objects can be undone later if the time
processor is opened and edited (menu item: Timestretch/Resample Object Menu).
Cancel: The dialog will be closed.
Adapt tempo
Set object tempo to project tempo
Adjusts the object length to the existing project. There are three different options: Time
stretching, resampling or audio quantization.
• Use Time stretching: The pitch of the song remains constant in time-stretching;
however, the sound quality may suffer.
• Resampling changes the pitch (similar to changing the speed of a record player), but
retains most of the sound quality.
• During Audio quantization the tempo adjustments are calculated into the audio file
in such a way that it appears as if remix objects were created and then immediately
compiled into a new audio file (see below). If recognition is unreliable, the result can
show extreme tempo variations. In this case, it is particularly important to set the
playback marker at such a position (before opening the Remix Agent) that the
tempo can be reliably recognized. The advantage of audio quantization is that
smaller tempo variations can be balanced in the music. The beat starts of the music
always correspond with the beat starts of the project. They do not slowly drift apart.
Set project tempo to object tempo
The project assumes the found BPM value. If you would like to use the cut-up song as
the basis for a new composition like with remixes this option should be active.
Save tempo and bar info

Only the information will be saved in the Wave file. This makes sense if manual
correction is required for defining the bar/tempo. Once the information has been saved
the tempo and bar adjustment will no longer be required for future tempo or bar
adjustments or when creating remix objects.
Audio Objects 75
Remix Maker
The Remix Maker can be run directly following the Remix Agent.
Use the Remix Maker to automatically create remixes. Here, the remix objects created by
the Remix Agent are moved, copied, and newly compiled according to specific criteria.
You can select one of four DJs who each represent different styles and specify the length
of the remix and the form of the compilation.
Opening the Remix Maker

1. New song
• Load the new song you want to remix. This should contain clearly defined rhythms.
• When the song is loaded, the Remix Agent pops up to give you the option of dividing
the song into its structural segments (see "Remix Agent" above).
• Select the option "Open Remix Maker" from the Remix Agent dialog box.
• Once the Remix Agent has sliced your song, the Remix Maker is started
automatically.
2. Existing, edited song (in the arranger)
• Load a song project that is made up of loop objects.

• Select one of the loop objects.
• Select "Remix Maker" from the shortcut menu (right mouse click).
3. Long, unedited audio object (in the arranger)
• Load a project containing a long, unedited audio object.

• Select "Remix Maker" from the shortcut menu (right mouse click).
• You are then given the option of generating remix objects.
Presets
Choose one of four virtual DJs with different remix characteristics. We recommend you
try them all out and see which results you like best!
Remix length
Very short: around 20 seconds
Short: half the length of the original song
Normal: regular length of the original song

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Double: twice the length of the original song
Shuffle mode
This determines the selection and order of the objects.
Do not change: The order of the objects are not changed.
Change slightly: A "pattern" (sequence of objects) is either repeated or the next pattern
inserted.
Distant: Objects that are far apart in the original song are placed close to each other.
Random: The objects are ordered randomly.
Fill mode
A "fill" or "fill-in" is created when the loop object sliced by the Remix Agent again to
produce very short objects that are looped or played in rapid succession. Fills are used to
liven up the regular beat.
None: No fills are included.
Use slightly: A few simple fills are included.
Strong accentuation: Many complex fills are included.
Use randomly: Different kinds of fills are used in a random order.
Loop Finder
The Loop Finder has been developed to find the BPM in short rhythmic passages, to
integrate short loops in an existing project, or to yield drum loops from short rhythmic
passages. Otherwise, the BPM Finder helps in this regard.
More information under “Effects” menu.

Audio Objects 77
Harmony Agent
The Harmony Agent is designed to analyze harmonies.
The music track is analyzed first when you open the Harmony Agent. The Harmony
Agent tries to automatically identify the harmonies for each beat of the music. Thus the
right beat information is an important prerequisite for a properly-functioning Harmony
Agent.
During subsequent playback, the detected harmony is played by an internal generator for
verification purposes. You can adjust the volume with "Volume Generator". "Mute"
deactivates the generator.
The transport control controls playback of the music track. The position slider below lets
you quickly move to a certain passage.
Check and correct the automatic harmony recognition

After the analysis, you can manually correct harmonies which were not correctly
identified. Note that major chords are written with capital letters and minor chords with
lower-case letters. To select a chord left click on the respective harmony symbol in the
waveform display. Hold the key if you want to mark several subsequent harmonies.
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Recommended alternatives to the recognized chords are displayed in the section

"Correction" under the menu Suggestions. The initially recognized harmony is marked
with an *. If none of the alternatives apply, you can select the correct "Root" or "Chord"
from the menu. Use the option "Replace marked harmony in the entire song" if you are
sure that the incorrectly recognized harmony is not included in the entire song. Usually,
major and minor keys have been mixed up.
Once you are sure that all harmonies are set correctly, click "Continue".
Use harmony recognition

You can apply the information from the Harmony Agent here. There are different ways to
output harmonies:
Generate chords in arrangement: In the project two tracks are created, one that contains
the chords symbolized as guitar chords, the other contains other title objects with the
respective chord symbols. You can graphically display harmonies in the video monitor in
sync to the music.
Save information about harmonies from the audio file: This also ensures that the
harmonies are available later. For instance, to display the harmony information in the
timeline (Edit -> Show object marker -> Harmony marker).
Display: You can choose between different displays of the harmony symbols. You can
choose between German, English or Roman symbols to "name" the tones. Furthermore,
you can set "Predraw" to force single harmony interpretation. "#" shows all notes as
"sharps" (C#, D#, F#,...), and "b" displays them as flats.
Text to speech
In this dialog under the "Effects" menu > "Audio", you can make the computer "talk" by
typing in text. You can choose from a range of different types of voices. You can change
the speed and volume of the spoken passages. Once you've settled on a suitable voice, a
WAV file will be created. This can of course be used in the arranger like any other audio
object.
Load text: Here you can load a text file in the formats: *.txt or *.rtf.
Save text: Your entered text can be saved.
Test: After entering your text, you can preview the result.
Voice: If additional voice packages (TTS engines) have been installed, you can select a
different voice here.
Speed: Playback speed can be regulated with this controller.
Volume: Output volume is regulated with this control.
Format: Here you can determine the quality of the created wave file (.wav).
File: Path selection for the wave file to be created.
MIDI objects 79
MIDI objects
MIDI objects do not contain audio material. They are used to control synthesizers that
then create corresponding sounds. They are comparable to notes that still have to be
brought to life by a musician.
MIDI is a standardized command language that helps control synthesizers. In addition to

the command to play a note (Note On, Note Off), there are control commands (Ctrl Ch)
for internal parameters of the synthesizer (volume, panorama, the pedal for piano, filter
settings and others), program change commands (Prg Ch) to activate saved sound
programs, and others. These commands are called MIDI events. An MIDI object
containts a series of events and the times at which they occur.
You can create MIDI objects by loading MIDI files, playing and recording with an external
MIDI keyboard, or by drawing notes in an empty MIDI object with the MIDI editor.
Arrange MIDI objects

MIDI objects can be arranged, the volume may be modified (middle handle), or fades (in
or out) may be added (top right and left handles) in the same way as audio, video, or
synthesizer objects. Use the lower handles to "stretch out" individual MIDI loops so that
they easily fit onto a whole track.
Pay attention to the following:
• Volume changes in MIDI objects (mid handles or fades in/out) are controlled by
adjusting the velocity (MIDI Note On velocity). Many synthesizers do not change
the volume, but rather the sound in relation to the velocity level. If you do not want
that, adjust the volume in the mixer instead or by using a controller curve (view page
91) (usually controller 7).
• MIDI objects always control a single synthesizer per track. If you move a MIDI
object onto another track, then a different synthesizer will be controlled and the
sound of the project changes accordingly.
• Self-recorded MIDI objects are not available as a loop.
Transpose MIDI
Using this function from the "Effects" menu, the pitch of MIDI objects can be altered.
You can find this function in the "Effects" menu > "Audio > Pitch & Tempo > MIDI
transposition..." Just enter the number of half steps to transpose all the notes in the MIDI
object up or down!
Note: For drums each note corresponds to a different percussion instrument (kick
drum, snare, toms, etc.). Transposition of a drum track is therefore not recommended.
Instead, directly adjust the pitch of the respective synthesizer.
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Load and save MIDI files

The file format with file extension *.mid is used to save and load MIDI data. Many pop
hits are online free to download as MIDI edits. They may serve as a good springboard for
your first musical experiments or cover versions.
You can save the content of a MIDI object as a file in the MIDI editor. In the "File" menu
of the MIDI editor use the command "Export MIDI".
Preview of MIDI files

Like audio files, MIDI files are loaded by using the Media Pool. A simple click will start
the preview.
Since the number of possible sounds is virtually unlimited and because such files should
be universally applicable, they are usually arranged so that they require certain standard
sounds. This number of standard sounds is called General MIDI (GM) or in an expanded
form General Standard (abbreviated GS). To preview a MIDI file in the Media Pool
MAGIX Music Maker 2015 uses "Microsoft GS Wavetable SW Synth", this is a software
synthesizer that is part of the Windows operating system and contains these sound
programs.
Its sound quality is rather modest compared to "proper" software synthesizers. For
further work with imported MIDI data, we recommend using the software synthesizer
supplied. And due to another reason: "Microsoft GS Wavetable SW Synth" is not part of
MAGIX Music Maker 2015 and the sounds it produces are therefore not included in a
finished song that has been exported.
Note: MIDI data that contain a complete arrangement should be copied onto multiple
tracks and filtered by MIDI channels with help from the MIDI channel filter (view page
88).
Problem solving preview in Media Pool

If the preview in the Media Pool does not work:
• Check the output device for MIDI in the "Program settings" window in the
"Audio/MIDI" tab (P key or via "File" menu > Settings > Program settings").
"Microsoft GS Wavetable SW Synth” should be selected here!
• The sound card synthesizer's volume is set via the the sound card mixer. Double
click the small loudspeaker icon in the notification area and find the controller for the
SW synthesizer.
• Several sound cards cannot use the SW synth simultaneously with ASIO drivers.
MIDI objects 81
Connect MIDI Keyboards

You can use MAGIX Music Maker 2015 in conjunction with a MIDI keyboard to play and
record the included synthesizer plug-ins or VST plug-ins. You can also control sound
generation from external devices using MIDI objects in the project of Music Maker.
Basics of MIDI interfaces and cabling

MIDI interfaces are system devices that enable communication between the computer
and an external MIDI device. They provide music programs one or more so-called MIDI
ports. The music software (in our case MAGIX Music Maker 2015) sends and receives
MIDI data via this port, everything else is handled by the drivers and operating system.
You can set the ports for MIDI input and output in Music Maker in the Program settings
(view page 205) (key P, tab "Audio").
MIDI interfaces can be integrated into the computer system in different ways. It can be
part of the sound card built into the computer or externally connected via USB or
Firewire.
In this case, two MIDI jacks MIDI IN and MIDI OUT are
located on the sound card. With older sound cards an
additional adapter cable must be connected, which
provides the typical 5-pin DIN jacks.
MIDI connectors
MIDI connection cable
Connect your MIDI keyboard to the MIDI In (MIDI input) via its MIDI Out jack using a
MIDI cable on your MIDI interface on your computer. If your MIDI keyboard can
generate its own sounds and you would like to use this, connect also the computer's
MIDI Out jack to the keyboard's MIDI In jack.
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With USB MIDI keyboards the MIDI interface is part of the external hardware. USB MIDI
keyboards are a separate class of devices designed to control software synthesizers.
They usually no longer produce any of their own sound, but only consist of a keyboard,
various controllers and a USB MIDI interface. They are connected via USB to the
computer, in this case, no MIDI connection cables are required.
Note: Even on "proper" keyboards and other synthesizers you can now find a USB MIDI
interface alongside traditional MIDI connectors.
Normally for these keyboards no special drivers are needed. All you have to do is connect
them. Make sure that the device is switched on and is able to be detected prior to
starting <Program Name>, since the available MIDI ports are only able to be discovered
during program launch!
Under some circumstances, you may have to select the port for the device as the MIDI
input device via the Program settings ("Audio" tab) (view page 205). This is usually
called "USB audio device"
Note: Some older devices do not function in some cases in Windows XP. Even though
the device has been detected, the corresponding MIDI drivers do not appear in the list.
In this case, please contact MAGIX customer support!
In the event that your external device does not have a USB port and the sound card does
not have MIDI connectors, you will need to purchase an additional USB to MIDI
interface.
MIDI Local Off: If the MIDI keyboard has an internal sound source, it must be shut off
when you use its keyboard for recording. This enables you to play the software
instruments without hearing the sound of your keyboard at the same time. This function
is referred to as "Local OFF" and can be directly set on your keyboard. If necessary, refer
to the user manual for your keyboard to find out exactly how to do this.
External synthesizers
MIDI objects can also be played back over a MIDI interface onto external synthesizers,
sound modules, etc. Set as default, the "pure" MIDI output (i.e. without using software
synthesizer plug-ins) is sent to the system software synthesizers (Microsoft GS
Wavetable SW Synth). This is required to preview (view page 80) MIDI files.
If you set the MIDI port of an external synthesizer as the MIDI output device (see
previous section), the content of each MIDI object will be output in this manner.
Note: If the MIDI object is in a track containing a software synthesizer, the object will
control this synthesizer. To output MIDI via an external sound synthesizer, select "no
VSTi" from the list of software synthesizers.
MIDI objects 83
Convert MIDI objects into audio files

By using VST instruments, you do not need to convert these MIDI objects into audio files
before exporting your entire arrangement as they create sound and are processed by
your computer. All MIDI objects that control external synthesizers via a MIDI interface
(view page 82) will have to be converted into audio objects if you want them to be
exported as well. They only contain control information for sound reproduction.
The output of the MIDI sound generator (e.g. the synthesizer) must be connected to the
input of the sound card. The MIDI data can now be played and recorded simultaneously
via the record function. The result is an audio file that can be edited and exported
together with the multimedia files.
Playing and recording MIDI synthesizer

MAGIX Music Maker 2015 allows you to play and record software synthesizers or
external MIDI devices from the arranger. The MIDI editor does not have to be open.
Presuming that the MIDI input and output devices are set correctly (see above), you
should be able to play software synthesizers with the MIDI keyboard.
MIDI recording mode must be activated in the corresponding track by

clicking "Rec" twice in the track box. Now, all of the notes that you play
via the keyboard will be played back through the synthesizer.
If a software instrument is loaded via the track box or opened via the MIDI Editor, then
MIDI recording mode is activated automatically.
Tip: You can also play a synthesizer live without an external MIDI keyboard. The Media
Pool features an On-screen keyboard that may also be operated via the computer
keyboard.
In order to record a new MIDI object, simply click the red "Record"
button in the transport bar
MIDI editor
The MIDI Editor makes it possible for you to edit MIDI objects. The MIDI Editor provides
different sub-editors, views, areas, and aids to do this. Double clicking a MIDI object
opens the MIDI Piano roll editor for advanced recording/editing of MIDI objects.
Tip: The Media Pool features a smaller version of the MIDI Editor. Select the MIDI
object you would like to edit and then click the Settings Object Inspector button. This
MIDI Editor may be operated identically to the "larger" version that features its own
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window; however, the menu and various play and recording settings will not be
available.
In the center you'll find the Piano Roll Editor (view page 89), in which the notes are
displayed as bars and from which they can be edited using the mouse. There are various
buttons located just above the Piano Roll:
Clicking on this button opens the Event list (view page 93). In this list you
can view all MIDI data of a MIDI object, including those that cannot be
edited in the piano roll or controller editor. You can use the event list to
remove unwanted switch program commands included with imported
MIDI files.
Use this button to switch to Drum Editor (view page 95) mode.
You can use this to leave the Drum Editor and return to the Piano Roll
section.
Clicking on this button opens the Controller Editor (view page 91) in the
bottom area. This allows you to edit features such as the note velocity,
pitchwheel, and controller data.
Deletes all MIDI data from the object. Now you can start from the
beginning again.
Of course, "Undo/Redo" is also available for all changes you make in the
MIDI Editor.
MIDI objects 85
Along the top edge, you will also find buttons for selecting the editing tools (view page
89), for the Piano Roll, quantization (More information can be found in the section
"Quantization settings" on page 99), for the output (view page 85) used by the MIDI
object (MIDI out or VST instrument), and for step recording.
The MIDI editing window features its own menu (view page 102) with its own keyboard
shortcuts (view page 103).
Select sounds
The sound of virtual instruments (VST plug-ins), is produced by the synthesizer chip of
the sound card or by external MIDI synthesizers. Each MIDI object can produce as many
sounds as the corresponding synthesizer offers. The sounds themselves can be specified
in the instrument – regardless whether its a virtual VST Instrument or a hardware device.
If there is no VST instrument loaded, the MIDI object uses the MIDI output for the
external synthesizer or for the Microsoft™ Windows® supplied synthesizer. The MIDI
output can be adjusted in the "Program settings" window in the "Audio/MIDI" tab (P key
or via "File" menu > Settings > Program settings"
Select the desired VST instrument from the menu. You can test the same MIDI object
with various VST synthesizers. You can set the sound of VST instruments in the VST
instrument editor (view page 128). You can open the instrument editor with a right-click
on the VSTi name or a left mouse click on the cogwheel symbol.
You can set up the MIDI output channel under MIDI channel. This is important for VST
instruments which can receive MIDI notes on multiple channels and play several
different sounds simultaneously (multi-timbral).
Play/ PlaySolo
Play solo only plays the MIDI object for which the MIDI editor is opened (corresponding
with the filter settings of the options menu).
Play all plays the entire project.
Playing instruments with the keyboard

Open the MIDI editor to be able to play software instruments directly via the computer
keyboard. The assignment of the notes to the computer keyboard is displayed in the
following graphic.
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"Page up" and "Page down" move the octave up or down.
MIDI Record options

You may also begin MIDI recording directly in the MIDI Editor. To do so, simply click the
red "REC" button. Compared to the simple "Record" featured directly in the "Arranger",
this version features several additional options for you to select
Overdub: Normally, existing notes are deleted with each new recording. "Overdub"
simply adds new MIDI notes to the existing MIDI recording. "Overdub" allows you to
create a completely new MIDI song step-by-step (or take-for-take).
Cycle: This plays the MIDI object in a loop during recording. This enables you to let the
object play through a few times before you get started recording your own melody.
Metronome: In order to play back the proper tempo, you can activate the MIDI
metronome to provide the beats. This is only for orientation while you play and is not
recorded.
Play project during recording: If this option is active, then the project will
play during recording.
Edit MIDI events

MIDI data can be edited in three main areas in the MIDI editor:
• Piano Roll (view page 87)

• Controller Editor (view page 91)
• List Editor (view page 93)
Here various tools are available, for example, pencil or eraser and editing functions, such
as quantize or thin controller.
MIDI objects 87
With few exceptions, editing such as moving or deleting notes always apply to all
selected MIDI events. Changes to the selection in a range always apply to every other
range as well. You can, for example, select a group of notes in the Piano Roll and then
change the velocity for this group of notes using the Controller Editor, modifying all
selected notes simultaneously.
Selecting MIDI events

Selection of MIDI events is generally the same in all three editing areas (Piano Roll,
Controller Editor, List Editor). The differences are visible in the table:
Selection Mouse action
Select event Left-click on event

Add/Remove event from selection Ctrl + left-click on event
Select current event, deselect all Double-click on event
other events
Marquee selection Left-click on a free space and click and drag
selection. (Selection tool in Piano Roll and
Controller Editor)
Clear selection Left-click on a free space (only in selection
mode, not in the List Editor)
Set or change current events within Left-click on selected event
multiple selection.
Selection of section of events Left-click on first event, Shift + left-click on
last event (only in list editor)
Selection of all notes of a pitch Double-click on a free space with this pitch
or press the appropriate key on the
keyboard (only Piano Roll)
Selection of all events Ctrl + A, depending on the editing section,
includes the selection of notes (Piano Roll),
Controller events (Controller Editor), or all
events (List Editor).
Select next or preceding note Arrow left/right (only Piano Roll)
Meaning of the colors in the Piano Roll and Controller Editor

Notes which are not selected within the editor are displayed in blue. The intensity of the
color represents the velocity: With increasing velocity the color will become
darker/stronger.
Selected notes: Multiple selected notes are displayed in yellow. Here too, a more intense
color symbolizes increased velocity.
Alternatively, the color in the Piano Roll can symbolize the MIDI channel of a note. Select
in the "Options" menu "Use MIDI channel colors"
Current event: Appears with an orange border. If an event is selected with the mouse, it
turns into the current event.
88
Filtered Events: Events filtered with the MIDI channel filter (view page 88) appear in
gray.
Muted Notes: For test purposes you can mute notes (Menu "MIDI Functions (view page
101)"), which then for selected and unselected events will be displayed with a fainted
color.
Events outside of the object borders: Events in front of or behind the beginning/end of
the object – recognizable by the blue lines in the Editor – also appear fainter and have a
white border.
MIDI channel filter

You can control multiple instruments with one MIDI output via the MIDI channels. A
MIDI object can contain events in up to 16 channels.
Events in one object from all channels or only from selected channels can be played back
with the MIDI channel filter in the MIDI editor. To play back or edit events only from
certain channels, select the appropriate channels in the "Options" menu > MIDI channel
filter". Events in channels that are not selected will be filtered out. "Play back all"
deactivates the channel filter.
Events that have been filtered out appear in gray and can be edited using the selection
tool. They can be hidden with the command "Hide filtered MIDI data" in the "Options"
menu.
Note: The list editor (view page 93) provides additional filters (such as filter by event
type, controller number, Note Off events) that only function within the list.
Using the MIDI channel filter

Completed songs in MIDI files as you would find them on the Internet usually contain a
complete arrangement in which various instruments are played on different channels
simultaneously. The standard software synthesizer for Windows that is used to preview
MIDI files (view page 80) can receive MIDI on multiple channels and play several
different sounds at the same time. This is called a multi-timbral synthesizer.
If you load a MIDI file, it will load as a MIDI object on a single track. However, MAGIX
Music Maker 2015 can only control one software synthesizer per track, and most
software synthesizers, also those available in MAGIX Music Maker 2015, can only play
back one instrument at the same time and are thus not multitimbral.
For this reason, duplicate your MIDI one beneath the other as often as there are different
instruments involved and set the corresponding Channel filters (view page 88) in the
MIDI objects ("Options" menu in the MIDI Editor) so that each object only plays the
notes for a single channel. Next, assign software instruments for the individual channels
via the Track (view page 32) menu.
MIDI objects 89
Piano Roll
For notes inside the Piano Roll, various editing tools, so-called mouse modes, are
available.
When clicking existing notes all tools generally act in the same manner: You can select
notes simply by clicking on them (see Selecting MIDI events (view page 87)) and by
clicking and dragging notes, whose start time, pitch or note length you are editing (see
Editing notes (view page 90)). There are two exceptions: The eraser tool deletes notes
by clicking on them and with the velocity tool, notes are not moved but rather their
velocity is adjusted (see below).
The mouse modes display their special functions by clicking or clicking and dragging
into empty sections of the Piano Roll:
Selection Simple click: Clear existing selection. Click + Drag: Draw

(Ctrl + 1) out a rectangular selection frame. For additional selection
options see Selecting MIDI events (view page 87).
Draw Draw note. The start position and the length snap
(Ctrl + 2) respectively to the current quantization settings. Draw
mode can be activated in all modes by pressing the Shift
key .
Draw Pencil Draw sequence of notes. The lengths and distances of the
(Ctrl + 3) notes are set according to the current quantize settings.
If H is pressed while drawing, the pitch of the first note

will be applied to all subsequently drawn notes. Moving
backwards with the mouse when drawing removes notes
already drawn.
Pattern Pencil Draw note pattern. A selection of existing notes can be

(Ctrl + 4) saved as a pattern (phrase) and then drawn in different
pitches.
To create a new pattern select the respective notes and

press Ctrl + W or select in the "Edit" menu > MIDI/Drum
Editor > "Create pattern from selection".
Draw the pattern at the position of the deepest note of

the pattern. This makes an original pitch sound. You can,
of course, draw in different pitches. If H is pressed when
drawing, the basic tone pitch from the beginning will be
retained.
Moving the mouse back (to the left) while holding down
the mouse button removes the notes which were just
drawn.
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Velocity mode (Ctrl Click an empty section like in selection mode.

+ 5) Left-clicking on notes and dragging them vertically alters
the velocity of the notes. The velocity of notes can be
edited directly in the Piano Roll and the Controller Editor
remains free for other outputs.
Delete Left-click: Delete note. Clicking one selected note deletes
(Ctrl + 6) all selected notes when multiple notes are selected. Click
and drag: Delete all notes that come into contact with the
eraser.
The Delete mode can be activated anytime by clicking

with the right mouse button. You can add new notes with
the Drawing pencil by using a left-click and remove
existing notes with a right-click, without having to change
the tool.
Magnifying Glass Left mouse button: Zoom in

(Ctrl + 7) Right mouse button: Zoom out
Left mouse button + drag: Zooms in on the range.
Edit notes with the mouse

Edit existing notes by clicking and dragging. Depending on where you click on the note
bars several options are available, which are visible by different mouse pointers.
Change note start time: Grab note bar at the beginning, note end remains
the same
Change note length: Grab note bar at end
+ Shift Set fixed note length for multi-selection: Hold Shift key and drag current
reference note longer/shorter. This sets all selected notes to the same
length.
+ Ctrl Scale note length for multi-selection: Hold Ctrl key and drag current
reference note longer. All notes will be lengthened by the same factor.
Move note freely, pitch and start time change
If Alt is also pressed in Move mode, the note will only be moved horizontally,
retaining the pitch.
If Shift is pressed while in Freehand Draw mode, only the pitch can be
changed, the position will remain the same.
/ If the setting "Ranges for limited movement" is activated in the "Options"

menu, clicking and dragging the first half of the note results in a change to
the position, while clicking the end half changes the pitch.
MIDI objects 91
Pressing the Alt key while moving the mouse temporarily deactivates the quantization
grid.
Moving and zooming

The vertical and horizontal view or zoom are adjusted with the Scroll bars just like in the
project window.
Mouse wheel: Scroll horizontally

Alt + mouse wheel: Scroll vertically
Shift + mouse wheel: Zoom vertically
Ctrl + mouse wheel: Zoom horizontally
Controller Editor
The Controller Editor is a graphic editor that allows you to edit the velocity of notes in the
Piano Roll and Controller events. A Continuous Controller abbreviated as CC or simply
referred to as the Controller allows you to transfer control values such as for filter,
volume and panorama position.
Tip: All control elements for MAGIX Vita Solo Instruments and MAGIX Vita can be
controlled via the MIDI controller (view page 132).
The Controller Editor is preset as hidden. Unhide it by clicking the button

below the Piano Roll or with the key shortcut "Alt + V".
The velocity values of note events are displayed as colored bars in the Controller Editor,
whereby darker and higher bars symbolize larger values. The bars are located directly
below the respective notes.
The values of other controllers are shown as bars. The width of the bar extends to the
next event. Because the controllers typically change in small time intervals more or less
continuously - regardless of note events -, they appear as ascending or descending
ramps. In this case, the height of the ramps and their color intensity also represent the
last defined value of an event. Selected controller events also appear in yellow.
Tools
Controller Editor for editing the velocity of existing notes (left) or controller values (right)
92
Selection tool: Specifically select existing controller events or notes and

adjust their values.
Freehand drawing tool: Freely draw new controller values or a gradient.
Draw line: Use the line function to quickly insert a straight controller
gradient (ramp).
Controller Selection. Select a controller to edit by clicking the menu.
Controllers, whose data is already available for the MIDI object, are
marked by an asterisk.
Velocity values are only available at time positions of the corresponding notes
and in the case of multiple notes occuring simultaneously, several appear on top
of each other (view page 93). Controllers are independent of the notes.
Selection tool
Select multiple controller bars by clicking and dragging a range in the Controller Editor;
individual values can be selected by single-clicking within the bar. When selecting a
velocity bar, the corresponding notes will also be selected.
By clicking and dragging the upper edge of a velocity or controller bar, you can
immediately change its value. For multiple selection, the following rules apply: Each
controller is increased or decreased by the same absolute value. Holding Ctrl while
dragging changes the values relative to each other.
For example: Two controller values are selected; the first is 30 and the second 60. If
you drag the end of the larger bar up by 30, then the values will change to 60 (30 + 30)
and 90 (60 + 30). If you increase the larger bar with relative values (by holding Ctrl) by
30, it will result in an increase of 50%. The smaller bar will also increase by 50%,
meaning a increase by 15 (50% of 30), resulting in a final value of 45. If you instead
drag the smaller bar (+ Ctrl) and move it from 30 to 60, it will result in an increase of
100%. The larger bar will accordingly be increased to 120. In other words: The relation
between the selected values will remain the same when they are relatively changed.
If you hold Shift while changing the value of a multiple selection, all of the selected
events will be set to the same new value.
Drawing tool
With the Freehand drawing tool (Mouse pointer: pencil) you can draw any number of
controller curves. With the Line drawing tool (Mouse pointer: crosshairs) you can create
a linear controller gradient (ramp). By dragging backwards, you can delete your curve
during drawing. You can temporarily activate the Freehand drawing tool with the
Selection tool by additionally pressing the Alt key before clicking. The Shift key
temporarily activates the Line drawing mode when using the Selection tool as well as the
Freehand drawing tool.
Hint: If you edit velocity with the draw tools, no new notes are generated; only existing
velocity values are modified.
MIDI objects 93
Tips for editing velocity

In polyphonic events, meaning when multiple notes are played simultaneously, the bars
appear on top of each other, making it difficult to edit the end of a particular bar. To edit
only notes of a certain pitch, e.g. all C1 notes in the Controller Editor, click on the
respective key on the keyboard to the left of the Piano Roll. The key and the background
of the selected pitch are highlighted. Now only the velocity values of notes of this pitch
are displayed in the controller editor.
This also works for several pitches. You can add additional notes with Ctrl + click or
space between two notes with Shift + click on a second note. These are simply view
options of the Velocity Editor. Multiple note selection is also possible using double-click
A further possibility is to selectively edit velocity bars located on top of each other, which
is based on the fact that the bar of the currently selected note is selected/edited using
the mouse. Therefore, first click on the note within the Piano Roll, or click on the bars
located on top of each other and then select the required note using the cursor keys.
Then change the controller value by dragging the highlighted (current) bar.
Besides directly changing the velocity values of a selected note, you can change several
velocity values at once by clicking in a free space and dragging the mouse over several
velocity values while holding down the key. You can then also create sequences by
moving the mouse in a curve. A previous (multi-)selection is ignored. For example, you
can easily create a crescendo or decrescendo effect.
Quantize controller events

MIDI controller events can be quantized and thinned out; select the "MIDI functions"
menu and the "Quantize/Thin out controller" command to do this. Quantization occurs
according to the quantization settings (view page 99).
List Editor
In addition to note and controller events, which can be edited with the Piano Roll or
Controller Editor, MIDI objects usually contain other types of events, e.g. program
change commands (Prog Ch) to change the sounds in the software synthesizers. The
MIDI editor has an integrated display of all events in list format. Here, you can edit MIDI
data in detail.
This List Editor is opened either with a click on this button or by using the
shortcut "Alt+L".
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The List Editor lists all MIDI events in

tabular form. The time position in beat:
quarter note: tick is at the very front.
Ticks are the 192 subdivisions of a
quarter note. After that is the event
type, the MIDI channel, and depending
on the event type one or two data fields.
When the List Editor is opened and

activated for editing it has a narrow red
border. This makes it clear that certain
functions, for example, select
next/previous event (cursor keys) or
the command "Select All" (Ctrl+A),
only refer to the list.
Mute Controller: MIDI controller commands can be filtered during playback.
Show Note Off: Each note contains a "Note On" and a "Note Off" event, which are
always selected and edited together, therefore, Note Off is preset as hidden. Use this
check box to see Note Off events.
Display filter: To edit specific events only, the List Editor provides a view filter for each
column. These are small check boxes above the list editor columns.
Select a representative event. This can be, for example, a note with a certain pitch. Then
click on a display filter for a specific column to only display events of this type, here with
the selected pitch. All other events will now be hidden.
Display filters can be combined with one another. This way, you can, for example, when
working with the "Select All" command (Ctrl+A), select and edit all control change
events of type 10 (volume) on MIDI Channel 6.
To add special events use the button below the

List Editor.
Select an event type in the list field on the left and click "Insert". The event will then be
added with preset parameters, which can be adjusted in the List Editor.
MIDI objects 95
Drum Editor
Clicking this button switches the MIDI editor to Drum Editor mode.
The same content of a MIDI object can be edited with the Drum editor like in the
"normal" MIDI editor. The same tools are available. The "Piano Roll" here is specially
adapted to edit drum sequences:
• For each pitch there is a Drum editor track header instead of simple piano keys.
Here, you can assign a name to each drum instrument or rather to each pitch, as well
as set the output note and channel, grid and quantization settings, and velocity
scaling in %.
• Cell mode (view page 95) is used. The display width for each drum event in a cell
can be individually set for each instrument as well as in the respective track header.
• All individual settings for each note can be edited as a whole in a drum map.
Important: When you switch from Drum Editor mode back to the normal Piano Roll,
you will be asked if you wish to apply mapping (view page 97) or not. If you add
mapping, all mapping settings will be applied to the MIDI object. For example: You
changed the output value for an instrument with a pitch of 35 ("Bass drum 1" in GM
Standard) to 36 ("Bass drum 2"). If mapping is applied, these notes will be replaced by
corresponding "real" notes with a pitch of 36.
Cell mode
"Cell" mode serves to improve the overview as it limits the display to only the most
important information, note starting points, and velocity.
96
Each time position of a bar is displayed as a row of cells in on/off states. The note length
is not displayed, but rather a unified display width is used. This way, it all looks similar to
the step sequencer of a drum computer (see Robota (view page 123)).
The set quantization grid can be read from the width of cells. "Swing" and "Offset"
settings of the quantization options are also made clearer thanks to cells of various
widths and by repositioning.
The height of cells displays the velocity of the note. When drawing new drum notes the
velocity can be specified via the vertical drawing position within the cells. In connection
with the "Drum draw" mode, increasingly loud drum rolls can be drawn in easily.
By clicking on the upper edge of a cell and dragging it vertically with the mouse, the
velocity can be adjusted directly without having to use the controller editor. In "Velocity"
mouse mode ("Ctrl + 5") it's even easier; all you need to do is click anywhere on the cell.
Drum Editor trackbox

In the drum editor, each individual note has its own trackbox, and individual settings can
be specified for each instrument. When zoomed out, each trackbox can be increased in
size with a simple mouse click.
S/M: Each individual instrument can be played solo (S) or muted (M).
Note number: The output note from the instrument can be set here. This can be different
to the note currently displayed in the MIDI object so that individual drum instruments
can be substituted. To put the display of notes back into the usual order (deep notes at
the bottom, highs at the top), click on "Map" at the top and use the "Sort drum map"
command.
Instrument name: Double clicking on this field lets you rename your drum instrument.
Quantization options/colors: Use this menu to assign any one of the eight
different colors to the cells of a drum instrument. The dialog for the instrument's
quantization options is also opened here.
The dialog is the same as for global quantization options (view page 99), but the settings
only apply to the individual quantization options if an individual grid value is set for the
note as well.
K Output channel
# Quantization grid, "Glo" refers to the global value (More information can be found
in the section "Quantization settings" on page 99)
L Note length, # corresponds to the grid value, "Glo" to the global value
Length of the notation, # corresponds to the grid value (i. e. the entire cell width),
"Glo" refers to the global value of the note length
MIDI objects 97
V Velocity scaling: The velocity value of each note is multiplied by the value set here
in %.
Scaling is audible, but is not visualized further. The purpose of this setting is the
customization of the volume ratio between the individual drum instruments. Software
instruments usually provide their own mixers.
Drum Maps
Drum synthesizers usually respond to notes with different pitches and different sounds.
You are then able to control an entire drum kit and an array of other percussion
instruments via one MIDI channel. Assigning a MIDI note to a particular drum sound is
called "mapping". A "General MIDI" map is used by default.
It may be the case that your synthesizer (regardless if real or virtual) uses a different
mapping setup. This means that when you play the drum event, the sound you wish to
hear may not be heard (for example, instead of a bass drum, you get a high tom). In this
case you must adjust the mapping. The settings for individual instruments can be
specified in the track header (the number/note value next to the solo/mute buttons).
For more extensive changes we recommend using the Drum Map Edito (see below).
There you can save your Drum Map as a file.
A project may contain various different Drum Maps. All Drum Maps saved in the project
can be selected via the menu. If you require a Drum Map from a *.map file, you will have
to load it into the Drum Map Editor first so that if can be shown in the menu. You can
edit the individual Drum Maps in the Drum Map Editor.
The Drum Map can be set in the Drum Editor by clicking on

the list field above.
Drum Map Editor

The drum map editor can be used to create and edit drum maps.
The "Drum maps" list on the left-hand side displays all drum maps which are available to
the project. The drum map GM General MIDI is always available to start off with.
New: Creates a new, empty drum map.
Copy: Creates a copy of the existing map. This way you can quickly create variations of a
drum map with various note allocations which can then be toggled via the drum editor.
Load/Save: Use this to save a drum map (*.map file). This way you can use a drum map
you created for a synthesizer in other projects as well. All loaded maps will be displayed
in the "Map" menu of the drum editor.
Delete: Removes the selected drum map from the project.

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Use the name field to rename the selected drum map. The settings (mapping) of the
individual notes for each drum map will be displayed below this in tabular format.
Pitch: This is the incoming MIDI note.
Instrument: Displays the name of the drum instrument, e.g. "Bassdrum 1".
Grid: If desired, you can set up a grid for the starting point of the drum events.
Length: In this field you can set the grid for the note length.
Output note: This is the note value to which the drum instrument (the incoming MIDI
note in the "Pitch" field) should be routed or mapped.
Channel: You can set up an individual channel for each instrument here.
Quantization options: This opens the dialog for the each instrument's quantization
options (view page 99).
Instrument, grid, length... apply to all: This applies the corresponding setting of the
selected instrument to all other instruments.
Quantize
Small irregularities during recorded playing can be smoothed with the quantization
function. In contrast, mechanical sounding sequences can be made a little more groovy
by applying the "Swing" function.
Clicking on the Quantize button shifts all selected notes to a customizable

quantization grid. All notes are quantized without previous selection. Right-
clicking on the symbol opens the quantize settings (view page 99).
1/4, 1/8, 1/16, and 1/32 notes and corresponding
triplets can be selected as starting points (grid) and
lengths.
The Quantize button always performs standard quantization (the note's start point and
length are preset). In the menu MIDI functions (view page 101) > Advanced quantization
provides other quantization modes (e.g. length only or Soft Q).
The quantization options enable the type and scope of the quantization to be set more
precisely.
Quantization Grid ("Snap")

If snap is activated, the notes "snap" to the quantization values when they are
created or edited.
The snap positions are displayed within the Piano Roll as a matrix. A swing quantization
is displayed by the different intervals of the vertical partitions in the Piano Roll. The grid
can be hidden with the "Show Quantization Grid" command in the options menu (Ctrl +
G).
MIDI objects 99
You can deactivate the snap function while creating or editing notes by holding down
"Alt" as you draw them.
Keyboard shortcut: Ctrl + G
Quantization settings
The quantization settings can be found in the menu "MIDI functions -> Extended
quantization" in the MIDI editor. The dialog with the settings is not "modal", i. e. you can
open it as required and test certain passages with different settings.
The selected quantization settings may be visualized in the top of the dialog. The blue
lines indicate the target positions for the quantized notes, i.e. the snap points. The gray
area around this show the quantization window, i.e. the target positions that are affected
by the quantization.
Q-grid/length: The quantization grid and length at the target points within the bar on
which the note start points or lengths move. (See above)
Q threshold/Q window: With the parameters Q threshold/Q window you can restrict
the quantization to certain notes in order to retain the genuineness of an MIDI recording.
The parameter "Q threshold" can be used to exclude notes from quantization that are
very close to the next snap point. Only notes that are far enough from the raster will be
quantized. Conversely, by reducing the "Q Window" notes that deviate too much from
the raster can be excluded from the quantization. It is therefore possible, for example, to
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quantize quarter and eighth notes and retain the sixteenth notes that lie between by
reducing the appropriate window.
In summary this means: Events less than the "threshold”-distance or more than the
"window"-distance from the grid point will not be quantized. The time range affected by
the quantization is indicated in gray in the dialog graphic.
Swing: Starts swinging, groovy playback (for example, triplet). Specifies the division for
uneven grid points.
• 50 ... “50-50” division: The odd eighths are exactly halfway between the even eighth
notes (“even” playing method)
• 67... triplet playing method, 3-2 division
Offset: The value range in this parameter stretches from -100 to +100. By changing the
offset values, you move the whole quantization grid. Negative values move the
quantization to the left, i.e. forward in time; positive values move to the right, i.e.
backward in time. The maximum of 100 corresponds with an offset distance of half the
grid width.
Presentation of blue grid points in the dialog as well as of the grid in the MIDI editor
directly reflects changes to these values.
Humanize: The "Humanize" parameter creates another variation option, i.e. notes are
able to be assigned according to the randomization principle up to a specific interval to
positions around the exact quantization value. The setting occurs in % of a 16th note. The
specified value thus regulates the maximum possible spacing of the quantized notes at
the exact quantization value.
Soft Q: This value sets the strength or "Soft Q" value of the quantization.
• “100” moves the event precisely to the quantize grid point

• "50" shifts the event to the middle between the current position and the
quantization grid point,
• "0" means no movement, i.e. quantization off
The command "Soft Q" considers the current level value in the quantization options. The
simple quantization command always occurs at 100%. In this manner, you can always
select between approximation (soft) and hard quantization without having to adjust the
quantization options every time.
Standard quantization settings: Select the quantization action from the list (see MIDI
functions (view page 101)) to be performed by clicking the "Quantization" button.
Reset quantization: All notes will be reset to their original positions.
Standard settings: Restores the default values.

MIDI objects 101
MIDI Functions
The "MIDI functions" menu contains advanced quantization (More information can be
found in the section "Quantization settings" on page 99) and editing functions for MIDI
notes. The commands in the "MIDI functions" menu always affect the selected events. If
nothing has been selected, the functions are applied to all events.
Legato: If necessary, notes may be lengthened until the next note to be played in legato.
Quantize notes (default): A standard quantization will be used on all selected notes. If
no notes are selected, all notes will be quantized. The standard action can be defined in
the Quantization Settings Dialog (view page 99). "Quantize notes (start and length)" is
set as default. This function can be accessed via the "Quantization" button in the MIDI
editor.
Advanced quantization
This submenu contains additional quantization commands.
• Start Q: Selected notes will be quantized corresponding to the set grid quantization
value. Note lengths remain unaffected.
• Start and length Q: Selected notes will be quantized corresponding to the set grid
and length quantization values. Hard quantization always occurs at 100%.
• Soft Q (Quantization approximation) : This command considers the current level
value in the quantization options. The simple quantization command always occurs
at 100%. In this manner, you can always select between approximation (soft) and
hard quantization without having to adjust the quantization options every time.
• Length Q: Selected notes will be quantized according to the set length quantization
value. The start time remains unaffected.
• Quantize notes to grid: The end of selected notes will be quantized according to the
set grid quantization value. The start time remains unaffected, but the note lengths
will change.
• Undo quantization: Use this command to reverse all completed quantization steps.
This works even after the project has been saved.
• Quantization settings: Opens the dialog for the Quantization settings (view page
99).
Quantize controller events: Allows you to quantize controller events (view page 93) to
reduce their number.
Humanize: Use the Humanize function to make quantized notes sound more "human"
meaning less perfect. Notes will be moved to a random value. See Quantization settings
(view page 99).
Mute notes (Mute): Mutes and unmutes notes.
Remove overlaps (polyphonic): Notes are shortened so that there are no longer any
overlaps. Chords (simultaneously played notes) are recognized and left uncorrected, i.e.
chords are not split up.
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Remove overlaps (monophonic): Notes are shortened so that there no longer are any
overlaps. Forces monophonic voice leading.
Convert sustain pedal to note lengths: This function converts sustain pedal controller
events (controller 64) into note lengths. All notes which were started after a "Pedal
pressed" event (CC64 > 64) will be extended to the "Pedal released" event (CC64 <
64), and the pedal events removed.
Menu reference MIDI editor

File
• Import MIDI: Load a standard MIDI file (*.mid) to the MIDI object. See Load and
save MIDI files (view page 80).
• Export MIDI: Export the content of a MIDI object as a standard MIDI file (*.mid).
• New (Delete all MIDI data): Deletes all MIDI data in the object
Edit
• Undo/Redo: The last editing function is undone or restored.
• Copy/Cut/Paste: Depending on the editor area, the copy actions can be used for
notes (Piano Roll), controller events (Controller Editor), or all events (List Editor).
You can copy and paste within one MIDI object or between different ones. Events
are inserted at the position of the playback marker.
• Duplicating: If the grid is activated, the notes selected in the Piano Roll are copied
and inserted from the next grid point following the selection. They are otherwise
inserted immediately after the selection.
• Select all: Select all events in the MIDI object. Depending on the editor area, the
selection includes notes (Piano Roll), controller events (Controller Editor), or all
events (List Editor).
• Reverse selection: All non-selected MIDI events are selected and selected events
will be deselected.
• Create pattern from selection: Selected MIDI notes are saved as a pattern. The
length of the pattern is quantized when the grid is active. Afterwards, the pattern
can be drawn in the Piano Roll in Draw pattern mode (view page 89).
• Delete selected MIDI data: Selected MIDI data are deleted.
• Delete all MIDI data = File > New
• MIDI recording: Same as the REC key and starts the MIDI recording (view page 86).
MIDI Functions
see MIDI Functions (view page 101)
Options
• Hide MIDI channel filter/filtered MIDI data (view page 88)
• Use velocity colors/Use MIDI channel colors: Changes the colors of the MIDI notes
from a graduated representation of the velocity values to different colors for each
MIDI channel.
MIDI objects 103
• Scoll mode/Soft scroll mode: In Scroll mode (preset) the displayed section of the
MIDI object follows the playback marker. In Soft scroll mode, this is done
continuously, meaning the section moves behind a fixed playback marker.
• Show event list/Show Matrix Editor (Piano Roll)/Drum Editor/Velocity/Controller
Editor: Shows or hides the elements of the MIDI editor. (corresponds to the
functions of the buttons above in the MIDI editor)
• Step input
• Play notes that have been clicked: Deactivates the playback of notes that have been
clicked or the piano keys on the left
• Zones with restricted movement for notes: If active, the notes react differently to the
movements of the mouse, depending on where you click on the bar in the Piano Roll,
see Edit notes with the mouse (view page 90).
• Quantization grid active: Activates/deactivates the quantization grid (view page
98).
• Show quantization grid: Shows/hides the quantization grid.
• Automatically quantize selection: If active, quantization takes place automatically
after recording.
• MIDI Panic (End all notes): In rare cases, after a Note On event the corresponding
Note Off event may not be sent to the synthesizer and the notes "freeze". Use this
command to send Note Off events to all channels in all pitches.
Mouse Mode
Mouse mode for editing events, see Piano Roll (view page 89).
MIDI Editor shortcuts

Playback/Stop Space
Stop at position '0' (Number block)
Delete all selected events Ctrl + Del
Delete selected MIDI notes Del
Select all non display-filtered notes (piano roll) or Ctrl + A
events (list)
Mute notes Ctrl + M
Create pattern from selection Ctrl+W
MIDI recordings Ctrl+R
Undo (Undo) Ctrl + Z
Restore (Redo) Ctrl + Y
Cut Ctrl+X
Copy Ctrl+C
Insert Ctrl+V
duplicating Ctrl+D
Imported standard MIDI file Ctrl+I
Exported standard MIDI file Ctrl + E
Fade in/Out Event Editor Ctrl+L
Fade Velocity In/Out Ctrl + T
Show Quantization grid Ctrl+K
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Mode selection Ctrl + 1

Drawing mode Ctrl + 2
Drum (Draw Mode) Ctrl + 3
Pattern (Drawing) Mode Ctrl + 4
Change velocity Ctrl + 5
Delete Mode Ctrl + 6
Zoom Tool Ctrl + 7
Quantize Ctrl + Q
Quantization options Alt + Q
Select previous Note/Event Up/Left arrow
Select next Note/Event Tight/Down arrow
Play selected notes Ctrl+N
End all notes Ctrl+P
Grid on/off Ctrl+G
Auto-scrolling during playback Ctrl+F
Vertical zoom in Ctrl + Up arrow
Vertical zoom out Ctrl + Down arrow
Horizontal zoom in Ctrl + Left arrow
Horizontal zoom out Ctrl + Right arrow
Horizontal scrolling Mouse wheel
Vertical scrolling Shift + Mouse wheel
Zooming Ctrl + Mouse wheel
Software Instruments
MAGIX Music Maker 2015 has many software synthesizers and synthesizer plug-ins
(VST instruments) for creating your own sound material. The synthesizers are either VST
plug-ins that are controlled by MIDI objects or Synth objects that can be arranged with
other objects in the tracks.
Here's an overview:
Synthesizers Type Use scenario

Atmos Synth object Background noise
BeatBox 2 or Synth object Nature and electronic beats
BeatBox 2 Plus (Premium
version)
Loop Designer (view page Synth object Breakbeats, bass lines
113)
Livid Synth object acoustic drums (complete song
parts)
Robota Synth object electronic drums
DN-e1 VST Plug-in Synthesizer leads, pads, sequence
figures
Revolta 2 VST Plug-in Synthesizer leads, pads, sequence
(only Premium version) figures
Vita VST Plug-in Nature instruments, guitar, bass,
acoustic drums, piano, strings,
horns
Vita Solo instruments VST Plug-in Instruments based on the Vita
Engine
VST plug-ins VST Plug-in depends on plug-ins installed

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Opening the synthesizers

The software synthesizers can be loaded just like any other objects in MAGIX Music
Maker 2015 through the Media Pool. To do this open the Instruments settings for the
Media Pool.
You can choose links between the categories VST Instruments and Object Synthesizer.
You will find icons for all available software synthesizers to the right.
You can add VST plugins to the list with "Add" This opens a file
selection dialog where you can specify a folder containing the VST
plugins.
On the far right the indicator can be switched between being
displayed as an icon or in a list.
The overview is quickly lost for a large number

of installed plugin, so you can also use the full
text search.
Synth objects
MAGIX Music Maker 2015 contains many internal synthesizers for creating your own
drum patterns, break beats, bass lines, or ambient noise. The synthesizers are
represented either by internal synth objects that can be arranged together with other
objects on the tracks.
Every software synthesizer can be loaded into the project via drag & drop. A synth object
appears in the appropriate track and the synthesizer interface opens, and synth objects
can be programmed via this interface. You should also read the sections about the
individual synthesizers.
You can start or stop the playback with the space bar. If the synth object has a play
button of its own (e.g. BeatBox), the plug-in can start it solo without playing the other
project tracks.
If the synth objects melodies or rhythms are programmed, you can close the the control
console and arrange the synth object in the track. Synth objects are handled like normal
objects and can be edited with all available effects (view page 137), drawn longer or
made shorter using handles, or have their volume adjusted.
The interface of any synth object can be opened for further editing by double clicking it.
In addition, any number of synth-objects from the same software synthesizer be dragged
onto the track and programmed separately. You can also split up synth objects.
BeatBox 2
BeatBox 2 is a 16-voice drum computer with hybrid sound synthesis and a step
sequencer. The proven handling concepts of the "old" BeatBox like matrix programming
with auto copy have been expanded with comfortable editing of velocities and
significantly improved sound synthesis, including a multi-effects section (one effect per
drum instrument).
A drum sound is created in BeatBox 2 using a sample (analogously to the old BeatBox)
which is combined with a synthetic sound that can be created using up to three different
synthesis models (hybrid sound synthesis). BeatBox 2 plus enables detailed editing and
automation of all sound parameters.
There are two styles of interface in BeatBox 2. While closed, you can listen to included
sounds or those you've made in BeatBox 2 without using too much window space.
Only the most important control elements are displayed when the program window is
minimized.
Volume controller: Controls the volume.

Peakmeter and preset name: The peakmeter lets you visually control BeatBox 2.
Click on the triangle beside the preset name to open the preset list.
Next/Previous preset
Save preset: The preset includes the drum kit in use, the pattern, and any possible
automations.
Play/Stop: The playback controller in BeatBox 2 starts BeatBox without playing
the arrangement, too.
Edit button: The edit button opens BeatBox 2 for you to program your own beats
and sounds.
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Maximized BeatBox 2 window
Drum kit: This section loads drum kits (collections of different drum instruments)
and the individual drum instruments.
Selected drum instrument: The settings in the synthesis section (6) and
velocity/automation (5) always affect the selected drum instrument.
Pattern editor: Programs the beat sequence. In the top part, different patterns
(sequences) can be loaded and saved as well as different settings for the view
and function of the pattern editor. The matrix is where the beat is programmed:
One line corresponds to a drum instrument, and a column matches a specific
time position within 1-4 beats. If a cell is clicked on, then the respective drum
instrument will be triggered at this position.
Velocity: In the velocity section, the velocity levels for the selected instrument's
beats are displayed as a bar for detailed editing.
Synthesis: Selected sound parameters and the level of the effect for the selected
drum instrument can be edited here.
In the following, the sections of BeatBox 2 will be discussed individually:

Drum kit
This section loads drum kits (collections of different
drum instruments) and the individual drum instruments.
You can also try out an already programmed pattern
with different kits or exchange individual drum
instruments.
Select drum kit: Use the <> buttons to switch through the different drum kits. A
drum kit is a collection of percussion instruments with matching sounds, e.g.
rock kit or electronic drums à la TR 808. By changing the drum kit, you can add
an entirely different sound to the rhythm you have already created.
Save drum kit: Use this button to save the current collection of drum
instruments as a kit.
Drum kit list: Click on the arrow right of the name to open a complete list of
available drum kits.
Select drum kit: The arrow buttons function analogously to those of the drum
kit. The sequence of drum instruments in the kit can be resorted via drag & drop.
Mute/Solo: The "solo" button switches a drum instrument solo, i.e. all other
instruments which are not "solo" will be muted. The "mute" button mutes a
drum instrument.
New drum or effect sounds can by added to the current drum kit by drag & drop from
Windows Explorer. Drag a wave file to a drum instrument to create a new drum sound
based on this sample. BeatBox 2 copies the sample into the sample folder to make sure
that the instrument or kit created can be used again later. You can drag a complete folder
with wave files to the drum kit to create a kit based on those samples.
Context menu
Right clicking a drum instrument always opens a context menu:
• Copy/Paste: Copy an instrument from a track and paste it to another one.

• Empty instrument: An empty instrument is added. No sound is played, it has no
name, and is used to clean up an unused track.
• Default instrument: The standard instrument is added. It has the standard parameter
for all synthesis shapes and serves as the starting point for your own sounds.
• Reset automation: BeatBox 2's own presets contain automations. These are dynamic
sound parameters like filter curves or pitch changes. This command allows you to
completely remove these for the selected instruments.
Pattern editor buttons
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Pattern: Use the <> buttons to switch through the different patterns. The arrow
to the right opens a list of all available patterns, and the save button stores the
current pattern.
Clear track/all: All events for the selected instrument (track) or all events for
the pattern (all) are removed by clicking this button.
Bar selection: The bar you wish to edit can be selected via the corresponding
number button. Use the “Follow” button to select follow mode, i.e. the step
display follows the steps of the currently played beat. All shows all bars of the
pattern.
"1>2-4" Auto copy: If more than one bar is set as the pattern length, "Auto
copy" mode makes sure that the drum notes set in the first bar are
automatically placed into the next bars. This also makes it easy to create a
continuous beat, even with a loop length of four bars. Notes set in the bars
further back are not affected by the "Auto draw" function, which, for example,
makes faint variations detectable only in the fourth bar.
Bars: The maximum length of a drum pattern is four beats. The length can be
selected via the small scroll bar.
Shuffle: This controller changes BeatBox 2's timing. If the fader is turned to the
right, the eighth of a rhythm is played more and more like a triplet. If that
sounds a bit too abstract – simply try it out, ideally with a pure 1/16 hi hat
figure; you'll soon see what the shuffle fader is capable of.
Grid: Here you can set the time resolution of the BeatBox. You can choose from
1/8 notes (only for very simple rhythms), 1/16 (default), 1/32 (for more refined
constructions).
Pattern editor - matrix
This is the heart of BeatBox. A click on any position in the drum matrix creates or deletes
drum notes (events). Clicking and dragging draws in a series of notes. Together with the
velocity editing options (view page 111) (velocity), you can easily create drum rolls.
If "Shift" is held when you click on notes in the range, a rectangle can be drawn out which
selects the notes contained within this rectangle (lasso selection). Selected notes can be
copied by dragging them to a new position. If "Ctrl" is also held down, then existing notes
will remain at the target position. Delete all selected notes by right clicking.
A simple mouse click cancels the selection. The selection is automatically canceled after
copying. If you want to keep your selection, hold down "Ctrl" while copying.
Keyboard shortcuts
Many functions in BeatBox 2 can be controlled with the keyboard, for example a beat can
be triggered with the "Enter" key live in a running pattern. Here's a complete list of the
keyboard commands:
General Key command

Open/Close editor e
Pattern editor - options

"1>2-4" Auto copy a
Follow f
Display bar 1... 4 1... 4
Show all bars 0
Grid finer/rougher +/-
Selected drum instrument

Previous/Next Cursor up/down
Preview p
Live input Enter
Mute on/off m
Solo on/off sec
Velocity
The velocity section serves for editing the velocity of the individual drum notes for the
selected drum instrument.
Reset: Sets all velocity levels to 100%

Random: The random parameter adds random variations to the set velocities.
This helps make your beats sound more natural.
Velocity level: Every set note for the selected instrument is displayed as a
column and can be edited. Multiple columns can be edited at once - see
Editing velocity values (view page 111).
Editing velocity values

Hold down "Shift" and select any number of columns with the
mouse.
The "Copy" button copies the selection to the clipboard. If you select this or that track in
another editor, then you can paste the notes there now from the clipboard. If the target
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selection is larger than the contents of the clipboard, then it will be inserted again. This
lets you quickly add a short section throughout the complete length of the pattern.
The three handles allow the velocity values to be edited together.
The middle handle increases or lowers the values together.
An object can be faded in or out with the handles to the left and right upper corners of
the object.
If you move the handles horizontally you can change the curve shape of the transition.
A single click in the velocity section cancels the selection again.
Note: A selection of velocity values matches the selection of corresponding notes in the
matrix editor.
Synthesizer
In the lower section of BeatBox, you can set the sound for the selected drum instrument.
The synthesis in BeatBox 2 consists of a combination of a simple drum sampler and a

synthesizer. There are three different synthesis models possible for the synthesizer:
"Phase Distortion Synth" (FM synthesis), "Filtered Noise", and "Physical Modeling". The
mixed signal of both components is then processed by a multi-mode filter. An envelope
curve ("envelope generator") time-dependently controls modulations of in all
components.
Preview drum istrument
Mix: Mix relationship between drum sampler and synthesizer.
Parameter controller: All six sound parameters for a drum sound can be directly
set and automated via the parameter controllers. The parameters in question
depend on the drum sound currently loaded.
Effects level: Each of BeatBox 2's drum instruments includes an effects unit which
is fed in after the actual sound synthesis and editing. The type of effect depends
on the selected drum sound.
Loop Designer
The loop designer unites both stellar design elements of drum'n'bass style in a "device":
turned-up beats and rumbling bass lines. With the Loop Designer you can create
authentic drum'n'bass sounds without any specialized knowledge.
Tip: Drum'n'bass tracks usually have between 160 and 180 BPMs. The Drum&Bass
Machine can also be used for other music styles. e.g. for BigBeat (120 BPM) or TripHop
(80-90 BPM).
Loop Designer: overview
The top half of the synthesizer controls the rhythm section, the lower half - the bass
section. You can mute both sections using the M symbol on the left border. This way you
can, for example, turn off the bass section in order to take only the drum section into the
project. Only the drum section will then be added to the mixdown file when mixing down
the project. Next to this are the volume controls, which control the volume of both
sections.
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You can preview and stop your drum'n'bass creations using the "play" and "stop"
buttons.
Additional buttons:
Loads a saved pattern with all settings.
Saves a pattern.
Undo for all settings made in all sections.
Makes random settings changes in both sections. You can change

settings later as you wish.
Drum section (top half)

Here complex, authentic-sounding Jungle-Breakbeats can be put together easily. In
professional recording studios Jungle-breakbeats are made by chopping up arbitrary
drum loops and putting them back together in a different order. These laborious work
steps are significantly simplified by Loop Designer.
The new sequence is determined in the top row, the so-called "step" row. The grey cells
represent the individual sections ("counts") into which the loop is separated.
Pick a different note or playback by left-clicking a grey cell. Various notes will be
represented with a light bar which "grows" toward the top with each mouse click. This
way, each time you click on the grey cell, the bar expands by one step.
1 of 4: Play Drum Loop starting from the first note.
2 of 4: Play Drum Loop starting from the second note.
3 of 4: Play Drum Loop starting from the third note.
Full bar: Play Drum Loop starting from the fourth note.
Reverse icon: Play backwards from this position

Stop icon: Stop playback
The right mouse key deletes settings of a step bar and the Drum Loop is played in its
original order.
Pressing the double-arrow button generates a random step sequence.

You can change this rhythm as you like.
Clicking into the blue field in the left part of the drum
section opens a pop-up menu where you can pick the
sound of the Drum Loop. When you select another drum
loop it will load and be played in the way you
programmed it.
Tip: You can also send a loop from Soundpool or a wave file to Loop Designer. To
do so, select the desired loop or file and drag it into the field while holding down the
mouse key ("drag & drop").
In the field under the "steps" row the sound of the loops is defined. The intensity of the
settings is determined with a control similar to a peakmeter. The higher the bar, the
stronger the influence on the loop is. With the help of the left mouse key, values can be
smoothly adjusted. "Volume" controls the loudness (full = loud, empty = quiet), "filter"
the filter strength (full = clear, empty = muffled). In the "Flam" row you have the option
to make the note repeat itself twice in quick succession. This is how to program rolls and
fill ins.
Using the top arrow buttons at the right edge you can load pre-defined pattern settings.
The originally set loop will not be changed. The two lower arrow buttons offer presets in
the form of standard curves for "volume" and "filter".
The "Filter type" controller selects the type of the filter sound:
"BP" stands for "bandpass", "LP" for "low pass" and "HP" for
"high pass".
Bass section (lower pane)

The bass section produces suitable bass lines.
• The first row of the "Notes" row, determines the order of the sounds i.e. the series of
notes. Select a cell with the left mouse click, where the lowermost represents the
lowest note and the topmost - the highest. A right mouse click deletes a cell.
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• In the "Octave" row you can specify the octave of the bass. The slide control
positions represent the various octave values. If the controller is down, a deep sound
is produced, if it is in the top position, you will get a high tone. If the controller is in
the middle, the pitch will be balanced.
Just like in the drum section, here you will also find arrow buttons on the right side for
opening pre-defined patterns and and a double-arrow button for setting arrows. The filter
can be set analogously to the drum section. The arrow button next to the filter area
select presets in the form of standard curves.
You can determine the bass sound in the blue selection field at the left side. You can drag
loops and WAV sounds into the field using drag & drop just like in the drum section.
Additionally, there are two slide controllers for sound changes to the right:
The "Vibrato" slider makes the bass tone's pitch change. When
the control is to the far right, the sound vibrates more, if it's to
the far left pitch isn't changed at all.
The slider "Decay" determines how long should it take to for the
sound to subside. Set to the far right the sound is very fast
(about 1 / 4 of a second), on the far left the sound lasts longer.
LiViD - Little Virtual Drummer

MAGIX LiViD helps you to turn your ideas into songs. Enter a few basic details and LiViD
will play a full drum track, complete with intro, verses, choruses, fills, bridges etc.; the
entire song structure is laid out for your convenience. Brilliant stereo drum samples
recorded by professional studio musicians and a freely adjustable “Humanize“ function
will create an authentic drum feel with perfect sound quality.
LiViD features four styles (pop, rock, funk, latin), each of which is subdivided into four
further substyles, as well as six song sections for each substyle (intro, verse, bridge,
chorus, outro, fill-in).
Scramble: A random sequence of four one-bar patterns is generated internally for each
style/substyle/song section. “Scramble” generates a new pattern order.
Shuffle: Shifts the second and fourth 16th note of a beat back by a freely definable
amount (100% = triplet rhythm).
Humanize: Randomly shifts all events backwards or forwards, or leaves them unaffected.
Note: these shifts are very subtle and not always immediately perceptible!
Snare: Sets the snare stick style to “normal”, “side stick” (stick hits the rim while resting
on the skin) or “rim shot” (sticks hits the rim and skin simultaneously). Exception: the
snare’s quietest velocity level ( the "ghost notes") is always “normal”.
Hi-hat: Sets the hi-hat sound to “soft” (fully closed) or to “hard” (half-open). Exception:
completely opened hi-hat (pop, type1, verse).
Ride: Sets the ride cymbal sound to “ride” (cymbal is hit on the rim) or “ride bell” (cymbal
is hit on the bell at the center).
Robota
The Robota is a four-part drum computer with virtual analog and sample-based sound
production. Virtual analog sound production means that the sounds are synthesized in
real-time, i.e. produced with a synthesizer to recreate the typical analog sounds of
classical drum computers, such as the Roland Tr-808 and Tr-909, or more recent
devices such as the Korg Electribe or the Jomox x-cousin. Sample sound production uses
drum sound recordings (or even other recordings) as the basis for sound production.
After selecting the elementary sound production technique, the sounds of each of the 4
parts (or instruments) can be edited using modulators.
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The step sequencer programmed with incident lighting helps Robota to play. 4 beats in
sixteenths (or 2 beats in thirty-seconds) are processed as a loop. At each beat position,
the playing positions can be set by clicking a button. In "Event" mode, the instruments
are distributed within the beat pattern. In "Snapshot" mode you can adjust additional
instrument sound settings.
Sound synthesis
The four instruments of the Robota are built identically. Each instrument can create all
kinds of drum sounds – from hissing hi-hats to phat bass drums.
During elementary sound production, you can choose between an oscillator with
selectable wave shapes (sine, triangle or saw tooth) or a sample. In addition, you can add
a noise generator can be added. The oscillator has a pitch envelope (pitch env.) and a
volume envelope (attack/decay). It can also be frequency and ring-modulated. The
depth of the modulation can be controlled via an envelope parameter (Fm/rng dcy).
There’s also a “Lo-fi” section consisting of distortion (Rectify), bit rate reduction (Crush)
and sampling rate reduction (down sample).
Temporal control via an envelope (lofi dcy) will get the best out of the lo-fi effects. A
multi-mode filter (low-pass/band-pass filter/high-pass) with 12/24 dB steep-side. A
comb filter can be inserted. The filter frequency can be likewise modulated via an
envelope. For extra pressure, an adjustable compressor (compressor, comp resp) is
included, as well as tube amplifier simulation (tube).
Parameter (1): To simplify matters, not all parameters

can be changed on a sound - only those that are
meaningful for the selected drum sound may be
changed (snare, kick, high etc.). There are four selected
variable parameters coordinated exactly with the
selected preset sound.
Oscillator waveform (2): The fundamental waveform of
the Oscillators is selected here. You can choose from
sinus/triangle/sawtooth/sample. If you have selected
"Smpl" you can use the rotary knob to select a sample,
i.e. a previously recorded drum sound. These samples
are saved in the folder /synth/robota/samples/. If
select custom samples, they will appear in the selection
list.
(3): For each part you can regulate: Filter Cutoff,
Resonance, Tube, Volume and Panorama (view page
120).
With select choose the instrument for editing in the step sequencer.
“M” mutes the instrument, “S” makes it solo
The loudspeaker button allows you to hear a preview.
Master Section
Volume regulates the total volume of the Robota. Distortion adds an adjustable tube
distortion to make the sound “dirtier” and more powerful. The peak meter helps control
the output level – when it enters the red area, reduce the total volume.
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Schematic illustration of the Robota synthesis
Here is a detailed circuit diagram of a Robota voice with a description of all control
parameters.
Pitch envelope (pitch env)

Controls the pitch envelope level.
Tune
Tunes the instrument.
Oscillator shape (osc shape)

The shaper adds additional frequency shares to the basic sound of the oscillator by
artificially reshaping the wave shape. A sine wave (shape = 0) can be reshaped up to a
square curve (shape = max).
Oscillator waveform
The fundamental waveform of the oscillators is selected here. You can choose from
sine/triangle/sawtooth/sample. If "Sample" is selected, you can use the controller to
select a sample, i.e. a previously recorded drum sound. These samples are saved in the
folder /Synth/robota/samples/. If you select custom samples, they will appear in the
selection list. If you are playing your own samples, they will appear in the selection list.
Noise
Adjust the ratio between the oscillator sound and the noise generator.
Attack
Adjusts the attack time. The greater the set value, the softer the attack of the sound. The
attack rate is also applied to the lo-fi and filter envelope curves.
Decay
Adjusts the decay curve. The greater the value, the slower the instrument will decay.
FM/Ring modulation frequency (Fm/rng frq)

The fundamental frequency of the frequency or ring modulation.
FM level (fm lvl)

At a low frequency FM first adds vibration to the sound, at high frequencies and low
levels it creates bell-like sounds, as the level increases metal sounds, and finally noise.
Ring modulation level (rng lvl)

Ring modulation creates typical auxiliary frequencies.
FM/Ring modulation decay (Fm/rng dcy)

Time constant of FM/ring modulation by-product. Only the beginning of the drum
sound is affected by the modulation.
Rectify
Distorts the audio signal.
Crush
Bit rate reduction. Digital artifacts become audible with higher settings.
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Down sample (dwnsmple)

Sample rate reduction. Ideal for creating the "old school sound" of older digital drum
machines. As it is increased, the result becomes darker.
Lo-fi decay (lofi dcy)

Time constant of the by-product of the three lo-fi effects which makes the sound "dirty".
Only the beginning of the drum sound of the lo-fi effects is affected if the decay is low.
For instance, this makes the kick of a kick drum sound more interesting.
Filter modes (flt mode)

Filter mode: High cut – sound portions above the cut-off frequency are filtered out. Band
pass (BP) – Sound portions above and below the cut-off frequency are filtered out. Low
cut - All sound portions below the cut-off frequency are filtered out. This mode is set as a
preset and can not be changed.
Filter frequency (flt freq)

The cut-off frequency of the filter.
Filter resonance (flt reso)

Filter resonance which increases the sound portions at the cut-off frequency of the filter.
If the resonance is high, the filter itself can also be used as an oscillator.
Filter modulation -/+ (flt mod -+)
Regulates how much and in which direction the filter envelope curve moves the filter
frequency in which direction.
Filter-Modulation decay (flt mod dcy)

Decay time of the filter curve. Smaller values with high resonance create a "zapping"
sound of the filter, greater values create the typical sweep sound.
Filter modulation velocity (flt mod vel)

Specifies how much the filter modulation depth depends on the velocity. If this value is
increased, louder beats will generate higher filter curves than quieter ones.
24 dB
The filter can operate with a slope of 12 dB or 24 dB. This mode is set as a preset and
cannot be changed.
Comb filter (comb filt on)

You can activate a comb filter, a feedback delay that creates resonance-like sounds
comparable to a plucked string. The delay time and feedback levels are permanently
linked fo the filter parameters (frequency and resonance). This comb filter is set as a
preset and can not be changed.
Compressor
Controls the compressor strength. This lets you increase the "power" of the drum sound.
Compressor response (comp resp)

Controls the compressor time. The lower the value, the faster the compressor follows the
volume.
Tube
Controls the level of the tube amp simulation. It "saturates" the output signal of the voice
and adds warmth to the sound if the settings are moderate. Increasing the settings
makes the sound "dirtier".
Volume/Pan
Controls the volume and panorama position of the drum instruments.
Sequencer
Incident lighting is used to control the drum patterns just like in all classical drum
computers and groove boxes. The step sequencer consists of 16 individual step buttons
with LEDs corresponding to the appropriate partitioning of a beat:
16ths or 32nds (a half beat is in each case displayed). A button lights up to indicate the
releasing of the instrument at this point in the beat (= step). A left click turns on the step,
a further left click deletes the step again.
A pattern can be a maximum of 4 beats long. The length can be modified

using the fader on the button bar.
The beat to be edited can be selected with the applicable “edit” button. The “Follow”
button specifies whether the step of a beat is in time.
"1 > 2-4" auto draw: If more than 1 beat is activated as the loop length, the "Auto draw"
mode ensures that the drum note set in the first beat is set automatically for the
following beats. This makes it very simple to produce a continuous beat from a loop
length of 4 beats. Notes set in the rear beats are not affected by auto draw.
How to program a drum pattern:
• Select the pattern length with the fader.
• Select “Event” mode.

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• If you edit during playback, turn off “Follow”. Select the beat with the “Edit”
buttons.
• Use “Select” to choose an instrument to edit.
• Use the “Clear bar” button to delete all steps in the selected
instrument.
• Turn on the appropriate step buttons, and use the “Velocity”

controller to adjust the beat velocity.
• Repeat the procedure with the other instruments

Snapshots
In addition, you can automate programming of the editable sound parameter of a drum
sound via so-called "snapshots". You can thereby save the sound parameters of a drum
instrument on the step buttons of the sequencers.
Automating the drum instrument with snapshots.:
• Set the edit mode to “Snap”.

• If you edit during playback, turn off “Follow”. Select the beat with the “Edit” buttons.
• Select an instrument and edit the sound. You can control the sound of an instrument
even when playback has stopped by using the loudspeaker button.
• Save the sound as a snapshot to one of the step buttons.
• Change the sound of an instrument and save the settings to other step button
Warning: The parameters are not changed abruptly but are faded internally instead, in
order to avoid crackling. If two snapshots with extreme parameter differences are too
close together, the drum sounds will sound differently when the pattern is played.
• Using the arrow keys, you can jump between the individual
snapshots during stopped playback.
• Press “on” to activate snapshot automation.

Groove Control
The secret behind “groove” beats lies in delay. That is, individual beats are either
anticipated or delayed according to patterns. For example house beats use the “shuffle”
whereby straight 1/16s are delayed at certain times.
In the Robota there are groove velocity and groove swing presets. Groove velocity
presets contain for each step of a beat a certain offset to increase or reduce the original
beat velocity. Groove swing presets contain for each step a time alignment that is either
anticipated or delayed. The result is a livelier-sounding sequence. The strength of the
effect can be adjusted with the % regulator.
Setups, drum kits, presets, and patterns

A single instrument sound is saved as a
preset.
Presets containing all four instruments

are saved as drum kits.
All note information plus the snapshots

are saved as a pattern.
Together (drum kit + pattern) they are

know as a setup.
Load/Save
Presets, drum kits, patterns and setups can be selected with the continuous rotary
regulators next to the display area. For storing, click on the “Save” button. Then
specify a new name in the input field. To store, press “Enter”.
Note: A drum kit stores only the names of the presets, not the actual parameters. If you
want to store your own drum sounds that were created by changing existing presets,
you must first store them as new presets and then as a new drum kit! The same applies
to the setups, which contain only the pattern and drum kit names.
If necessary, always store in this order: preset -> drum kit -> pattern -> setup. This
applies only when creating your own “templates”. If you store your project normally, the
complete current status (synthesizer + sequencer) of the Robota is always stored and
correctly loaded later with the project.
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Atmos
Atmos is a synthesizer which can be used to easily create realistic nature sounds in no
time. From thunder and lightning to animal sounds and traffic noise, Atmos helps you
design natural-sounding atmospheric noises for your projects.
• In the upper border window, select the top category "Scenario". You can select a
desired nature sounds category (for example, "Thunder and Lightning").
• In the middle of the window, a collection of control elements appears for designing
the desired "Ambience". Each element has its own description (e.g. "Thunder") and
two faders, i.e. "Volume" and "Intensity". The "volume" control adjusts the loudness
portion of the element. The "Intensity" fader controls the behavior of the sound,
depending on controller element. For example, with "Thunder", you can set how
often thunder and lightning should sound; with "Rain", the strength of the rain can be
regulated (if moved to the far left, light rain can be heard, while if moved to the far
right, a downpour with loud splashing noises is audible).
• At the bottom right border you will find a master volume fader with which the
master volume of the synthesizer can be set. Furthermore, the "Randomize" setting
is also located here. This way you can change the settings of the control elements by
yourself.
Synthesizer plug-ins
MAGIX Music Maker 2015 also includes software synthesizers that are based on the
VST plug-in technology. Compared with the synthesizers that are addressed via synth-
objects, these feature several differences:
• Generally, VST instrument plug-ins (VSTi) do not feature sequencers of their own
and are controlled via MIDI objects.
• VST instruments are always loaded to a specific track. All MIDI objects on this track
then control this VST instrument. The MIDI objects cannot be freely moved between
tracks like synth objects.
• Effects may be only applied at the track level.
Nevertheless, these are much more easier to manipulate in MAGIX Music Maker 2015
due to MIDI control.
What are VST and DirectX plug-ins?

A plug-in is an independent program section which can be added to another program, to
broaden its range of functions. Various standards were developed for including plug-ins.
"VST" and "DirectX" have become the most widely used.
"VST" stands for "Virtual Studio Technology". VST plug-ins offer an elegant way of
copying and making virtual devices that are normally used in recording studios.
"DirectX" is a Microsoft standard for plug-ins similar to VST plug-ins.
The advantages:
• Purchasing expensive synthesizers or effect devices is no longer necessary.

• An expensive sound card is no longer necessary for high-quality recordings from
external devices.
• VST instruments and VST/DirectX effects provided by lots of third party providers
are better value or are even made available as freeware.
The disadvantages: Each of these plug-ins uses up processor power. The more a plug-in
is used, the faster your computer should be. The required processing power is, of course,
also dependent on the size, state, and complexity of the plug-in.
Using VST instruments

The VST instruments are loaded from the Media Pool. These appear in the area below
the "Synthesizer" setting (synthesizer track).
If you have just installed MAGIX Music Maker 2015, you will not see any additional
synthesizers here at first. If you want to add more instruments, you first have to specify
the folder where Music Maker should search for the VST instruments. VST plug-ins can
be installed in any folder on your hard drive.
Click on „Add” and search for your VST folder. If you use other programs with VST plug-
ins or if you have already created a folder for your VST plug-ins, you can enter the folder
here. You can add another extra folder at any time in case you you have installed
additional plug-ins in another folder; plug-ins that have already been "identified" will
always be located regardless of the path set. Pressing OK causes Music Maker to scan
the folder for usable plug-ins that are available in the Media Pool.
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The included plug-ins each have their own icon in the Media Pool, all other
VST instruments have the same standardized icon. To use VST instruments,
drag the VSTi Synth into a free track in the arranger.
A preset MIDI object will appear in the track and the MIDI Editor will open.
In the instrument menu that can be opened by clicking on the instrument icon
in the track header you can select from the preset sounds for the VST software
instrument.
To use the MIDI objects and the MIDI Editor, please read the chapter MIDI Objects
(view page 79).
VST Plug-in Editor

The VST Plug-in Editor can be opened by right-clicking on the instrument's name in the
MIDI Editor, via the corresponding plug-in slot in the Mixer, or via the "VST Instruments
Editor" entry in the instrument list.
The Instrument Editor has two views, the so-called "GUI" of the plug-in (Graphical User
Interface) and the parameter view. This is either automatically activated when the VST
plug-in does not have its own GUI or can be used if the GUI of the plug-in is too unclear
or takes up too much space on the screen. The parameter view displays the eight
parameters of the plug-in as sliders. In the File menu you can change between these
views (plug-in dialog/plug-in parameter).
Load/save patch/bank: The instrument settings can be saved and loaded in the patch
formats typical for VST plug-ins (*.fxp) and bank formats (*.fxb).
Random parameters: This function can be an important source of inspiration. However,

before using it please save the current preset you've just created as this feature does not
ask before it is applied.
Menu program: Here you can select the presets integrated into the plug-in or loaded via
the File menu.
MAGIX Vita
MAGIX Vita Synthesizer specializes on realistic playback of "real" instruments for which
it uses sampling technology. This means that short samples of real instruments in
different pitches, playing techniques and volumes are used, combined, and played again
at the correct pitch.
The Vita interface
1. Layer selection/Peak meter: The Vita sounds, also known as layers, can be selected
here using the arrows. Right-clicking on the display opens the layer menu.
2. Main parameter: Here the volume, panorama position, pitch characteristics

("transpose") and the fundamental frequency ("master tune") can be set.
3. AMP: This is the volume envelope. With this you can control the timing of a sound's
volume. A(ttack) stands for the volume increase at the start, D(ecay) for the length of
time the decrease in volume takes on a section set with S(ustain) at the maximum
volume. R(elease) is the length of time it takes for the sound to fade out.
4. FILTER: Here you can switch on a filter which influences the sound. With FILTER TYPE
you can select the kind of filter you want to use. Cutoff controls the filter frequency and
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"Resonance" controls the strength of the emphasized filter frequency. "Velocity"

indicates how much the velocity influences the filter frequency, using "Gain" you can
balance the volume. The filter envelope (ADSR slider) influences the filter frequency
depending on the time.
5. DELAY: Here you can switch on an echo effect. "Time" controls the delay time and
"Level" controls the strength of the echo sound.
6. REVERB: Here you can switch on a reverb effect. "Time" controls the delay time and
"Level" controls the strength of the echo sound.
7. TUBE DISTORTION: This is a tube distortion effect like those found in guitar
amplifiers. This is normally used for electric guitars but you can also get creative and use
it for other things. "Drive" controls the strength of the distortion. "High-cut" and "Low-
cut" filter out the high and low frequencies.
8. VALUE DISPLAY: This always displays the exact values of the parameter that was just
adjusted.
9. DYNAMIC RANGE: Usually the relationship between the created volume and the
MIDI velocity is proportional. You can compensate for the fact that some MIDI
keyboards need to be pressed forcefully to produce loud sounds (or conversely produce
loud sounds with a soft touch) using the "MIDI Input Curve". Using "Dynamic and
"Dynamic curve" you can manipulate the dynamics of a sound, i.e. the relationship
between the loudest and quietest sounds.
10. Voices: Here you can control the number of voices played simultaneously. If notes
are no longer played, as is the case in some fast passages, you can increase the number
of voices at the expense of performance.
11. Keyboard: Here you can preview the Vita sounds. This only works during playback or
recording. 12. lets you hide the keyboard.
Additional Vita Solo Instruments

Additional software included in MAGIX Music Maker 2015 such as the Rock Drums or
String Ensemble are sampler, whose sounds are prerecorded. The advantage to the
virtual synthesizers such as Robota is that the sounds don't have to be recalculated each
time, which frees up a lot of computation capacity. They are "simply" called up, instead of
being created anew. The disadvantage, however, is that the finished sounds don't sound
as "professional" as those produced with virtual "sound magic".
The basic controls are identical for all synthesizers.
One click on the arrow symbol opens a fold-out menu where you can determine the
general sound of the instrument. If "ECO" appears in the description, this refers to
especially performance-improving settings which may not sound so "smooth". In
addition, you can also save your settings and add them to a favorites list for later use.
You can control the overall loudness of the instrument.
You can turn the instrument keyboard on or off with this controller.
Because these samplers are enhanced for each instrument by tuned effects, the rest of
controls function analogously to the already familiar synthesizers such as Vita. If you
would like to know which result certain effects have, you will find explanations in the
Essential FX (view page 155), Vintage Effects (view page 162), Reverb (view page 146)
and Distorsion & Filter (view page 149) chapters.
Additional information is also available in the Synthesizer plug-ins (view page 126)
chapter.
Articulation
Some Vita Solo Instruments have a special feature: In a bass octave (on the keyboard
(C0-H0), there are special notes, which let you control the playing style (articulation).
An alternative sample set is loaded, which lets the bass sound even more realistic using
various playing styles such as note bending and flageolet.
Articulation is switched on and continues until normal articulation is switched on again

through the corresponding note (C0).
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On the keyboard at the bottom of the synthesizer interface are the buttons to switch
articulation, displayed in different colors. In the MIDI Editor appearing above, you can
watch a practical application of articulation. The notes on 1:4 and 4:1 will be played back
with varying articulation. Before the next "right" note, normal articulation will be
switched on again through C0.
Automation of Vita and Vita Solo instruments

In MAGIX Music Maker 2015 it is possible to automate Vita Solo instruments. This
allows you to change a specific value during playback using an automation curve
automatically. Below we describe how to work using an automation curve.
1. Right-click on an effect knob. This opens a context menu where you can select a MIDI
controller number for the automation using "midi ctrl #". A few standard controller
settings are preset, e.g. 7 for volume, 10 for panorama, 91 for reverb.
2. Open the MIDI Editor (Y key) and switch into the "Velocity/Controller Editor".
3. At the bottom right you can now select the pre-selected controller number in the MIDI
controller selection field.
4. You can now draw the desired automation curve.
Additional information can be found in the Controller Editor - Select and edit events
(view page 91).
Tip: If you are using an external controller, you can also use it to control and automate
values. To do so, select "Learn MIDI" in the Vita Solo Instruments context menu. Also
read the Using external equipment (view page 81) chapter.
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DN-e1
The DN-e1 is a virtual analog synthesizer that is suitable for all conceivable styles and
application areas. It works in a subtractive way, i.e. first a basic sound is selected that is
then filtered with the aid of a filter curve.
The DN-e1 is played with a MIDI keyboard or with the aid of MIDI objects. You can use
the keyboard in the program to set the sounds.
Sound selection
Select the sounds and sound configurations at the top.
Bank: Here you can switch between three banks with various complete configurations.
Category: Here you can select a sound category.
Rndm (Random): Here you can activate a random selection of the parameter settings in
order to experiment with the sound.
Patches/Name: Here you can select a sound that will then be modulated.
Output
The end of the signal chain is edited in this area.
Volume: Sets the total volume.

Voices: Controls the number of voices generated (polyphony).
Glide: Controls the glide function. You can access sliding pitch transitions between the
individual notes.
Unisono: Switches to monophonic, but generates a number of slightly varied voices for
"thickening” the sound.
Filter en.
In this area the filter curve used to filter the output sound is modulated.
Attack: Sets the time duration which the filter curve requires in order to reach its
maximum.
Decai: Sets the time duration which the filter curve requires in order to go from its
maximum to the sustain level.
Sustain: Here you can set the degree of filtering that should take place after the decay
phase. This filtering remains the same until the key on the keyboard is released; in
contrast to the other three parameters, it does not also control a time duration, but a
specific level.
Release: Sets the time duration which the filter curve requires in order to go from the
sustain level to the zero point after the key is released.
Reverb
An additional reverb effect can be set here.
Type: Sets the sound coloration of the reverb effect.
Pre Del: Sets the time that passes between the direct signal and the arrival of the early
reflections. The reverberation time comes only after this time span.
Damp: The corner frequency at which a damping of the highs should be implemented for
each delay is defined here. This is useful, for example, for making the delays reverberate
more naturally or for creating special effects (reggae/dub-style effects).
Decay: Sets the complete reverb time.
Low Cut: Sets the filter frequency of a high-pass filter. All signal components below this
frequency will be filtered out.
Amount: Here you can set the mixing ratio between the effect and the pure sound, i.e.
the original sound without any effect applied.
Delay
An additional echo effect can be set here.
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Time: Different types of echo can be selected here: normal echo, ping-pong echo (where
the sound swings through the stereo panorama) and various other forms.
Color: Sets the sound coloration of the echo.
Feedback: Sets the number of echo repeats.
L Rate: Sets the time duration for individual echos for the left channel.
R Rate: Sets the time duration for individual echos for the right channel.
Amount: Sets the the mixing ratio between the effect and the pure sound, that is to say,
the original sound without any effect applied.
Audio effects 137
Audio effects
MAGIX Music Maker 2015 offers you a multitude of infinitely variable and intuitively
adjustable audio effects.
Effects
The effects in MAGIX Music Maker 2015 allow the sound spectrum of all of the audio
objects and synthesizers to be thoroughly manipulated. Since most effects operate in real
time, the effects offer ideal room for experimenting with creative sound design.
Real-time effects
Real-time effects are calculated the first time the object is played back. The audio file
(original material) itself remains unaffected. The effect is recalculated in real time each
time it is played back. The object always retains its original status when real-time effects
are applied.
To change a real-time effect, open the effects rack or the effect's settings dialog and drag
the respective control elements; the changes will be audible immediately.
The lower edge of an audio object in the arranger lists all currently active object effects
with abbreviations.
Effect devices controls

Some effect options open a graphic window, which has the appearance of the studio
effect device that it simulates (such as the "Echo/reverb" or "Timestretching" effect
menus).
These virtual effect devices are controlled either with common sliders, knobs and buttons
or alternatively with graphic sensor fields.
Sensor fields: Sensor fields can be controlled intuitively with mouse

movements, with the graphic and the corresponding effect setting
changing in relation to each other.
Power switch: Every effect device in the rack may be switched on or off
separately. This button allows you to directly compare the neutral, unedited
sound of the audio object with the effect setting you have chosen.
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Reset: Every effect has a reset button that restores the effect device’s initial
default. In this state, the effect is not calculated into the sound, and the
effect is not rendered.
Preset selection list: Each effect device has a selection of

proven presets which can be selected from a drop-down
menu.
A/B: The A/B button compares two settings with each other. If you have
selected a preset for the effect and make manual changes to it later, you can
compare the original preset sound with the new settings by using the A/B
button.
Note: The displayed graphics serve only examples and can differ from device to device.
Non-realtime Effects
A few audio effects are not calculated in realtime; instead, after the settings dialog is
closed, copies of the audio material are added for calculating the effect. This way, no
additional calculations will be required during playback.
To change these effects, use the undo function.
The following effects do not work in "realtime": Freely-drawn filters (only in the Premium
version), gater, reverse, invert phase.
Using audio effects

Audio effects can be added at different positions in the project, at object level, in a
complete track, or in the master (i.e. everything you can hear).
Audio object effects

Object effects do not affect the entire arranger track, but rather individual objects. The
advantage to this is that effects which are only required at a specific point in the project
only use up processing power at that particular point.
There are several ways to apply audio effects to individual audio objects:
1. Drag & drop: In the Media Pool setting "templates", the following folders are
visible "Audio FX", "Vintage FX". These contain presets for the most important
effects. These presets have a preview function and can be dragged & dropped on
an audio object in the arranger.
2. Right clicking on an audio object or via the "Effects -> Audio" menu opens
individual audio effects via a menu command.
3. Double clicking on an audio object opens the audio effects rack (view page 140).
The most important effects are compiled into one dialog and some special
functions are still available, as is the option of saving all of the effects settings.
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Track effects
Besides the object audio effects, a separate track effects rack with equalizer,
reverb/echo, compressor as well as the Vintage Effect Suite plug-ins can be used.
The Vintage Effect Suite plug-ins are being loaded via the plug-in slot.
You can open the track audio effects rack with the FX button.
A bright track effects button signifies that effects are active in the track.
The track effects can also be applied without having to open the mixer.
The arranger's trackbox (view page 32) also features the track FX menu.
In it, you will find presets for track effects (view page 139) sorted
according to the instrument type.
Track effects always apply to all audio objects of a track. In comparison to applying an
effect to each object individually, this saves storage space. The effect itself works the
same way as object effects.
Master effects
Master effects influence the mixed sum of all audio tracks. For this purpose a Master
Audio Effects Rack and further plug-ins are installed in the Mixer window. Also included:
the special MAGIX Mastering Suite for perfect sound.
Using plug-in effects

For introductory information about plug-ins, please read the section Synthesizer Plug-
ins in the chapter "Software Instruments".
At different positions in MAGIX Music Maker 2015, you can also utilize effects from
third-party developers in the VST or DirectX format. Several of the included effects
(EssentialFX, Vintage FX Suite, Vandal SE) are also applied as plug-ins.
Track effects
Track effects can be selected and specified in the Mixer. They refer to all objects in the
corresponding track.
Tip: An effect set in the Mixer uses up processing power at every playback position in
the project. Consider whether or not it would be enough simply to use an effect as an
object effect.
Two slots for track effects are located in the channel strip of the mixer
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for the corresponding track as well as in the FX tracks (view page 186).
If you click on the small triangle here, MAGIX Music Maker 2015 compiles a list of
available effects. Now you can select any effect from the list.
The list consists of multiple subfolders: Direct X plug-ins, VST plug-ins, and the MAGIX
plug-ins folder for the included plug-ins Vintage Effects Suite (view page 162), Essential
FX Suite, and Vandal SE.
Select "No effect" to remove a plug-in from the slot. Left clicking temporarily disables the
plug-in. Active plug-ins are displayed in light blue. Right clicking on the slot opens the
settings dialog of the plug-in.
Object Effects
The audio effects rack can be opened by double-clicking an audio object.
The module at the very bottom enables two plug-in

effects to be used. This functions just like the mixer's
plug-in slots:
1. Click on the box.

2. Select the effect you want.
3. Adjust the effect settings in the dialog.
The effect relates to the selected object (in contrast to track effects)and only needs
computing power when the object is played.
Master Effects
In the master channel you can find two slots for selecting a master effect. Often, for
example, compressors are used in the master so as to give the whole signal a more
booming and louder sound.Effects selection here is the same as by the track effects:
1. Click on the box

2. Wait until the list of available effects is compiled
3. Select effect and configure
Object and master effects rack

The audio effects rack for objects can be opened by double-clicking the audio object. The
audio effects rack for the individual tracks or for the entire sound ("master effect") can be
opened using the FX buttons in the mixer window ("M" key).
In addition to the most important effects like the 10-band equalizer, reverb/delay,
compressor, time processor (objects only), filter and stereo enhancer (track only), the
following features are also available:
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Object Volume
Here you can set the master level for the selected object. With some effect combinations
undesired distortion may appear as many effects increase frequency ranges. In this case,
you can reduce the master volume.
The faders for each stereo channel are usually moved together.
If you deactivate the left button, the object can be made into stereo panorama by
separate volume controlling for left and right.
Load/Save
The current settings for each applied effects device in the rack can be saved as an effect
preset, e.g. so that it can be used for other objects. Only the rack effects that were used
will be saved and loaded during this process. This means that effects presets can also be
combined.
This function is not yet available for the track effects rack.
Effects plug-ins
If external plug-ins are installed on your computer, then
you can activate them via the button to the bottom
right. These buttons also open the effects in the
Vintage Effects Suite (view page 162).
For more information about plug-ins, please read the chapter Using VST/DirectX effects
(view page 139).
Apply (destructive editing)

With "Apply" the current setting of an effect or of an entire effect rack can be "calculated
into" the audio object.
This has the advantage that no more processing power will be required for the effect. The
object will be replaced by a new audio file which contains the sound of the object with
the effect. This will then only be played – processor-heavy "realtime" effect calculation is
no longer required.
The disadvantage: Changing the effect settings is not a simple any more. You can undo
these "destructive" changes straight after using the Undo function in the Edit menu (like
every editing operation in MAGIX Music Maker 2015). After saving the project this is no
longer possible.
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In the master effects rack there are no Apply buttons. Instead, the function can be found
in the Edit menu (Audio Mixdown (view page 212))
Play object/Play arrangement

To the bottom right of the Audio FX Rack you will find two
playback buttons which either play the selected object or the
entire range. This lets you preview all effect settings in realtime.
Equalizer
The 10-band equalizer subdivides the frequency spectrum into ten areas ('bands') and
equips them with separate volume controls. This way it is possible to create many
impressive effects, from a simple boosting of the bass to complete elimination of a
certain range of frequencies. Note: If low frequencies are boosted too much, the overall
sound level is heavily increased which may lead to distortion. In this event, adjust the
overall volume downward by using the 'master volume' control situated at the bottom
center of the effect rack.
Slider control: Each of the ten frequency ranges can be separately boosted or turned
down with the ten volume controls.
Link bands: Using this button randomly combines the frequency ranges with each other
in to avoid artificial-sounding overemphasis of an individual frequency range.
Touch screen (right EQ section): This is the 'sensor field' of the EQ. Here you can draw
any type of curve with the mouse. This will be immediately translated into a
corresponding control setting on the left side of the EQ.
Compressor
The compressor is an automated dynamic volume control. It limits overall dynamics,

maintains the volume of loud passages so they stay loud, and increases the volume of
low passages. A compressor can be put to good use for e. g bass recordings and vocals,
but also as a master effect in the mixer for subsequent editing of the overall sound.
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Processing is carried out using a "look-ahead" method, similar to high-quality studio

appliances. There are no peak overmodulations or other artifacts as the algorithm can
never be 'surprised' by sudden level peaks.
Ratio: This parameter controls the compression level.
Threshold: This sets the volume threshold below and above which compression is
applied.
Attack: Sets the algorithm's reaction time to increasing sound levels. Short attack times
can create an undesirable "pumping" sound, as the volume is quickly reduced or
increased correspondingly.
Release: Sets the algorithm's reaction time to falling sound levels.
Gain: The gain controller amplifies the compressed signal.
Parametric 6-band equalizer

The parametric equalizer has six filter bands that you can use to shape the sound of the
music track. Each band is a filter with a typical "bell shape". Within a certain frequency
range around an adjustable middle frequency you can increase or reduce the signal level
gain. The width of this frequency range is called bandwidth. The bandwidth is defined by
the Q value. The higher the Q value, the narrower and steeper the filter curve.
You can influence the basic sound of the mix by boosting or cutting specific frequency
ranges (low Q value) to give it more "depth" (lower mids 200-600 Hz) or more "air"
(Highs 10Khz). You can also decrease very specific frequencies (high Q-value) to
remove unwanted noise.
Sensor field: The sensor field displays the resulting

frequency response of the equalizer. The frequency is
displayed horizontally and the increase or decrease
of the respective frequency is displayed vertically.
The blue bullets 1-6 symbolize the six frequency bands. You can move them around with
the mouse until you find the frequency response you want. The bandwidth (Q value) can
be adjusted using the mouse wheel.
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The faders beside the filter graphic display the parameters of the currently selected
"band token".
You can use the knobs to set the values for each band more precisely. There is also a
numeric field for each parameter where values can be entered.
Gain: This controller allows you to raise or lower the filter. Setting the controller to 0
deactivates the filter so it does not use any processing time.
Freq: The center frequency of the individual filters can be set between 10 Hz and 24 kHz
with the frequency controller. Freely choosing the frequency enables multiple filters to be
set to the same frequency in order to have a greater effect.
Q (Bandwidth): Here you can set the bandwidth of the individual filters to between 10 Hz
and 10 kHz.
Bands 1 and 6 are special: Their Filter Curves can be edited in three different modes. The
four editing points in the graphic have different functions in each mode.
Peaking: Here the effect curve is brought closer to the working point (which
represents the peak of the curve) from both sides simultaneously.
Shelving (Basic setting): Here the working point displays the beginning of the
filter curve. From this point on there is a gentle increase or decrease in the
frequency.
High or Low Pass:In Band 1 the working point displays the frequency which is
filtered out of particularly high or low frequencies.
You can control the output level of the equalizer with the Peak Meter . With the Master
Gain Controller beside it you can offset the level changes resulting from the EQ
adjustments.
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Enhancer
The Enhancer enables the justification of the audio material in the stereo panorama to be
adjusted. If the stereo recordings sound unfocused and undifferentiated, an extension of
the stereo base-width can often provide better transparency.
Use the maximize function to move the echo and improve the stereo picture, for
example, into the foreground.
Volume controller: Adjusts the volume of every single channel to adjust the complete
panorama. The reduction of left and right levels is displayed under the control buttons.
Pan-direction: Use this controller to move the sound source from the middle into stereo
panorama. The signals at the outer edges of the sound picture remain unchanged.
Multiband: This option switches from "Stereo FX" to "Multiband" mode. Stereo editing
only applies to the middle frequency, the bass and highs remain unchanged.
Bandwidth/maximize sensor field: Adjusts the base width between mono (extreme
left), unchanged base width (normal stereo), and maximum base width (wide, extreme
right). Raising the bandwidth (values over 100) diminishes the mono compatibility. This
means that recordings edited this way sound hollow when listened to in mono.
Maximize strengthens the spatial component of the recording, which also increases the
stereo transparency without influencing the mono compatibility.
Stereo meter (correlation gauge): This provides a graphical display of the phase relation
of the audio signal. You can use it to review the orientation of the signal in the stereo
balance and the effect of the stereo enhancer. To maintain mono-compatibility, the
"cloud" shown should always be higher than it is wide.
Invert Phase
With a stereo signal the phase of a channel is inverted. In other words: The waveform is
flipped from top to bottom, all positive values are replaced by negative values and vice
versa. This cancels all the signal components that are identical in both channels. The
result is a special, hollow sound that only contains the extreme right and left positions in
the stereo image. One side effect of this function is that the object is only played back
through the rear speaker in a Dolby Surround system.
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Reverb
The reverb effect device offers newly developed and very realistic reverb algorithms to
add more room depth to your recording.
Reverb is probably the most important but also the most difficult effect to generate.
Fundamentals
Our everyday experience shows that not every room matches every instrument. Thus we
have designed “virtual” rooms. However, it still remains important to find the correct
parameters. Here are some examples of parameters that are decisive for the sound
impression in real and virtual rooms:
• Size of room: The larger a room, the longer the sound travels between walls or
objects. Our brain “calculates” the size from the time difference. The size impression
is mainly determined from so-called first reflections and the discreet echo. We don’t
notice a (diffused) reverb.
• The reverberation time is mainly influenced by the composition of the walls, ceilings
and floors. This reverb time is highly frequency-dependent. For instance, the highs
and mids are dampened more in rooms with curtains, carpets, furniture and some
corners than in an empty and tiled room.
• The density of the reflection: The sequence of the first reflection is particularly
important. A room with many individually recognizable echoes feels alive, especially
if they are quite far apart.
• The Diffusion: Simple reverb machines do not take into account that reflections
become more and more complex as they develop. They blur the first echoes at the
beginning, which sounds artificial and “two-dimensional” for many signals. Our
reverb effect works like a real room instead where individual echoes can still be
heard at the beginning of the reverb but then reflect amongst each other more and
more until they disappear in the signal sustain as a so-called “diffused hiss”.
The 24 presets include many rooms that were designed for certain instruments and
applications and whose internal parameters have been optimized for these applications.
However, you can influence most of the characteristics of the room using the provided
sliders.
In addition to the rooms we have modeled two device types in the reverb effect that
allow you to create an artificial reverb for a longer time: Plate Reverb and Spring Reverb.
Plate Reverb: A plate reverb consists of a large metal plate (often 0.5 to 1m2 thick or
more), that is put into motion by a magnet and coil system (similar to a loudspeaker). On
Audio effects 147
the reverb plate so-called “taps” are positioned at different locations. These are pick-ups
comparable to those on a guitar. Reverb plates have a very dense sound (high diffusion);
no direct echo can be heard. They are therefore ideal for percussive metal. With vocals a
plate reverb generates a smooth “wellness effect”.
Spring Reverb: You probably remember Spring Reverb from guitar and keyboard amps,
particularly older ones. At the bottom of these amps a unit consisting of two to four
spirals is mounted on a vibration-free carriage. As with the reverb plate it uses systems
for transforming the electric signal into a mechanical one. There are different designs and
sizes of spring reverb; however, they all have the same quite peculiar sound: the typical
“bloing” sound when the springs are moved, similar to splashing. When the reverb dies
away the basic pitch of the spring(s) can usually be heard quite clearly. Furthermore, the
frequency range is considerably limited due to the losses in the spirals and in the used
pick-up/transmitter. Despite this, the sound is special and some of the latest music
styles (e.g. dub & reggae) would hardly be possible without spring reverb.
Parameters
The reverb effect has the following parameters:
Size: defines the size of the room (or the system for the plate and spring). With some
low “size” settings you can also reduce the distance between the individual reflections.
This allows resonance to develop (accentuated frequency ranges), which can sound
oppressive if the reverb sustain is too long. The proper size for each instrument can be
gauged by taking into account the interplay between the room and the resonance.
Time: reverberation time. With this controller you can define how far the echo will be
absorbed, i.e. the time for the reverb to die away. Turning this knob to the left minimizes
the time. You will then only hear the first reflection. Turning the knob to the right
minimizes the absorption and thus results in a long sustained reverberation.
Color: within certain limits you can influence the sound characteristic of the effect. The
effect of this controller depends on the used preset. In rooms “Color” controls the
dampening of the highs in the reverb (from dark to bright) as well as pre-filtering of the
signal. The controllers for plate and spring presets also determine the dampening of the
basses.
Mix: this controller sets the mix ratio between the original and the edited signal. For
rooms you can therefore quite easily move a signal further into the room by increasing
the effect share. The last four presets are intended for use in an AUX channel of the
mixer and are set to 100%.
Presets
The presets are primarily sorted by instruments; however, you can (and should) choose
which preset you want to use for which instrument. The rooms in particular have
completely different characteristics which are noticeable for some and more subtle for
others. Generally we recommend reverb with many individually audible reflections and
slight diffusions for dense projects. On the other hand you can use Plate Reverb for
minimally arranged songs in order to create a dense atmosphere.
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However, you should avoid adding reverb to too many instruments. Sometimes some
extra mixing is sufficient to move an instrument slightly away from the total sound. It is
often recommendable to adjust the sustain to the song tempo, i.e. the faster the track,
the shorter the reverb. Otherwise the sound easily sounds washed-out and indifferent.
Here is a list of the presets and their characteristics:
Drums and percussion

Drums: Studio A: small room, high diffusion, e.g. for percussion instruments
Drums: Studio B: slightly larger & more lively than A, medium diffusion, distinct first
reflections, signals seem closer than A
Drums: Medium-sized room: medium-sized room, moderate reverb, medium diffusion,
relatively few first reflections
Drums: empty hall: medium-sized empty hall, medium diffusion
Drums: Snare reverb plate A: plate reverb, high diffusion, relatively bright sound
character, typical hissing of a reverb plate.
Drums: Snare reverb plate B: reverb plate, high diffusion, slight dampening of highs &
basses, sound moves more to mids with time, stereo panorama narrower than for A
Vocals
Voice: main hall A: standard hall, e.g. for monitoring/recording, medium-sized room,
medium diffusion, minimum sustain time
Voice: main hall B: like A, but as a small hall (longer delay times than A), distinct
reflection pattern, longer reverb time
Voice: early reflections: medium-sized room, low reverberation share, very distinct early
reflection pattern, e.g. for spreading vocals
Voice: warmer room: small, intimate room, dark character
Voice: studio reverb plate A: reverb plate with medium diffusion, slight dark adjustment,
comprehensive sound characteristics
Voice: studio reverb plate B: Like A, but more diffusion and bright to medium sound
adjustment, slight vintage character
Voice: large hall: large hall, medium diffusion, relatively long reverb time
Voice: cathedral: delayed attack, slight diffusion, complex echo pattern, some hard
reflections, dark voice adjustment, long reverb sustain
Guitar
Guitar: Spring reverb mono A: spring reverb simulation, typical oscillating sound of the
springs, limited frequency range
Guitar: Spring reverb mono B: Like A, slightly broader frequency range, greater diffusion
Guitar: Spring hall stereo A: similar to spring hall mono A, but one spring/transmission
system per channel (L/R)As a result of the mechanical interlinking of the systems, the
reverberations meet at the middle of the stereo field
Guitar: Spring reverb stereo B: Like stereo A, slightly broader frequency range, greater
diffusion
Keys (Piano, Synthesizer)

Keys: Stage reverb: Larger room with stage, high amount of complex first reflections,
slightly delayed attack, medium reverberation
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Keys: piano reverb: concert hall, long reverberation, medium diffusion, minimum dark
adjustment
Aux (to be used as a send effect in a mixer FX track)

Aux: Room: Standard room for the aux path, mix 100%, medium-sized, medium
diffusion, some distinct first reflections, low reverberation
Aux: Hall: Medium-sized hall (100% wet), medium diffusion, short reverberation
Aux: Reverb plate: Reverb plate (100% wet), high diffusion, light bright adjustment
Aux: Spring reverb: Reverb spring (100% wet), stereo, high diffusion, slightly medium
sound characteristics
Delay (Echo)
The echo effect is further refined with "Delay" and "Feedback" amounts and calculated
into the original sound by means of "Mix".
Delay: This sets the period of time between the individual echoes. The more the control
is turned to the left, the faster the echoes will follow each other.
Feedback: This adjusts the amount of echo. Turn the dial completely to the left, there is
no echo at all; turn it completely to the right and there are seemingly endless repetitions.
Presets: The presets have various functions. In the upper part of the list there are presets
that allow the delay time to be set using musical units. This is very useful for adding beat-
synced echo to rhythmic material such as drum loops or arpeggios. The other settings
can be used for special effects involving very short or very long delay times, e.g.
"metallic" or "robotic" sounds. "Simple Echo" can be used to set the echo repetitions
between 0 and 4 using the feedback slider.
Sound Warper
Distortion
This is a distorter, which over-modulates the audio object.
Gain: With these controls you adjust the degree of distortion. ‘Gain’ designates the
prestage to an amplifier.
Cut off: Here you adjust the frequency ranges that are to be distorted.
Volume: Here you can adjust the volume of the distorter. The higher you set the ‘gain’
control, the louder the distortion when compared to the overall volume.
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Filter
Similar to an equalizer, the filter controls the volume of certain frequency ranges. It is
however also possible to completely suppress frequencies so that very impressive
distortions are possible.
Frequency: Here you set the frequency that is to be filtered.
Level: Here the filtering intensity is adjusted.
Resonance: Here you set the range (band width) around the frequency which is to be
boosted together with the frequency.
Volume: Here the filter volume can be adjusted separately.
Gater
This special effect "chops up" a sample into a given number of parts (16-128) Select the
number of steps, which will then be distributed over the duration of the sample.
Additionally you can set the volume for each individual step using the fader, so that the
hard sections can be produced in the same way as soft levels.
The Gater function can also work as a filter to create interesting sound deformations
which are particularly good for Techno! This is useful when you want to create a cool
sample from a sound without its own rhythm.
In "Division" you can set more than 16 sections to produce even more variations in the
sound. . The fader settings are then repeated which means that step 17 has the same
value as step 1 etc.
A real-time monitoring function allows immediate musical control of any fader change.
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Principally, there are two operating modes which can be combined with each other:
Volume or filter progressions

The objective of this function is to change the volume or the sound character of the audio
material in 16 or more steps with the aid of the 16 faders. The default setting of every
fader corresponds with one sixteenth of the audio material – i.e. a sixteenth note in a 1
bar loop or an eighth note for a two bar loop, etc.
This leads to interesting rhythmic results, e.g. by lowering the volume of individual faders
or through stepped volume increases. Various progressions can also be quickly created
with the help of the random function. The real-time screening function permits constant
acoustic control while this is being done!
Gater progressions make it very simple to create rhythmic sounds from a simple strings
or synthesizer section or to emphasize or tone down certain beats in a drum loop.
Reordering
The playback sequence of the 16 steps can be changed with the colored key fields
located below the faders. This makes it possible to repeat a beat from the first sixteenth
in the fourth sixteenth. To do this, the number under Fader No. 1 must be the figure 1. The
fact that item 4 will now play back the material in item 1 is shown in color.
Does this sound complicated?
If so, simply try the Random function. It instantly pronumerous variations. If you have the
Real-time screening function running, you can then quickly decide for yourself, which
groove you like better!
You can use the Re-order function to derive totally different variations from a drum loop
quickly and impressively.
Backwards
When Backwards is applied the sound file will be played in reverse. This way you can
create very interesting effects, not to mention the “hidden messages” in many songs...
Timestretch/Resample
This effect device changes the object’s speed and/or pitch.
Pitch: This control changes the pitch independently of the object’s speed (‘pitch-
shifting’).
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Tempo: This control changes the tempo independently of the pitch ("time-stretching").
The object acts as if it were compressed or stretched on the track.
Tones/BPM: These fields are used to numerically enter the pitch or speed change. Only
MAGIX Soundpool files are suitable for numeric entries because they are equipped with
information regarding pitch and speed.
Setup: This button opens a setup dialog where you can select various pitchshifting and
timestretching procedures.
• Standard: Timestretching and pitchshifting in standard quality. This method is

suitable for audio material without a pronounced beat. Existing beat markers are
evaluated to improve audio quality.
• Smoothed: Timestretching and pitchshifting for audio material without pulsing
elements. The method is suitable for several voice orchestra instruments, surfaces,
speech and singing. Beat markers will not be evaluated.
• Beat marker slicing: Beat-synchronous timestretching and pitchshifting via splitting
and temporal repositioning. Precisely set beat markers are required at the beats or
transients. Markers can be generated in real time (automatically) or read out from
the source file, as long as they are available (patched). In the Premium version's
included MAGIX Music Editor, a patching tool is provided for users to set the
markers themselves.
• Beat marker stretching: Beat-synchronized timestretching and pitchshifting in high
audio quality. The material is stretched between beat markers positions so that the
impacts or attacks at the beat markers positions are not impaired by stretching. The
markers can be generated in real time from the audio material (automatically),
provided they are present (patched).
• Beat marker stretching (smoothed): Beat-synchronized timestretching and
pitchshifting in high audio quality, even with extreme time extension. Beat markers
are used at the beats or transients. The markers can be generated in real time from
the audio material (automatically), or read out from the wave file, provided they are
present (patched).
• Universal HQ: Universal method for timestretching and pitchshifting in very high
audio quality. Suitable for all types of audio material.
• Monophonic voice: Time-stretching and pitch-shifting for vocal solos, speech or solo
instruments.
• Resampling: Pitch shift and tempo cannot be changed individually. This method
requires comparably little CPU time.
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Vocal Tune
The Vocal Tune effect can be used to edit the pitch progression of an audio object. On
the one hand, it is possible to rebalance "distorted” vocal passages. Depending on what
you want, this can be as inaudible as possible or even drastically distorted (see
Automatic pitch correction (view page 155)). On the other hand, however, the melodic
line like in a piano roll can also be completely changed (see MIDI Editor).
To customize the pitch correspondingly, the original pitch of the audio material must, of
course, be known. Fundamental to the functionality is therefore a preliminary pitch
analysis of the material. This is basically only for tonal, monophonic audio material like
solo vocals, solo instruments, and speech. Polyphonic material, effects such as reverb or
chorus and background noises do not provide good analysis results.
The analysis function starts automatically when the vocal tuner is opened. For larger
objects, the analysis can take longer. After the analysis the audio object is divided into
individual slice objects according to the detected pitches; a slice object corresponds
more or less to a sung note. If the pitch deviations within a note are too large or the audio
material contains noisy components that interfere with the analysis, this also results in
two or three slice objects per note.
Slice Object: The mid pitch of a slice object determines its position in the
graphic independent of the set progression of the pitch inside the slice object.
Pitch Curves: The resulting pitch progression is displayed with a yellow pitch
curve. The original pitch progression is displayed as a blue curve.
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Selected Slice Objects can be edited with the Move Tool. (see below)
The vertical axis is the pitch, the corresponding notes are displayed as a piano
keyboard on the left border. Individual keys can be removed from the pitch grid
(see below) by clicking on them (displayed in gray).
Similar to the arranger (view page 33), the displayed time section or the pitch
range can be controlled with the +/- buttons and the scroll bar.
The play and stop buttons at the bottom left can be used to start and stop the
playback of the project. S causes the audio object to play solo in the Vocal Tuner.
Tools for editing pitch (see below)
„Auto” Automatic pitch correction
„Reset” removes all edits and returns all settings to their original status.
Activates the pitch grid for automatic pitch correction.
The Naturalness slider sets the intensity of the automatic pitch correction
„Bypass” temporarily deactivates the effect
Editing Pitch
There are three tools available for editing pitch:
Move tool: You can use this tool to select slice objects for the
editing by simply clicking on them.
Ctrl+click enables the multiple selection of individual slices. Clicking on an empty area of
the editing window and dragging a selection frame is another method for selecting
several slice objects simultaneously. Selected slices can then be moved vertically, i.e.
moving the pitch.
If "pitch grid” is active, the slice objects always snap precisely

to the semitones of the chromatic scale.
To limit the snap function to specific keys (e.g. G minor) individual notes on the piano
keyboard can be deactivated by clicking on them. The slice objects will then snap to the
next "allowed" semitone.
On the borders of the slice objects two handles are created on the pitch curve. These
handles can be moved in order to produce an increasing or decreasing pitch
characteristic while retaining the small changes in the basic frequency (vibrato).
The handle at the end has been moved up to create a rising pitch progression. The small pitch
fluctuations remain intact.
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Double-clicking on an individual pitch slice makes it possible to enter the pitch more
precisely in a +/- cent deviation from the corresponding semitone.
Cut Tool: You can use this tool to cut slice objects and create
two slice objects that can be edited separately. This does not
affect the pitch of the slice object.
It is possible, however, that a slice moves when cutting because the pitch of a slice
displayed is only ever an average value across the total pitch progression within the slice.
Draw Tool: This tool can be used to directly draw the pitch
curve. If you hold the Shift key while drawing, a straight line will
be drawn between the start position of the drawn curve and the
current mouse position.
If a pitch curve extends beyond the borders of a slice object, the two slice objects will be
joined together.
Automatic Pitch Correction

The "Auto" function for automatic pitch correction can be found beside the draw pitch
function. The "Auto" button moves all selected slice objects to the next semitone.
Single notes can be deactivated by clicking on their respective keys on the piano
keyboard. The will result in the note being moved to the next available semitone during
the correction process. This makes it possible to limit the automatic correction to specific
notes in a key.
The "Naturalness" slider determines how much the original pitch progression is retained.
With small values, the natural vibrato of the voice is radically "flattened” and the famous
"Cher effect” results.
essential FX
MAGIX essential FX is a collection of "bread and butter effects" for the most important
applications. They are embedded as VST plug-ins (MAGIX plug-ins directory) and may
be used in the object or in the track. For object application, see "FX plug-ins (view page
141)" in the "Audio effects" chapter or "Track effects (view page 139)" in the "Mixer"
chapter.
These are simple but solid tools with clear feature sets for daily application. They include
fewer controllers and require less resources.
MAGIX plug-ins
Console
Some MAGIX plug-ins show a so-called "Console" at the top edge when they are opened
– a display bar for managing presets with expanded settings options.
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A menu containing available presets is located behind the display. To the right is a
prev/next button, which lets you leaf through presets.
This button is used for saving presets. MAGIX plug-ins use a proprietary
preset save format (*.fxml)
You can return the presets to their initial settings by clicking on the
"Reset" button.
Bypass switch: Routes the signal directly to the output instead and
bypasses processing. Internally, processing is continued so that you can
toggle between processed and unprocessed material anytime.
A/B comparison: Very useful for trying out settings. The controller
setting "A" memory is normally activated when the interface is opened.
As this is the initial status, "B" also contains the same settings. If you would like to
experiment without losing the current setting, press the "B" buttons and try other
settings. To transfer the values to "A", press the copy button between the two letters.
"?" button: This opens the online help for the plug-in.
Parameter smoothing/ Controller knobs

Each plug-in offers soft controlling. Pot settings are softly faded internally from the old
value to the new one. This is particularly noticeable when playing in "Live" mode. Due to
performance reasons, switches (e.g. on/off) and some settings of VariVerb II that
change delay times directly or indirectly are excluded from this action.
Use the mouse wheel to move the knobs (pots). A combination of the mouse wheel and
"Shift" key slows down the increase or decrease by a factor of ten. Double-clicking resets
the knob to the original value.
Vpot Controls
Some controllers snap to the middle setting, which may be useful for quickly returning to
a "neutral" status. It is extremely difficult to adjust the fine settings within close proximity
of this snap point. You can temporarily deactivate this snap mode by holding "Shift"
before touching the controller.
Use the mouse wheel to adjust the controllers. A combination of the mouse wheel and
"Shift" key reduces the increase/decrease by factor ten.
Apropos the controller movement, note that all plug-ins follow the host settings
regarding linear or circular mouse movement. You can usually choose whether you
prefer up/down or a circular movement to adjust the value.
essentialFX Presets
By clicking on the tool symbol in the graphic display, you can open the presets.
Under "Tweak" you can find specific settings options for each effects device.
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Under "eFX Globals" you can find settings options for graphic level display as well as
mouse control.
eFX Globals
These settings apply to all Essential FX.
Metering: Here you can set the meter display.
• Decay Time controls reaction speed.

• Peak Hold controls the hold of the highest peak.
• Brightness controls the display brightness.
Mouse: Here you can set the display reaction to mouse movements in the essential FX
graphic display.
• Linear mode lets the faders move in response to vertical and horizontal mouse
movements.
• Circular mode lets the faders be controlled by circular mouse movements.
• Mode As Host lets the faders move in response to the mouse exactly how mouse
settings in MAGIX Music Maker 2015 specify it.
• [Shift] Factor specifies the factor for fine adjustment of individual faders with the
mouse with simultaneously held Shift key.
Chorus/Flanger
This plug-in offers a simple way to make signals sound more interesting, "spacier",
thicker, etc. by modulating or delaying the pitch - the classical domain of application is
for guitars, Hammond organs, electric pianos, or synths.
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Chorus and flanger are two closely related effects, which are combined into a single plug-
in. They normally differentiate in terms of delay time, type of modulation, and degree of
internal feedback.
Chorus flanger parameters

IN / OUT: Here you can set the input and output level.
mode:
- Stereo chorus: Compared to mono chorus, two copies of the original are created,
modulated against each other in pitch, and then fed accordingly to the set mix ratio to
the left and right output channel.
- Mono Flanger & Stereo Flanger In contrast to the Chorus Effects the lower delay
periods and a slightly changed modulation are processed.
- Ensemble: This creates a denser chorus, similar to Boss/Roland CE-1: Instead of two
voices, six are generated. Two internal sine LFOs for de-tuning, whereby for both LFOs
the second and third voice phase length by 120°. This results in a denser-sounding effect
that is also less warped.
• Rate: This specifies the speed of the modulation. Lower rates provide slight hovering
effects, and high speeds produce a wobbling, typically distorted "underwater" sound.
• Depth: This parameter specifies the depth of the modulation, i. e. the maximum
deviation of the modulation and the resulting pitch bending.
• phase: This fader moves the right channel's oscillator phasing relative to the left,
wave is put back to the right. So that the Tremolo effect drifts apart in the stereo
field with ever increasing values. At 180° both oscillators work in reverse, therefore
the stereo effect is at its strongest.
• Feedback: This parameter defines the portion of the delay that is sent back to the
input. Feedback causes the effects of modulation to be more drastic and cutting.
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Nullification of the feedback is set at the middle of the fader. Set to the right, the
feedback is fed to the input equi-phasal; to the left, the feedback occurs. Both
variants may sound very different depending on the signal, since they prefer different
frequency ranges for dissonance.
• Mix: Regulates the mix ratio of the original signal and the delayed portion.
Tweak
• Low Cut: This knob sets the filter frequency of a high-pass filter. Signal components
below this frequency will be filtered out.
Phaser
The phaser is often mistaken for a flanger due to its typically sharper and cutting effect.
In any case, the pitch is not modulated. Instead, the modulation process burrows
multiple notches into the frequency response, somewhat like a comb filter. Just like an
airplane taking off, the phaser functions with a similar jet effect. It is suitable for enduring
signals like synth surfaces or for producing sound designs to create atmosphere or
distortion effects.
Phaser parameters
Mode: The selection includes a number of filter stages. At 4 stages/8 stages, a more
plastic effect is achieved, and more complex patterns are reached at 16 stages. Please
note that the more stages are involved, the more computing time will be needed.
• Rate: Speed of filter modulation. The essential effect is the same for both chorus and
flanger.
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• Depth: Similar to chorus/flanger, whereby it's the filter notches that are addressed,
and not the pitch modulation.
• phase: This fader moves the right channel's oscillator phasing relative to the left,
wave is put back to the right. So that the Tremolo effect drifts apart in the stereo
field with ever increasing values. At 180° both oscillators work in reverse, therefore
the stereo effect is at its strongest.
• Feedback: The feedback portion produces a more drastic effect in this case. Similarly
to the chorus/flanger, co-phasal or opposite-phase feedback is possible.
Tweak
• Center Freq: Sets the mid-frequencies of the phaser. The filter modulation acts on
these frequencies.
Stereo Delay
The stereo delay is a simple too for typical bread and butter delay effects. The stereo
delay offers the "analog algorithm", which features the sound of echo devices of
yesteryear.
Stereo delay parameters

Mode: This selects between the essential algorithms.
Digital: Normal, transparent delay

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- Analog tape: Analog tape delay simulation. In this mode, a band echo is simulated with
a typical compression and saturation behavior, including phase shifts with high feedback
settings.
Analog BBD: Simulation of a bucket brigade delay (BBD, bucket brigade delay). These
devices, which originate from the pre-digital era, used analog building blocks for storage.
The signal was held for a short time in a relatively simple circuit and then moved on to
the next. This "bucket brigade" principle created a longer signal delay. BBDs create
different delay times by varying the system beat (clock), meaning that for short delays
the beat is faster, and for longer it is slower.
• Tempo sync: If this button is active, the plug-in is directed at the host/sequencer
tempo. In this mode, changes are made to the delay period via the L/R delay using
the musical snap grid (e. g. 1/4 note).
• Delay L/Delay R: Specify the delay period for the left and right channels here.
• Damping: This specifies the cut-off frequency at which the highs are dampened
during the delay. This useful for making the delays reverberate more naturally or for
creating special effects (reggae/dub-style effects).
• Feedback: This parameter regulates the internal amplitude of the delayed signal that
is fed back to the input. In "Digital" mode, this process is completely transparent; in
"Analog", on the other hand, higher values, a very loud input signal, or the sum of
these will make the use of dynamics compression audible. In both modes, the
nullification of the feedback parameter is in the center of the fader. To the right, the
plug-in works in "Dual delay" mode (both sides work independently), and to the left,
"Ping pong" mode will be activated (the delayed signal alternates between the left
and right sides).
Tweak
• Feedback Low Cut: This control sets the filter frequency of a high-pass filter for the
"feedback". Signal components below this frequency will be filtered out.
• Tape / BBD Noise: Here you can control system noise for both analog modes.
Especially if you work with high feedback rates, noise can create quick or stable
oscillation, making the effect even more authentic.
• BBD Stages: Here you can determine the count of For very long delays, chips with
many memory cells are used. This explains why bucket brigade echoes with long
delays sound so muffled and dirty. Please keep in mind that the shorter the delay,
the faster is the "virtual" system beat. For performance reasons, the system beat is
limited. The limit is displayed below the delay control (with deactivated "tempo
sync") as soon as it is reached, e. g. 46 ms (min).
• BBD Compander: Here you can simulate Compander settings. Due to per-cell loss,
BBDs have low system dynamics. For this reason, some have an integrated
compander (compression at the input, counter-expansion at the output). Strong
compander settings interact noticeably with the input signal, especially with high
feedback, because the input effects the expansion ration at the output, even when
there is no signal at the input.
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• BBD Clock Drift: This parameter can add drift (during audible jitter effects) by
slightly varying the system beat of BBD cells. It works similarly to an LFO, but is
randomized.
Vintage Effects Suite

If you're a guitar, bass or keyboard player, you'll probably recognize the look of our new
"vintage effects" suite. They are accurate digital models of analog "standard effects" used
by live musicians. Although we have adopted the appearance of stomp boxes and have
given these effect a typical analog sound they are ideal for studio use.
All effects of the Vintage Effects Suite are subject to a soft rule behavior – internally,
parameters are softly faded from the old to the new value. This is particularly noticeable
when presets change and is of a particular benefit when playing in live mode.
In the following we will present the effects of this suite and explain how and where to use
them.
Analog Delay
This delay offers creative playing along with common delay effects. "Analog" in this case
means, for instance, that you can change the delay times while playing without the risk of
typical, scratching artefacts developing. Instead, the times are softly faded out, similar to
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the old tape echo machines that used the tape speed to change the delay and where the
system also had a certain sluggishness.
"analog" in terms of this delay also means that typical tape echo sounds can be
mimicked, e.g. tape speed fluctuations and reduced highs during playback ("feedback").
The feedback has a two-band filter that can be used to create dark, high, or mid
repetitions depending on the settings.
These properties can be useful, for example to create "wild" dub/reggae-style delays that
move towards the center of the sound with each repetition and even grind slightly. In this
case, "analog" means that you cannot digitally overdrive the delay. Even in a 'looped'
repetition, the signal cannot be distorted indefinitely, but it is compressed by an
increasingly slight degree and distorted similar to a tape.
Analog delay parameter

Analog delay has the following parameters:
Delay type
Delay type (l + r): Left and right delay times can be controlled separately (see below).
You can choose a note value for the control pots to snap to. Even and syncopated note
values from 1/2 to 1/32 are available. Note that the delay times are always in relation to
the project’s current tempo.
Link button (lock symbol): Press this button to control the “delay type” pots for
both channels simultaneously.
Mix: Adjusts the ration between the original signal and the echo.
Modulation
Speed: The tape warble speed. Low values result in very light fluctuations, high values
result in drastic warbling.
Depth: The warble intensity. When this control is turned all the way to the left, there is
no pitch modulation. For a subtle "analog" feel, we recommend a setting between the 9
and 11 o’clock position.
Filter
"Low" This control progressively reduces the bass frequency as it is turned

to the right, making the signal sound "thinner".
"High" Once turned all the way to the right, the control only attenuates the
treble very lightly; turned completely to the left, the delay repetitions
become progressively less treble.
Feedback
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Width: This controls the stereo width of the delay repetitions. When you turn “Width” to
the right, an additional effect is produced: the panning of the delays increases. This is
commonly referred to as a "ping-pong" delay.
Drive: When this control is turned all the way to the left, the delayed signal is repeated
only once. Turned all the way to the right, the feedback is seemingly endless and the
repetitions continue for a long time.
The actual strength of the effect is dependent on the material, since the feedback loop
(as explained earlier) is addressed via compression and uses a "tape saturation" effect. If
you send a "loud" signal to the delay, then the feedback will sound longer than at a lower
level as compression "brings it up" to a certain level. If you are used to "purely digital"
delays, then this might take some getting used to, but it will probably sound "livelier".
Flanger
The "Flange" effect is similar to that of the chorus, but does have a different technical and
historical background. It came about by chance: Someone (various sources say John
Lennon) slowed down one of two running interconnected tape machines in a studio with
his hand. The result: The rather brief delay of the second signal compared to the first
resulted in cancellations within the frequency spectrum, leading to a so-called comb filter
effect (the sum of both signals creates "peaks" and "lows" in the spectrum that look
familiar to the teeth of a comb).
Flanging is basically a chorus effect, but it has a lower delay time (less than 10 ms).
"Release" or signal doubling is not highlighted here; the result is a much more creative
frequency response deformation.
A "complete" flange effect will definitely require feedback: The flange portion is returned
to the input to increase the effect. People often talk about the "jet effect", since it
resembles a jet on take-off.
Flanger parameters
Speed: Modulation speed.
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Depth: The overall amount of modulation.
Feedback: The volume of the internal feedback loop.
Mode:
Normal: Flanging.
Dual: Two parts, panned left and right.
Quad: Four parts, alternately panned left and right.
Quad pan: Like “Quad”, but the “Depth” control also sets the intensity of the signal’s pan
movements between left and right.
Filter
"Filter" is a "modulation" effect like chorus and flanger. However, it controls the
frequency response of a modulation source as well as the pitch. There are various filter
types and modulation sizes available for this.
Possible areas of application are synthesizer sounds (filter sweeps on pads) or creative
distortions of drumloops (e.g. for variations, fills, etc). With guitars you can create typical
'wah' effects: either by tempo modulation or in a special mode, modulation via the
envelope curve. The decisive factor is the current signal strength above the frequency set
for the filter.
Filter parameters
Speed: The modulation speed is set by note values ranging from 1/1 to 1/16 (even or
dotted). Similar to analog delay, the tempo information is automatically provided by the
project.
A peculiarity of the final position of the controller:

Tempo synchronization stops and modulation is controlled via the signal level.
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Freq: This is the base frequency for modulating the filter, and generally takes place above
this frequency, i.e. the modulation increases the filter frequency.
Depth: This control determines the modulation depth, i.e. the amount by which the
speed control (or envelope mode, as described above) increases the base frequency. For
extreme effects, turn “Freq” all the way to the left and “Depth” all the way to the right.
Filter modes
Low-pass A filter with a slope of 24 dB/octave and a small amount of

resonance. The treble frequencies above the base frequency
(cut-off frequency) are filtered steeply. This is great for
filter sweeps on synth pads and drum loops.
Band-pass Only the frequencies around the base frequency are passed
through the filter (24 dB slope with resonance). Use this
mode to create wah-wah effects for guitars.
Band Two parallel filters (–36 dB) with linked base frequencies
elimination create two ‘notches’ in the frequency spectrum. This allows
(„Notch-Filter") you to create interesting sounds (e.g. guitar chords), and it
sounds similar to a phaser.
High-pass This mode achieves the opposite effect to the low-pass

filter. Frequencies below the base frequency are filtered
steeply. If you ‘thin out’ sections of your track (for example,
a drum track) with a tempo-based modulation, this can
sound very effective when contrasted with the full-range
frequency spectrum (for example, if the filter is turned off
for the next object).
Chorus
The chorus pedal creates characteristic "floating" sounds which one typically recognizes
from guitar or synth pads. You can add acoustic "depth" to an instrument to add more
power to the sound or to create the illusion that it exists multiple times.
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The chorus sound is created by using the so-called Doppler effect. You probably have
noticed this phenomenon daily life: The sound of an approaching ambulance sounds
higher than when it is moving away. This effect is a result of the speed of the sound
which first increases and then decreases, thus also changing the sound pitch. If there
were a second siren at your location, an oscillation would develop between both sounds
(just like when two instruments are out of tune).
Chorus also splits the signal in at least two: direct sound and effects part. The double
effect is created by a short signal delay of the effect.
This delay is within the range of 10-30 ms (as in this one), this means that it is short
enough to be perceived as an "echo". The times would also be similarly short if you were
to double a guitar track for instance. A short delay in the mix already sounds "doubled"
but is not authentic. This is where the above-mentioned "out-of-tune" effect comes in:
The pitch of the effect signal is slightly modulated by gently "drifting" forward and
backward in the delay curve. The result is a floating effect where the speed is influenced
by drifting
Chorus parameters
You can enter the following parameters to control the floating effect:
Speed: Modulation speed. Low speeds create an even, continuous development. High
speeds produce vibrato-like qualities, but can also result in an "underwater" effect.
Depth: Modulation depth. This determines how strongly the speed affects the pitch
modulation.
Mix: This sets the balance between the direct signal and the effects signal.
Mode: You can choose between four operating modes of the chorus effect:
“Normal” is a combination of the direct signal and the detuned delay signal.
“Normal, low-pass” is designed for bass-heavy signals like bass guitar. The bottom end
of the signal stays clear and well-defined, the effect is only audible for the mid and treble
frequencies.
“Dual” makes the source sound more lively than a single "part". The sound is spread over
the stereo panorama, which makes this mode seem "wider". The character of the sound
becomes livelier than with a single voice only, and it is also distributed over the stereo
panorama, making the mode sound "broader".
“Quad, low-pass” is ideal for creating sounds such as deep synth pads with tight bass
frequencies.
Tip: Similar to the stomp boxes our vintage effects are modeled on, there is a
"footswitch" below the pedal’s logo that can be clicked to turn the effect on or off for
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A/B comparisons. All the effects of the Vintage Effects Suite have been designed like
this.
Distortion
The distortion pedal is a "high gain" distorter for crunch and lead guitar sounds. If you like
typically "British" amp sounds and want to quickly record a guitar track with little effort,
this pedal is for you.
An entire valve pre-amp circuit has been modeled, including the typical EQ curve. The
amplification is "valve-typical", i.e. it doesn't start quickly but is harmonic and soft. Even
at full power the pedal still reacts softly to a guitar and its settings (e.g. pick-up choice
and tone controller). For instance, you can influence the distortion even more by using
the volume knob on the guitar.
There are only three parameters on this effect; however, these interact with each other
and can thus generate quite a variable sound:
• Low: The "bass" controller. This allows you to set the share of basses, even after the
distortion. The type of prefiltering is important for guitar amps in particular, and is
characteristic for the basic sound. You should set the bass controller depending on
the basic sound of the guitar and the sound you are aiming for ("powerful" or "cut").
• High: Mainly controls the share of highs before and after the distortion. If you are not
using an external guitar speaker as a monitor, we recommend setting the controller
to the middle position or even moving it slightly to the right. This way the "sharp"
highs disappear, which all guitar amps generate without the suitable loudspeaker. At
the same time the mids stand out more, which gives the sound more "kick". On the
other hand you can further emphasize the highs if you want the sound to be more
neutral.
• Drive: The level of distortion. This controls the amplification used to operate the
"virtual valve circuit" (max. 60 dB). As the level increases, the valve goes into
overdrive and generates typical distortions. For a slightly distorted sound ("crunch"),
it's sufficient to set the controller to 10-11 hours at maximum; the modeled circuit
also provides the usual "weight" for power rock chords, and more. The further you
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turn this controller to the right, the more the mids of the signal move to the fore so
that the "high-gain" lead sound is better heard.
You can also use the distortion effect in combination with the amp simulation!
BitMachine
Audio material can always be edited into high quality with MAGIX Music Maker 2015.
Nevertheless, there are some situations, for example, a more imperfect lo-fi sound would
perfectly suit a drum loop or a synthesizer sound.
Remember, for example, the first hardware samplers from the 80s that usually only ran
at 8 or 12-bit rates and at low sample rates. With the BitMachine, changing the sound
with such an "antique" device is no problem.
You can use the BitMachine to bring back to life the times when minimalist and scratchy
soundchips in home computers were commonplace.
The BitMachine opens up a gateway to "acoustic time travel" where you can encounter
bit and sample rate reduction and downstream filters based on analog models.
Furthermore, the effect has a modulation section with which you can control individual
parameters using an oscillator (LFO) or the input signal.
We have designed a range of "typical" presets to demonstrate the time travel abilities of
the BitMachine. These can be opened at the top right of the interface
The following section describes the details of BitMachine:
"Reduction" section
Bits
This dial controls the resolution of the audio material. Turning the dial to the left results
in 16-bit quantization (CD quality). The further it is turned to the right, the lesser the
signal dynamic becomes. In extreme cases (1-bit), there are only "on“ or "off“ states.
At the intermediate levels, you’ll notice an increase in the background noise and a
decrease in the dynamics. For example, 8-bit quantization will exhibit dynamics of only
48 dB. Quieter points in the material sound noisy and very quiet points sound "capped“.
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This effect is amplified the more you turn the dial to the left until it starts crackling or
"groaning".
Sample rate
The audio material is "down-calculated" with this dial, i.e. the internal sample rate is
reduced. A new separation ratio between old and new rates is created. In relation to this
ratio, a sample from the data stream will be "dropped“ at the various points.
Note: The two smaller dials from this section are explained under Modulation.
"Filter" section
The filter in the BitMachine is a digital model of one of the most well-known filters in
music electronics, i.e. the "Chamberlin 2-pole" filter used in old Oberheim synthesizers.
These types of filters sound exceptionally musical. They can also be used quite creatively
in the BitMachine, but should not be used exclusively to smooth out existing artifacts.
The filter works in the so-called "high-pass" mode, i.e. it lets through deep frequency (or
medium) material according to setting, and dampens highs and medium areas.
Freq:
You can specify the cut-off frequency of the filter using "Freq". Filtering starts above this
frequency.
Reso:
The signal in the area around the cut-off frequency can be strongly elevated to just below
self-oscillation. Sharp, cutting sounds are possible at this level, and the effect becomes
even clearer when you vary the cut-off frequency.
Drive:
Both of the individual filters of the connections mentioned above have the ability to
overmodulate themselves internally. With the "Drive“ dial, you can regulate the amount
of overmodulation. The more you turn this dial up, the more the signal is overmodulated.
In this case, the parameters of the internal workings of the filter interact with one
another. Increasing drive weakens the resonance, but, at the same time, the signal gets
more volume, more bass and becomes acoustically fuller.
Note: The two smaller dials from this section are explained under "Modulation".
"Modulation" section
You can automate your effects via the settings in the modulation section.
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Here, you’ll find the so-called low frequency oscillator (LFO), which resonates with
adjustable speed. You can influence the speed and type of resonance.
To influence the resonance, use the two small dials in both the reduction and filter areas.
These four dials display modulation targets.
Example: You’ve left the dial for the sample rate at its default setting. Change the small
dial beneath from its middle position to either side. The modulation for the dial value is
added to the sample rate: The LFO now controls these parameters proportionately and
the sample rate reduction resonates at this modulation.
You can use this technique on other dials as well. You just have to make sure that the
main dial isn’t turned up to full, because then the modulation wouldn’t have any effect.
The modulation is always added to the set value.
Example: Turn the small dial beneath the "bits" dial fully to the left (Value: -50) and the
one beside it (beneath "sample rate") to the right (+50). You’ve now assigned a
modulation to both parameters with the LFO. They are not changed uniformly, but rather
opposite to one another: A negative setting is nothing more than an inversion of the
modulation, so you’re effectively turning down the control signal.
Waveforms of the modulation section
We’ve already explained this example with the help of sine oscillation. The LFO can be in:
• Sine form
• Square wave (0 or 1, no intermediate level)
• Random value (an internal randomizer will be queried at the set speed)
Oscillator speed
The LFO speed is specified with the "speed“ dial. If the "sync“ button is active, then the
LFO adapts to the song speed, and the dial locks musical values into place (e.g. ¼ note).
Rhythmic paths of the sound distortion are therefore enabled. You can also switch off
this synchronization and set the speed manually (in Hz).
Modulation with the "Envelope follower“
In the modulation section you’ll find a fourth button, the audio input signal. If this mode is
active, then the signal itself can be called upon to extract “modulation tension”; a so-
called "envelope follower" continuously scans the volume of the input signal.
Note: The BitMachine doesn’t recognize the type of audio signal automatically. For this
reason, you should set the input sensitivity roughly with the "gain“ dial. To do this, use
the control LED: With accurate detection of the signal dynamics, assigning the four
small dials to modulation lows is easier and you can use the full control range.
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In envelope mode, the "speed“ dial is used to control the response speed of the envelope
(the display now switches to milliseconds). Lower times result in a faster response,
higher times make the envelope rise (and fall) slower. You should experiment with the
signal according to its complexity. The presets provided can only point you in a rough
direction.
Vandal SE
Virtual Guitar & Bass Amplification
VANDAL is a complete simulation suite for guitarists and bassists. The plug-in is capable
of simulating the entire signal chain, from input to stomp boxes, amplifiers, microphone
loudspeaker boxes and post-processing studio effects, all in top quality.
Quick start via preset selection

Would you like to know about everything that's possible with Vandal SE? Play yourself or
use some of the presets. These are available via the list in the upper edge of the interface.
Audio effects 173
A preset includes all settings for the main elements of Vandal SE: Stomps, amp settings,
cabinet simulation, and studio effects.
Tuner
The best amp or the best simulation is useless if the guitar is out of tune. VANDAL offers
its own chromatic tuning device for this. You can use it like any analog device: It
automatically displays the note that has been struck (in octave) and the display
visualizes deviations (in cents).
The following describes the major components of VANDAL. The stations are described
according to their position in the signal chain.
Input
The station that you will most likely want to activate first is the input controller. Just like
with a genuine guitar or bass setup, it's important to ensure the highest possible input
level, in order to work optimally. This is even more important for distorted sounds and
natural high-gain playing styles. Use metering for this, too.
As required, activate the noise gate and adjust it so that it lightly suppresses the input
signal during pauses in playing. VANDAL does not cut the input on classic gates too
hard, but rather regulates them finely via the signal energy beginning at the highs (where
noise is most audible).
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Stomp boxes
The real world has produced a series of effect devices popular with guitarists and
bassists in the "stomp box" format. We've also included a rich palette of these devices.
Vandal SE includes four "stomp slots" that can be equipped with effects from the list. The
signal flow within this chain runs from left to right. Since all of the controls are self-
explanatory, we won't describe them here.
Vandal - Amplifier
Vandal SE basically offers 2 different amplifiers: Guitar Amp and Bass Amp. The amplifier
type depends on the selected preset.
During development, a large selection of famous amplifier brands and models were not
included. To guarantee that you are nevertheless able to get a number of different sound
characteristics out of your Vandal SE amp, the amplifiers are set up variably. Internally,
circuit designs work absolutely the same as the real devices. In several ways, however,
Vandal SE goes in its own direction in terms of the sound it offers.
Guitar amp
The Vandal SE guitar amp offers three different pre-amp modes and two switchable end
stage models. These basic configurations differ according to the selected preset.
The guitar amp is set up with three channels. These may be set up with the pre and post
gain controllers per channel (Clean, Crunch, and Lead) for the desired mix ratio. Don't
worry about switching things around: The amplifier will remember the gain settings when
channels are changed. These are the gain presets for the different playing styles within a
song.
Voicing: We have provided Vandal SE pre-amps with something that we call Curve EQ.
For example, if you take a simple EQ pedal and shape the signal a little before the amp,
then this may change the sound quite drastically. Curve EQ does something similar: It's
located (in some cases multiply) at strategically important points between individual
amplifier stages and filters the signal, before it is distorted by the next stage. Move the
Audio effects 175
curve in both directions and navigate through the spectrum using the "Freq" controller.
This will give the amp a completely different character...
Equalization: The actual sound control (the "tone stack") functions rather conventionally:
Vandal SE offers low, mid & high settings. Everything functions like the passive sound
regulation network in genuine amps, so that the controllers influence each other to
produce numerous variations.
Reverb: Surf and twang simply need on-board spring reverb. We relied on well-known
reverb springs for modeling. Everything sounds natural with complete authenticity.
Bass amp
After roughly setting the Gain controller, the bass signal will first be treated with the
Contour circuit. This filtering stage works similarly to the "Loudness" function by cutting
the (lower) mids and lifting the deep bass and highs. It's sort of like an "instant slap".
Next, the signal passes through the compressor stage (Comp). This is a simple but
extremely musical, visual design: The bass triggers a light source that is coupled with a
photo resistor which dampens the signal. This may already be familiar to you from the
most famous studio compressor for bassists, i.e. Urei LA2A, which functions according
to the same principle.
After any possible compression, Drive provides the option to take the bass sound to the
next level. Saturating the signal takes place depending on the frequency: In spite of a
possibly high level of distortion, the basses remain relatively clean and contoured.
The equalization stage offers 4 frequency ranges, whereby the two mid bands are
variable. The final master volume controller specifies the volume of the final stage. As
with the guitar amp, the end tubes are also engaged in this case as much as remains
sensible.
Rack effects (FX1/FX2)

There are effects that don't always work well before the amp, e.g. reverb or delay,
especially when they are distorted. Normally, these effects are better placed at the end of
the signal chain.
For final processing and enriching, we offer two separate studio-quality effects units just
like real 19" rack devices.
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Many algorithms create a stereo signal. Take care that the sequencer track operates the
duct in "stereo" mode.
Effects units may be selectively operated one behind the other (serial) or parallel.
Switching may be changed via the mode switch.
The following algorithms & effects are available:
• Mono delay (msec & tempo sync): Possibly a simple delay with free selection of
delay time or synched to the sequencer tempo with a musical raster. In case of high
feedback values, a reduction of the damping frequency is required to provide
naturalness to echoes.
• Stereo delay (msec & tempo sync): Like mono delay; features two models.
Repetitions may take place on separate channels (feedback controller to the right:
dual delay) or in ping-pong mode (controller to the left), whereby the signal
alternates between the sides.
• Chorus: Produces a typical "floating/shimmering sound" by modulated detuning of a
signal to "thicken up" its sound or spread it across the stereo field. Detuning is
achieved by a short delay, the length of which can be varied by the modulation. This
produces the so-called "Doppler" effect and broadens the signal.
• Flanger: Algorithmically similar to chorus, but different in that the delay time is
significantly lower and delay works with repetitions (feedback). A flanger sounds
more "cutting" and up-front than a chorus.
• Phaser: A modulation effect just like chorus & flanger, but in this case no detuning
takes place. Filter components periodically alter the signal's "phase response"
(principle of the "phase shifter"). Characteristic notches are produced in the
frequency spectrum response (comb filter effects).
• Room reverb/hall reverb: Reverb offers realistic simulation of realistic reverberation.
Room creates the impression of a small to mid-sized recording room, while Hall
produces the sound impression of a concert hall. A particular is that both effects
algorithms provide a modulation parameter, which may remove possible resonance
at low dosages and can produce a soft chorus effect at higher values.
• LoFi: This algorithm gives the sound a little bit of "grit", or a certain measure of signal
destruction depending on its setting. Turn down the internal sample rate as much as
you like to steal a few bits from the sound's resolution. This is definitely
unconventional...
• Vintage compressor: Ideal for thickening up the signal a little. The algorithm
emulates an older popular circuit design that is similar to studio legends like the Urei
1176 or simple compressor pedals. A so-called "FET building block" controls the
volume via the input level simply, effectively, and quite musically, as well as the set
compression ratio and the attack and release.
Audio effects 177
• 3-band EQ: This sound controller works like a conventional mixer with controller for
bass, highs, and two controllers for the (variable) mids. This adds the final polish to
your sound.
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Video and Bitmap Objects
Video and bitmap formats

MAGIX Music Maker 2015 can load and export videos in the following formats: AVI,
Windows Media (*.wmv, *.asf), MAGIX Video (*.mxv) and Quicktime Movie (*.mov).
Graphics can be loaded and exported in BMP and JPEG formats. Also RTF text files can
be loaded and used as subtitles. On the content media you will find the included image
and video files. You can also use your own files or even record your own videos (only in
the Premium version).
Video monitor
The video monitor can be opened by clicking on this button or
pressing the F3 key.
Both video monitors can even be positioned

freely on the screen and adjusted for size.
To adjust the size, right-click on the monitor
screen and select the size you want in the
context menu or make your own (user-
defined). Please note that larger video
monitors require more computing power.
The video monitor's size can be increased to the full size of the screen by double-clicking
on the video monitor or by pressing Alt-Enter. You can end fullscreen by pressing Escape
(Esc). Apart from the video monitor size, you can also add a large time display on the
video monitor. Select “display play time” in the context menu and the current playback
marker position is displayed on the video monitor. Foreground color, background color
and transparency are selectable
Audio peakmeter
The video monitor is transformed into an analyzer which displays the
sound as a graphic.
Shortcut: Shift + F4
Overview
In the Overview mode, you can view the whole project and you are
also able to access any object you want in a split second; zoom in
directly to the video monitor or move around the clip displayed in the
arranger.
Infobox
The InfoBox mode shows help text in the preview monitor if you hold
the mouse pointer over a button on the screen.
Loading and editing videos and bitmaps

Video and image objects can be loaded and edited just like other objects. In order for you
not having to decide which file is to be loaded, you can use the preview function on the
video monitor. Simply click on a video or graphics file in the Media Pool: The
corresponding video or graphic is displayed or played in the video monitor.
• Via the context menu (right mouse-click into the list) you can choose between
different views ("List", "Details", "Large symbols"). In the "Large Symbols" view the
videos are displayed with a preview frame – very useful to preview the available
images.
• If you want to use the video for your project, drag the video or bitmap file onto a
track in the arranger while holding the mouse key. During playback in the arranger,
the entire video and image material on all tracks, including all effects, is played back
in real-time.
• Video and image objects can be edited in the same manner as other objects: You
can touch and move them with the mouse, fade them in or out with the handles at
the top corners, or change their brightness with the middle handle, etc. Please also
read the chapter "Arranging objects (view page 52)".
Simplify object presentation

With the TAB key you can switch between two object presentations. The objects in the
alternative presentation are not displayed frame by frame in the arranger, but in
simplified form. This saves working memory and improves overall play performance.
Scrolling and zooming in the arranger as wee as various object manipulations are far
quicker in TAB mode. The video display in the video monitor is not influenced by the
simplified object display.
Video scrubbing
The scrub mouse mode is particularly useful for quickly finding certain positions within a
video. To do this, activate the scrubb mode in the mouse mode bar and drag the mouse
pointer over a video object while holding down the mouse key. The video is played back
according to the speed and position of the mouse, including all effects.
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Extract sound from videos

Video with sound material appears in the project window on two tracks as two objects
(an audio object and a video object). The two objects automatically form a group.
To edit the video and audio material separately from one another, the objects can be
separated with the Ungroup (view page 211) function in the "Edit" menu or button in the
project window. Now you can replace the audio or the video track, or process each file
separately. Rejoin/regroup the tracks with the ”Export project” function.
Video effects
All video effects work in real time. In principle, almost any combination of effects may be
assigned to any video or image object: For example, mix mode stanzas with a false color
effect.
By overlaying of multiple videos or bitmaps, MAGIX Music Maker 2015 proceeds from
the bottom up. The background video object must be placed in the upper track. It will be
overlaid by and mixed with objects lying below.
Example, if you want to put a dancer on a landscape, place the landscape on track 1, the
dancer on track 2 and activate the Blue Screen effect for the dancer.
Video effects are stored in the ”Video FX” directory. Open the directory by clicking
"Templates" in the Media Pool. All video effects have a preview function and can be
dragged & dropped on a video object into the Arranger.
Title Editor
Text objects and title presets
MAGIX Music Maker 2015 has an option for inserting and editing titles. These can be
things like animated text in music videos to indicate the artist and song or opening and
closing credits.
The title templates ("Title" button in the Media Pool in the "Templates" tab) offer a good
basis for creating titles. To add a title to your project, proceed as follows:
• Select a template. As usual, a simple click generates a preview in the video window.
This lets you see what the title will look like like in the video.
• Once you’ve found the right title, drag & drop it onto a track in the arranger. This will
create a title object at that position. Several title templates (e.g. YouTube templates)
contain additional image objects and require two tracks.
• The title editor (see below) opens automatically. You can customize the text here.
Clicking on "OK" closes the title editor.
• As with all other objects in Music Maker, title objects can also be edited. They can
be moved freely in the arranger, faded in or out, shortened or extended.
• To open a title object again simply double-click on it or open the context menu with
a right-click and select the option "Title Editor".
Title Editor
Enter text, e.g. for subtitles or opening and closing credits. Texts can be displayed in all of
the installed fonts and colors.
Presets: The list on the left continas the title templates from the title folder in the Media
Pool. This way you can try out different movements, effects and designs. The presets are
arranged in various subfolders; the icon and the description will help you find the
template you want.
Save as template: You can save all the settings as a title template. You can then easily
drag & drop them from the Media Pool.
Text/Position: Type the text for your video subtitles in the title editor. Use the scrollbar
to the left and above the text window to organize your text in the video monitor. You can
freely position the writing vertically and horizontally. If you have selected moving text,
this position determines the starting position. Please note that setting movement to text
places the starting position of the title outside of the video window. You can, however,
always change the starting position.
Font: Here you can enter the font style, size, color and type.
182
Color: With this button you can choose your own color. If you want to format individual
words or letters, select them with the mouse and choose a different format. If no
selection is made, the entire text will be formatted.
Alignment: Specifies whether the title should be aligned left, right or at the center.
Center Position: Clicking on “Center Position“ puts the title back in the middle.
Preview: This button starts the title preview in the video monitor together with the
project. If you have selected a movement for the title, it will also be animated in the video
preview window. You can interrupt the preview anytime by pressing "Stop".
Length: Sets the duration of how long you would like to display the title. (You can also
adjust the length of the title object directly in the arranger by dragging the lower handles
to shorten or extend it)
Text Effects: This function allows you to add motion, shadows, and 3D effects, or a
border. These settings can be adjusted in detail in the "Advanced" section.
Delete Title: Closes the title editor and removes the title object.
Arrow Buttons: If there are several title objects on a track, you can use the arrow buttons
to switch between the these objects without having to close the editor.
OK: Changes are applied and the title editor is closed.
Apply to All: The settings in the title editor (font, color, effects etc.) are applied to all title
objects. The text in each title object remains intact during this process.
If everything is as it should be, close the title editor by pressing "OK".
Text objects and title templates

MAGIX Music Maker 2015 includes a function which simplifies insertion and editing of
titles. Titles are shown as text in music videos, usually animated, for example to display
the artist and song names.
The basis of these titles is the titles templates settings in the "Templates", and these may
be reached via the "Titles" button. To integrate a title template into your project, proceed
as follows:
• Select a file. As usual, a simple click generates a preview in the video window. This
way, you can see how certain title settings will look and the effect they will have in
advance.
• Once you’ve found the right title for your purposes, drag & drop it onto a track in the
arranger. It will now be displayed there as a title object. Several title templates (e.g.
YouTube templates) contain additional image objects, these titles require two
tracks.
• The title editor (see above) opens automatically. You can open it again later by
double clicking (or by right clicking in the context menu below "Title Editor").
Video Compression
Compressed video data is typically saved in AVI files. AVI stands for ‘Audio and Video
Interleaved’, i.e. mixed picture and sound. Depending on the compression rate, high data
rates will be required – a good video starts at about 2 MB per second, equivalent to
compression of about 1:10 as opposed to uncompressed video with 20 MB per second
data flow rate. High quality video systems only work with a compression of 3 or 2 – i.e.
creating up to 10 MB per second data for video flow. Even uncompressed video can be
used. MAGIX Music Maker 2015 can also process such high-resolution video data
completely. Within MAGIX Music Maker 2015, video data is processed in uncompressed
format – all effects, mixes etc are carried out in the highest quality. It is possible that
replay of a project with several videos or realtime effects may ‘jump’ more than is the
case with smaller videos. This does not harm the end result though – video export is
calculated frame by frame.
General notes on AVI videos

The AVI format (Audio Video Interleaved) isn't actually a proper video format! Rather, it
is a so-called "container", where the conventions for transferring audio and video files to
the program are only loosely defined. The codec (coder/decoder) actually defines what
storage format is used. A codec compresses audio/video data into its own unique format
which can only be read by the codec itself and is decoded when the film is played.
In concrete terms, a computer-generated AVI file can only be loaded by and played on a
different computer if the same codec is installed on it.
Many codecs (e.g. Intel Indeo® video) have now become standard components of the
Windows installation. Others are not standard. If you are generating an AVI file for future
play on another computer using one of these codecs, you should first install this codec on
the other PC. The best method available is to copy the codec installer to your export
directory and burn it every time you create a video disc (slideshow disc) for play on
computers.
You may encounter some problems when using older video editing cards with codecs
which only function with the card’s hardware. Such AVIs can only be used on the
computer which was used to create them. Try to avoid using this kind of codec.
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Mixer
MAGIX Music Maker 2015 includes a real-time mixer with a master effects section. The
mixer can be opened by pressing the "M" key or via the toolbar in the main window.
The mixer displays eight tracks simultaneously by default. You can enlarge or minimize
the mixer by dragging on the left or right border. You can view further tracks using the
scroll bar.
Slider (Fader)
Each track in the project corresponds to a particular volume fader in the mixer, which
controls the volume of all audio objects, synth objects, or a synthesizer in the track. (The
fader has no effect on image and video objects.)
The stereo position for each track is defined with the Pan controls.
The "Solo" button switches a track to solo mode, i.e. all other tracks are muted. Mute:
The "Mute" button mutes the active track. Double-clicking on any of the controls resets
it to its default passive setting (no boost or cut in level) that does not require processor
output.
With the REC-button you can activate recording for this track. (see the
"Track box and Instrument Icons (view page 32) section in the
Mixer 185
"Arranger" chapter) and Monitoring (view page 61).
Control groups
The volume, panorama, and FX send faders of the various tracks can be compiled into
control groups. To do this, first click on a fader and then, while holding down "Ctrl", click
on all other faders that you wish to include in your group. If you select "Shift", all faders in
between the first one selected and the next one will be grouped.
Now you can set the volume of multiple tracks together without having to change the
volume ratios of the tracks. For example, you can set the volume of an individual
instrument of a drumset (kick, snare, HighHat) in such a way that they can harmonize
with one another. Now, if you group together the volume faders of the tracks, you can set
the master volume of the drumset.
To ungroup a fader from a control group, click the instrument and press "Ctrl" again.
There may only be one control group active at a time, creating a new group automatically
deactivates an existing group.
Track effects
Besides the object audio effects, a separate track effects rack with equalizer,
reverb/echo, compressor as well as the Vintage Effect Suite plug-ins can be used.
The Vintage Effect Suite plug-ins are being loaded via the plug-in slot.
You can open the track audio effects rack with the FX button.
A bright track effects button signifies that effects are active in the track.
The track effects can also be applied without having to open the mixer.
The arranger's trackbox (view page 32) also features the track FX menu.
In it, you will find presets for track effects (view page 139) sorted
according to the instrument type.
Track effects always apply to all audio objects of a track. In comparison to applying an
effect to each object individually, this saves storage space. The effect itself works the
same way as object effects.
For more information on using and controlling the individual effects, please read the
chapter Audio effects (view page 137).
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VST and DirectX audio plugins

MAGIX Music Maker 2015 supports VST and DirectX audio plug-ins. Most of these are
effects modules such as reverbs, equalizers and so on, but there are also many software
synthesizer modules as well as other types of controller modules. Thanks to their
standardized formats, these plug-ins can also be used in the mixer section of MAGIX
Music Maker 2015.
Before DirectX plug-ins can be used, the DirectX system needs to be installed on your
computer. Manual installation is rarely required as most Windows installations include
DirectX. If, however, your computer does not have DirectX or just an older version, you
can use the up-to-date DirectX installer provided on the MAGIX Music Maker 2015
installation CD.
Naturally, the DirectX plug-ins themselves also need to be installed before they can be
used! Installation procedures may vary from plug-in to plug-in.
Two so-called slots for track effects are located in the channel strip of
the mixer for the corresponding track as well as in the FX tracks.
Clicking on the small triangle will let you select an effect from the list. Select "No effect"
to remove a plugin from the slot. A left-click temporarily disables the plug-in. Active
plug-ins are displayed in light blue. Right-clicking on the slot opens the settings dialog of
the plug-in.
FX tracks
Two FX send controllers (FX1 and FX2) are located below the plugin
slots.
You can determine the volume at which you want the signal to be routed to the two
available FX tracks.
An FX track is a complete, additional mixer track which provides a complete track FX

rack and two plugin slots for use as a send effect.
A send effect differs from a normal effect found in the track (Insert) insofar as it can edit
the signals from multiple tracks or objects simultaneously.
The FX are usually hidden in the Mixer. They will be displayed as soon as one of the FX
send controllers is used.
Mixer 187
In the first FX track the hall function is activated as standard as it is the most important
application of the send effects.
The volume controllers serve to regulate the volume of the FX track and corresponds to
the old AUX return controller. The mute button is used to switch the FX function on and
off. The solo button enables you to single out FX individual tracks. The peak meter of the
tracks, which send to the FX track, are displayed in grey.
Master track
The FX button and the plug-in slots function exactly like in the tracks. The FX button will
open the Master Audio Effect Rack. The complete mixer settings including the FX tracks
can be reset with the "FX reset" button.
Both faders control the total volume.
Link button: If you deactivate the Link Button, you can control the
volume of the right and left channels individually.
188
Reprocess arrangement
Export wizard
The export wizard can be opened through "File" > "Export" > "Common export options".
This bundles different options for exporting your project in different formats, for burning
onto CD, or publishing on the Internet with different platforms.
Export as MP3: This selection exports the project in the popular MP3 format for use on
the Internet or on mobile playback devices (MP3 players, mobile phones, etc.). More
details about the export dialog are provided in the "Export" (view page 194) section of
the "File menu" chapter.
Burn to CD/DVD: This selection exports the project in the best possible quality and
opens an additional program for burning an audio CD. The option is also available to
backup the entire project with all involved files onto CD or DVD. See Burn audio CD
(view page 192).
Upload to MAGIX Online Album laden: Uploads the project to MAGIX Online Album.
This platform enables friends and acquaintances to experience your work. The MAGIX
Online Album online player may also be embedded into any other websites. More
information about MAGIX Online Album is available in the"File menu"
Publish on Facebook: You can send the project directly to your Facebook profile. It will
then appear as a post on your wall.
Publish on YouTube™: This selection uploads the project as a music video to YouTube.
To use video in MAGIX Music Maker 2015 read the chapter Video and Image Objects
(view page 178). More info about YouTube export is available in "Export to YouTube"
(view page 191) in this chapter.
Publish on Soundcloud: The project will be uploaded to Soundcloud. Additional info

about this innovative music environment can be found in the Upload audio to
Soundcloud (view page 191) chapter.
Send by email: Converts the project into Windows Media and adds it as an attachment
to an email. An email program (e. g. Outlook Express) must be installed and setup.
Note: You cannot use this function if you only access your email through a browser.
However, you could invite others to listen to your uploaded music via email to your
MAGIX Online Album or Youtube™. To do so, you will have to use the functions of the
respective website (for MAGIX, this is MAGIX Online Media Manager).
Export as E-Mail attachment

The option "Send project as email" in the "File" > "Export" menu creates a file in the
Windows Media format. Your mail program is activated simultaneously and the created
file is added as an attachment of an opened message. Thus, any project can be
compressed without intermediate steps and sent as an email immediately.
Export as ringtone
With MAGIX Music Maker 2015 you can produce your own individual ringtone
melodies. Once completed, export the project using the "Audio as Wave/ADPCM" or
"Audio as MP3" option in the File menu under "Export". Exactly which format to choose
can vary depending on the capabilities of your phone.
Take a look at the "File menu"chapter for more information on the audio export dialog
and the for specific export format settings.
190
Some advice on creating ring tones

Audio material: When designing your ring tone please take into account that the
loudspeakers of your mobile phone can only poorly reproduce bass tones. High tones are
also heard more easily in a loud environment. If your ring tone includes MIDI Objects,
you should activate VST Instruments on the respective tracks in the project, so that MIDI
information included in your ring tone becomes audible.
Some manufacturers offer VST effects which simulate the loudspeaker of your mobile
phone on the PC.
Length: Typical ring tones have a length of about five to sixty seconds. MAGIX Music
Maker 2015 lets you create longer ring tones; however, you should note that large ring
tone files require sufficient memory in your mobile phone.
File format: First, select a format suitable for your mobile phone from the Export dialog. If
several formats are possible, please note that the resulting audio quality will vary. In
general, the quality increases in tandem with the size of the file. If your mobile does not
support stereo audio playback, you can activate the "mono" export option which reduces
the required memory space by about half. The size of the file that will be generated using
your current settings is displayed in the Export dialog.
Transferring the ringtone to your mobile phone: Depending on the type of mobile phone
and the items included in delivery there are several possibilities to transfer your ringtone
from the PC to the phone:
1. Wireless via infrared (IrDA) or BlueTooth link

2. Using a data cable and, if applicable, the transfer software supplied by the
manufacturer
3. By WAP or MMS
Community upload
The menu entries featured under "File" > "Export" >"Community upload" or via the
Export assistant allow you to upload the finished song to different web communities.
Export to Facebook
You can export your project from MAGIX Music Maker 2015 directly to Facebook.
The command opens a dialog where the project name (displayed according to the
settings in MAGIX Music Maker 2015), a description and search words (tags) can be
entered. After confirming this data with "OK", the project will be exported and uploaded
to Facebook. For connecting and transmitting the video file, you must login with your
Facebook username and password. If you aren't registered on Facebook, first open your
browser and create a Facebook account.
After a successful upload, your browser will open to show you your video's info page so
you can check the entered data once again. If everything is as you want it, you can leave
the page and the new video will now appear in the list of your own videos.
Export to YouTube
You can upload your project to YouTube® directly from within MAGIX Music Maker
2015.
You can find this function in the menu "File -> Export -> Youtube".
The command opens a dialog where you can set the name of the project for YouTube
(default is the same as in MAGIX Music Maker 2015), description, keywords (so-called
"tags"), and the category for the video. After submitting this data by pressing "OK", the
project is exported and uploaded to YouTube®. This is why you have to enter your
YouTube® account access data (username, etc.) to connect to YouTube®. If you don't
have an account open your browser and go to YouTube® to sign up for an account first.
If uploading was successful, your browser will open the info page for the video you just
uploaded to YouTube® to double check your description and tags. If everything looks
correct, just leave this page and the new video is already listed under your videos.
YouTube® takes some time to process the video for online presentation, but after this
period you and every web user around the world will be able to watch it.
Title templates for YouTube

If your project does not contain a proper video, then you can still upload it to YouTube®
with an attractive still image.
In the Media Pool, under the setting "Templates" you will find the subfolder "YouTube"
under the "Title". This contains spezial title templates for use with YouTube videos.
These templates feature neutral designs or match the style of the Soundpool (hip hop,
rock etc.), and contain standard text for artists, title, album, and comments. These titles
also appear throughout the entire length of the project.
Upload song to Soundcloud

Soundcloud is a community that is especially designed for musicians. The free version
provides 120 minutes of storage space for your songs. Every song may be embedded as a
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player widget into external websites; the widget even allows comments along the
timeline of the song and an optional download of the original song.
For more information about the possibilities provided by the Soundcloud community and
the different premium accounts see www.soundcloud.com http://www.soundcloud.com.
Additional editing
You can send your project directly into other MAGIX programs for further editing. In the
"Mixdown" menu you can find the applications available in Music Maker.
MAGIX Music Maker 2015 lets you use your project
• as background music in slideshows and videos

• to be added to an existing music collection
• to be edited with an external editor
• to be uploaded onto an online platform
• and much more...
Note: The relevant MAGIX program must be installed in order to use these features.
Music Maker automatically populates the menu "Share" with the corresponding
features available.
Burn audio CD
To burn an Audio CD, export your project as a wave file: Click on "File" and select the
"Export project" option > "Audio as Wave/ADPCM". The WAV file created can be
burned as an Audio CD with any burn program.
In the Premium version, the burner program MAGIX Speed burnR as well as the MAGIX
Music Editor are at your disposal. You can load your project into the MAGIX Music
Editor with the help of the option from the menu command: "File" > "Export project" >
Burn project on audio CD-R(W), and burn an audio CD using this CD mastering tool. Or
you can open MAGIX Speed burnR, for example, with the help of the context menu in the
Media Pool. An MP3 data CD can also be created with MAGIX Speed burnR.
File Menu 193
File Menu
New project
A new MAGIX Music Maker 2015 project is created with this menu item, with 16 tracks.
More tracks can be added via the menu “Edit”.
Shortcut: Ctrl + N
Load project
A previously saved MAGIX Music Maker 2015 project is loaded with this menu item.
Please note that the object files for the project must also be available! MAGIX Music
Maker 2015 will look for the sounds and videos that were used first in the path where
they were located when the project was saved. If they are not found there, then the
MAGIX Music Maker 2015 Project will look for the objects in the same directory as the
project itself.
Shortcut: Ctrl + O
Save project
The current project is saved under the existing name. If no name has been selected, then
a File requester opens, where the path and name can be defined.
Shortcut: Ctrl + S
Save project as...

A dialog opens where the path and name of the project can be specified.
Shortcut: Ctrl+Shift+S
Import
Import audio CD tracks
You can simply import one or more CD tracks like a regular file from the Media Pool via
drag & drop. If this convenient method fails for some reason, then this menu command
may be accessed via the CD manager to insert tracks from audio CDs directly into the
project. More on this can be found in the section "Importing Audio CDs (view page 63)"
in the "Audio objects" chapter.
Shortcut: C
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Audio recording
See Audio recording (view page 60).
Shortcut: R
Export
Common export options
You will find a quick selection of the most common export options here.
Please read more on this in the section Export wizard (view page 188).
Keyboard shortcut: X
Burn audio to CD-R(W)

With this option the project will be exported as a WAV file and loaded into an additional
program called MAGIX Music Editor. From there it can be burned straight to disc.
Shortcut: Shift + C
Audio export dialog
File
In File you can enter the file name for you exported file.
Use the folder symbol to select the folder into which you want to export it. The
dialog will remember the export path for future exports.
File Menu 195
Use the "home" symbol to restore the original preset (More information can
be found in the section "Folders" on page 207) path.
With "Overwrite file automatically" you can perform multiple exports from the same file.
Options
Only export the area between the start and end markers: Set the option if you wish to
export only one of the clippings from the project.
Bit rate: The "Bit rate" selection specifies the level of compression: The higher the bit
rate, the higher the quality of the exported audio file. On the other hand, the bit rate
determines the final file size: The smaller the bit rate, the smaller the files.
Mono/Stereo/5.1 Surround: Most mobile devices have only one loudspeaker. To save on
memory, you can export in mono as well. In 5.1 Surround Mode (see Mixer in Surround
Mode) you can also export in MP3surround.
Advanced: Here you can open the advanced settings dialog for the corresponding audio
format (see below).
Normalize: This function should always be activated. It guarantees that the music is not
too loud/overmodulated or too quiet.
Transfer format:
Here you can state whether you want to send he exported arrangement to mobile
devices via Bluetooth, infrared or email. Read more in the Reprocess arrangement (view
page 188)chapter.
Audio as WAV/ADPCM
The audio material is exported as a standard wave file. This is the conventional format for
further use on Windows PCs. These files are not compressed and retain their full sound
quality.
Compression (IMA ADPCM): This option compresses the WAV file in to the ADPCM
format. This format is needed for playing WAV files on mobile phones. A lot of mobile
phones also need a lowered sample rate. (usually 16000 Hz).
Note: You can also export single tracks. TO do so, simply "mute" those tracks that you
don't want. Then, only the active tracks will be exported with this function.
Shortcut: Shift + W
Audio as MP3
MAGIX Music Maker 2015 supplies an optional MP3 encoder for especially fast, top-
quality conversions into the popular MP3 audio format.
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Hint: The MP3 encoder cannot be used as a codec for audio tracks from AVI audio files.
Transfer format:
Here you can specify how you wish to send the audio file to the mobile device. Read
more on this under Transferring files (view page 189).
Options
In the "Options" section you can set the format and the compression of the audio file.
Bit rate: The "Bit rate" selection specifies the level of compression: The higher the bit
rate, the higher the quality of the exported audio file. On the other hand, the bit rate
determines the final file size: The smaller the bit rate, the smaller the files.
Mono/Stereo/5.1 Surround: Most mobile devices have only one loudspeaker. To save
memory, you can also export in mono. In 5.1 Surround mode (see Mixer in Surround
mode) you can also export in MP3 Surround.
Note: Before you can use the MP3 encoder for MP3 Surround, you will have to activate
it first. Activation is fee-based! For more information, read the Activate additional
functions chapter.
Normalize: This function should always be activated. It guarantees that the music is not
too loud/overmodulated or too quiet.
Shortcut: Shift + M
Audio as Ogg Vorbis

"OGG Vorbis" is a license-free open source audio codec with very good sound
characteristics for comparably small files – similar to the MP3 file format.
In the settings under "Advanced" you can still choose from three various encoder modes
and bit rate. Set quality. Constant bit rate enables streaming and maximum compatibility;
with variable bit rate a better audio quality with the same size files can be achieved.
Shortcut: Shift + O
Audio as Windows Media

Exports the project in Windows Media Audio format. Please read more on the advanced
settings in the Windows Media Video Export (view page 199) section.
Shortcut: Shift + E
File Menu 197
Audio as AIFF
The audio material is exported as an AIFF file. This is the most commonly used audio
format for Apple™ computers.
Shortcut: Shift + I
Audio as FLAC
FLAC is the abbreviation for "Free Lossless Audio Codec". This is a freely savable format
that can be used to compress your audio data to 50% of their original size. Unlike lossy
compression methods like MP3 or OGG, the full sound quality is kept intact with FLAC.
Shortcut: Shift + F
Audio tracks as single waves

Opens the WAV export dialog with activated "Export single tracks" option. Clicking on
OK saves each track as a separate wave file in the export folder.
Shortcut: Shift + U
Video export dialog

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You can export your arranagement into various video formats. The options on offer can
vary according to the selected format.
Presets: Under "Presets", you'll find the typical settings for the selected format for the
most important applications.
You can save your personal settings by pressing the "Save" button and
remove them by pressing the "Delete" button.
Export settings: You can set up the general export parameters like resolution, page
proportions and frame rate in the dialogs. Select the most-used values from the list field,
to set your own values click on the "..." button. The "Advanced" button opens the specific
settings dialog for selected video format (see below).
In File you can enter the file name for you exported file.
Use the folder symbol to select the folder into which you want to export it. The
dialog will remember the export path for future exports.
Use the "home" symbol to restore the original preset (More information can
be found in the section "Folders" on page 207) path.
With "Overwrite file automatically" you can perform multiple exports from the same file.
Options
Shut down PC automatically after successful export: Use this option to have the
computer switch off automatically after lengthy export processes.
Only export the area between the start and end markers: Set the option if you wish to
export only one of the clippings from the project.
Play after export: Here you can state whether you want to send he exported
arrangement to mobile devices via Bluetooth, infrared or email. Read more in the
Reprocess arrangement (view page 188)chapter.
Video as AVI
When exporting to AVI video you can set and configure the size and frame rate of the
AVI video and the compression codec for audio (audio compression) and video (Codec).
Please also observe the general information on AVI video formats (view page 183, view
page 198) in the PDF manual.
Shortcut: Shift + A
General info on AVI videos

The AVI format (Audio Video Interleaved) isn't actually a proper video format! It's rather
a so-called container where very general conventions can be specified like audio and
video data and sent to a program. The exact memory format of the files is specified via
File Menu 199
the codec (coder/decoder). A codec compresses audio/video files into its own private
format with which only the codec can work and decodes the files on playback again.
This means that an AVI file created on your computer can only be loaded/played on
computer B if this computer has the same codec installed.
Many codecs (for example, Intel Indeo video) have now become standard components
of the Windows installation, others, such as the popular DivX codec are not. If you create
an AVI file with such a codec and you wish to use it other computers, install the
corresponding codec on them as well.
On older video editing cards certain codecs that function only with the hardware of the
corresponding cards can be problematic. This type of AVI can only be used on the
computer on which they were created. Avoid using this type of codec when possible.
Video as MAGIX video

Exports the project in MAGIX video format.
This format is used for video recording by MAGIX Music Maker 2015 video software and
is optimized for digitally editing high quality video material.
Shortcut: Shift + X
Video as Quicktime Movie

Exports the movie in Quicktime Movie format. This format enables streaming playback of
audio or video files via the Internet.
Like with Real Media Export, you can make corresponding settings for video size, frame
rate and codecs for Quicktime export. However, the export dialog doesn't offer the
option of saving comments for the video.
Tip: For Quicktime files (*.mov), the Quicktime library must be installed.
Shortcut: Shift +Q
Video as Windows Media

Exports the project in Windows Media format. This is a universal audio/video format
from Microsoft. The setting options in the "Advanced"dialog are correspondingly
complex.
Manual configuration
Audio/Video codec: Various codecs are available, corresponding to the various
Windows Media versions (7, 8 or 9). Should compatibility problems arise on playback,
try an older codec with a lower version number.
Bitrate mode: Constant and variable bitrates are possible; most devices and streaming
applications demand constant bitrate. For VBR two pass modes the movie is compressed
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in two passes in order to optimally use the bandwidth for highly-compressed movies for
the Internet.
Bitrate/quality/audio format: The bitrate determines display and audio quality. The
higher this is, the better your videos will look and the larger the files and the required
encoding time will be. For variable bit rates, the bit rate is adapted dynamically to the
requirements of the corresponding picture or sound material. Either the quality value can
be set between 1-100 or, for two-pass encoding, an average or maximum bit rate. For
audio, the bit rate is set additionally by the audio format.
Import from system profile (export type): For the most used methods (other than
playback on mobile devices,for which you should use the supplied presets), like Internet
streaming, etc., Microsoft provides diverse system profiles to choose from. If you have
the Windows Media Encoder 9 installed, which is available from Microsoft as a free
download, you can edit the profiles or create your own. These can be loaded by pressing
the "Import from profile file" button.
Go to Clip info to insert title, author name, copyright details, and a description.
Shortcut: Shift + V
Single picture as BMP

Exports the picture located at the current start marker and displayed in the video monitor
as a bitmap (.BMP) file.
Shortcut: Shift + B
Picture as JPG
Exports the image located at the current start marker and displayed on the video monitor
as a jpeg file.
Shortcut: Shift + J
Sending your project as an email

This option creates a compressed file in Windows Media format. Your mail program is
activated simultaneously and the created file of an opened message is added as an
attachment. This lets you compress and send your project immediately without having to
go through any intermediate steps.
Upload to Community
In this menu item you have the option of uploading the finished project to various online
platforms. You can find details about this in the section Publish online (view page 190).
File Menu 201
Backup
Load backup project
Using this command you can load a backup project. Backup projects are created
automatically by MAGIX Music Maker 2015 and can be used when, for instance, a
program crashes in order to recover the last status of files. This type of automatic backup
gets the file extension MM_ (underscore). This command is also useful if you
unintentionally saved your change and wish to return to the previous version.
Save project and used media

With this menu point, you can put a complete MAGIX Music Maker 2015 project,
including all used multimedia files into one folder. This is especially useful when you wish
to reuse or archive such a project later on or when the files can be found on multiple CDs
so that on loading you continually have to change CDs. Furthermore, the effect files used
are saved in one folder with the other files.
A dialog opens where you can specify the path and name of the project.
Shortcut: Ctrl + Alt + S
Save project and used media (audio as OGG Vorbis)

You can create a backup copy as an OGG file, whereby all audio files used will be
compressed into OGG format. This way you can compactly archive your song or put it on
the web as a remix kit.
Shortcut: Ctrl + Shift + C
Burn project and used media onto CD/DVD-R(W)

Use this option to burn the project as well as all the relevant files to CD or DVD.
Even larger projects can be burned straight to disc. The project, if necessary, will then be
split up and burned automatically to multiple discs. A restore program which is burned to
the first disc of such a backup, guarantees easy re-recording of the backup.
Shortcut: Ctrl + B
Burn manually selected files to CD/DVD-R (W)

Opens MAGIX Speed burnR to burn videos or other files onto CD/DVD. File selection is
done via drag & drop from MAGIX Speed burnR's Explorer.
Keyboard shortcut: Ctrl + B

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Settings
Project settings
In this dialog, the general properties of the project can be set. Statistical information
about the project is also displayed.
Shortcut: E
General options
Name: Enter the name of the current project.
General project settings

Path: This is where you determine the folder on your hard drive in which your project is
saved.
Save automatically: Saves the project automatically according to the settings used for
automatic backups in the program settings.
Use settings as presets for new projects: The settings entered in this dialog are applied
to all new projects.
Number of tracks: Here you can set the number of tracks you wish to use.
Audio sample rate: The sample rate determines the pitch and the speed at which audio
objects are played back. The sample rate you can use depends on your sound card (some
sound cards even permit changing the sample rate during playback). The sample rate
you can use depends on your sound card (some sound cards even permit changing the
sample rate during playback). If you halve the sample rate, wave audio objects are played
one octave lower.
Time signature: Several types of bars are available to choose from, for example ¾ beat.
With various grid settings you can also set additional time signatures. For example, with
a set ¾ beat and a 1/8 note grid a 6/8 beat would be the result.
Video resolution: Here you can specify the presets for the video resolution used and the
video format.
Information
Name/Path: See above
Created on: Displays the time the project was created.
Last changes: Displays the time when last saved.
Number of used objects: Displays the number of all objects in the project.
Used files: Here the names and paths to all multimedia files used in the project are
shown.
Audio recording
See Audio recording (view page 60).
Keyboard shortcut: Shift + R
Program settings
Here you can set MAGIX Music Maker 2015 according to your needs and wishes.
File Menu 203
Shortcut: P
General options
Autoscroll: If autoscroll is activated, the screen view automatically shifts when the
playback marker reaches the right edge of the screen, which is particularly useful for
longer projects. Scrolling requires constant recalculation of the screen view, which may
lead to interrupted playback if the amount of system RAM is too low. If this happens,
simply deactivate the autoscroll feature.
Simplified Object Display: This option determines whether the objects are displayed
with one or two waveforms. When it is activated, the waveforms are displayed in stereo,
i.e. with a right and left channel. In addition, video objects are displayed as individual
frames in the arranger rather than just the frame at the beginning and end of the video
object. This helps to improve performance and allows for a faster display.
Shift: Ctrl + Alt + Z
Automatic saving of backup projects: Here you can the time intervals at which
automatic backup projects will be saved.
Soundpool
Hide unavailable loops: All Soundpools are saved into a database automatically. The
Media Pool lists all loops saved in the database, i.e. also those which originate from
external media (Soundpool discs) that may not be in the drive at the moment. These
results can be hidden, but this slows down the search results in the Media Pool.
Hide instruments which are left empty in the style selection: Instrument groups for
which there are no loops present in a certain style are completely hidden in the Media
Pool (instead of being grayed out).
Clean up Soundpool: Every detected Soundpool (on CD/DVD or on the hard drive) is
added to the database and displayed there, even if the corresponding medium is
currently not in the drive or if the Soundpool has been deleted or moved. This option
helps to remove these entries in the database.
Reset Soundpool: Deletes the Soundpool database. You have the option of maintaining
the included and installed factory-provided Soundpool in the database.
Hide advanced tooltips: The additional information for the detected loops in the Media
Pool will be hidden.
Instruction dialogs: In its newly installed state, MAGIX Music Maker 2015 displays a
number of security queries at various parts of the program. Every one of them can be
switched off by clicking the small box at the bottom that says "Don't show this message
again". To display these warning messages, select the "Reactivate dialogs" option.
Program interface
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Darken screen when dialogs are opened: Darkening signals modal dialogs which need to
be closed before the rest of the program can be operated. This can be deactivated if it
disturbs you.
Hide news: This option deactivates the MAGIX News Center in the main interface of
MAGIX Music Maker 2015.
Import
Preview samples (Wav, OGG) while playing the project (Smart Preview): Here you can
switch off the preview when a playback is running (Smart Preview).
Automatically adapt samples to BPM: When loading or previewing the project, MAGIX
Music Maker 2015 tries to adapt the samples to the tempo of the project. This always
works properly with newer MAGIX soundpool samples as the tempo information is
saved in the audio file. It usually works with all other loops as well, provided the loops are
clean, that is, they are cut to entire bar lengths.
With "For patched samples only", automatic timestretching can be deactivated for all
other samples. With "Apply to samples longer than 15 seconds as well", longer samples
will also be adapted if they contain tempo and bar information provided by the Remix
Agent.
Automatically open Remix Agent for samples longer than 15 seconds: Here you can
deactivate the automatic opening of the Remix Agent for longer samples (for example,
CD tracks or MP3s).
Automatically adjust waves to pitch: A wave's pitch can be adjusted automatically using
pitchshifting. For this to work however, the used samples (much like the samples on the
MAGIX soundpool CDs) must have the corresponding key and pitch information. The
pitch of the project will then correspond to the pitch information of the first sample in the
project.
Use destructive adjustment for shorter samples: Usually, loaded samples are adapted to
the project in realtime with time stretching. For computers with lower processing power,
this method can be deactivated – the timestretching effect will then be calculated into a
new file which is copied to the hard disk.
Import CD tracks analog instead of digitally: If this option is activated, you can record
audio CDs via the record button in the transport console. Read more on this in the
"Recording audio CDs" section in the "Audio objects" chapter.
Automatically open MIDI editor during import of MIDI files / built-in VSTi
synthesizers: The MIDI Editor will automatically open after loading MIDI files or
synthesizers, allowing you to make changes to channel and instrument assignment and
other settings.
Automatically start file preview in Media Pool for...: Here you can deselect automatic
file preview start for Media Pool files and certain file types.
File Menu 205
Import formats: File formats that you never use can be de-selected here. Once de-
selected they won't be imported anymore. Please keep in mind that several import
modules exist for some file types (AVI, WMA); MAGIX Music Maker 2015 uses the
fastest one in each case. If you experience problems when importing certain files, you
can experiment with deactivation of certain import modules, forcing the program to use
the slower but more compatible import module.
Audio
Output device: This option determines which sound card and which output plays back
the wave audio objects and the drivers that should be used.
Advanced: Use these buttons to access the playback options window which provides
information on the current sound card. ASIO provides the settings dialog for the ASIO
driver, e.g. the MAGIX Low Latency ASIO driver.
Wave/Direct Sound/ASIO/WASAPI: Specifies which of the conventional Windows

wave drivers should be used for the sound card, i.e. the DirectSound system or ASIO.
Starting with Windows Vista, the WASAPI driver model is also an option.
Windows wave drivers have the advantage of being relatively stable against strained
peaks caused by large buffers. If playback becomes jerky as a result of processor-heavy
effects like time-stretching, switching to wave drivers may solve the problem. Otherwise
the system may react more slowly with wave drivers because of the large buffers, that is,
all changes are heard with a delay.
16/24-bit wave/driver communication: If your sound card is able to play 24-bit audio,
your project will be played at this higher resolution (internal 32-bit float calculation). This
is applicable only to wave drivers.
When using live monitoring and when playing and recording VST instruments in real
time, i.e. with as low a reaction time (latency) as possible, it's recommended that you
use ASIO drivers. If your sound cards do not have ASIO drivers, you can use the MAGIX
Low Latency driver.
If you select ASIO as the driver model, you can set the output in the upper list field (for
cards with multiple outputs) and the ASIO driver in the lower list field. Advanced opens
the settings dialog of the ASIO driver. Please refer to the sound card manual for more
information.
WASAPI is a new Windows (native) driver model for low latency and can be used as an
alternative to ASIO drivers. WASAPI is recommended for Windows Vista or later
Windows versions when the sound card does not have its own ASIO driver and the
MAGIX Low Latency driver isn't compatible.
Audio buffer:Here you can specify the buffer size that should be used for playback of the
entire arrangement or for previewing audio files in the Media Pool.
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As a rule of thumb: If response and loading times are too slow, reduce the buffer size;
otherwise increase the buffer size if the audio playback is choppy or if real-time effect
computation errors occur.
As error-free playback is usually more important than fast reaction times, the buffer size
should be raised to 16384 or 32768 if dropouts occur.
MIDI
Output device: MAGIX Music Maker 2015 uses an external MIDI device when no
software instruments are applied and to preview MIDI files in the Media Pool. Here the
"Microsoft GS Wavetable SW synth", a standard software synthesizer included in
Windows® as an OS component, should be set as default. If sound cards with their own
synthesizer are used or in case MIDI hardware synthesizers are connected, the MIDI
driver of the sound card or a MIDI interface should be set!
FX: If MIDI playback is too fast or lagging behind, you can enter a speed correction factor
here.
Input device: Lets you select the MIDI driver for your MIDI recording, i.e. the driver for
the MIDI device that is connected to your MIDI keyboard or the driver for your USB
keyboard.
Use MIDI target channel: The MIDI system offers 16 different channels to control 16
different sounds. Normally, MAGIX Music Maker 2015 receives MIDI notes on all
channels simultaneously. With this option, you can select a specific channel. Next you
have to set the desired sound together with the MIDI channel on the device and select
the MIDI recording options on this channel.
Synthesizer latency: Some synthesizers, especially software synthesizers like VST

instruments, create delay during playing, i.e. playback of the sound is delayed when the
key is pressed. This value lets you even this out, causing all notes to be moved over by a
certain temporal value.
Integrate MIDI keyboard with Live Performer: The MIDI keyboard can be used to
remotely control the Live Performer (only in Premium version); see Live Performer MIDI
assignment.
Options
Create "Undo" before destructive editing of audio data: To undo destructive effects, the
original files must be saved to the hard disk. If you use this type of effect quite often, you
can switch off the undo function and save on time used to create an undo file as well as
save space in memory.
Write real-time audio to wave file: If this option is activated, the entire project can be
mixed live and recorded simultaneously. During playback you can, for example, control
mixer fades and effects or, with the help of keyboard shortcuts, you can play the beats in
the project – all activities will be recorded and written to a separate wave file. Every
time playback stops you will be asked if the portion you just played should be saved as a
wave file, loaded into the project, or deleted.
File Menu 207
Video
Video standard: PAL is used in Europe, the US and Japan use NTSC. This setting should
not be changed.
Video display: The resolutions that can be set here concern only the picture display of
DV videos in the Arranger. If playback becomes jerky, we recommend entering a lower
value. The quality of exported videos is not influenced by this.
Extract sound from videos during import: If a video contains audio data as well, you can
use this function to extract the audio track from the video. It will be loaded directly
underneath the video track and grouped together with it. If you ungroup them (in Edit
menu), you can edit the sound as an independent object.
Automatically adjust videos to BPM during import: With the available BPM information
you can automatically create a video in which the rhythm and order of pictures are
synchronized. This does not play all frames of a video, but some are excluded according
to the BPM setting on frame playback. The video appears faster at a higher BPM setting;
it "dances" to the rhythm. The tempo can be set before every new project in the transport
control. Otherwise, the project applies the BPM tempo of the first sample that is loaded.
Adjust minor deviations from 04:03 aspect ratio during export: This option
automatically customizes photos that have an approximate 04:03 aspect ratio to 04:03
TV screen format. The pictures are therefore easily stretched or compressed. This
inevitably brings about distortions in the picture. If this option is deactivated, black bars
appear along the sides.
Automatically preview exported clips: This option starts the clip immediately after
exporting for verification.
Automatically copy exported material to clipboard: This option is particularly useful

when used with other programs, such as Microsoft PowerPoint. If switched on, the
created multimedia file will be available straight after being inserted.
Video priority: Usually, audio objects have priority over playback. Here, an overloading of
the computer as a result of too many effects can bring about jerky video playback while
the audio continues to play without any problems.
To change this, you can give the video playback precedence over the audio. Video
playback is then renewed after every audio buffer, which may lead to interruptions in the
sound.
Folders
Here you can set the path where
• projects will be saved (Projects)

• files are exported (Export) or imported (Import), and recordings (Recordings) are
saved,
• files from the Soundpool are loacted (Soundpool)
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• your MP3 collection is available (My MP3s)

Keyboard shortcuts
Opens the dialog for editing shortcuts used in MAGIX Music Maker 2015.
Shortcut: U
Language
Here you can change the language used in MAGIX Music Maker 2015. Normally the
language that is used for installation is set as the program language.
Reset Program Settings to Default...

Use this function to reset all program settings (view page 202) you made in MAGIX
Music Maker 2015 to their original settings.
Exit
Exits MAGIX Music Maker 2015.
Keyboard shortcut: Alt + F4

Edit Menu 209
Edit Menu
Undo
10 commands can be undone, including object and cursor manipulations. If
you don’t like the result of a change in your project, the Undo function will take
you back to the previous project.
Shortcut: Ctrl + Z
Redo
Redo lets you reverse the last Undo command.
Shortcut: Ctrl + Y
Object
Create a new object
Record a new object
A new audio object is recorded; see Audio recording.
Keyboard shortcut: R
Create a new MIDI object

This function creates a new MIDI object in the current track. After invoking the function,
a pop-up menu opens in which you can choose between an empty MIDI object or several
standard templates.
Shortcut: Ctrl + Alt + N
Text to speech
Please refer to the Audio objects (view page 78) chapter.
Shortcut: Ctrl + Shift + T
Create a new title object

Creates a new title object and opens the title editor (view page 180).
Shortcut: Alt + Shift+ T

210
Cut
The marked objects are cut out of the current project and placed onto the clipboard. They
can then be inserted at different positions.
Shortcut: Ctrl + X
Copy objects
Objects selected from the current project will be cut out and saved to the clipboard. They
can then be pasted to a different location.
Keyboard shortcut: Ctrl + C
Duplicate objects
This menu option lets you copy all selected objects. The copy appears next to the original
and can be moved easily by holding the left mouse button (drag & drop).
Shortcut: Ctrl + D
Inserting objects
The contents of the clipboard are added into the current project at the position of the
start marker.
The playback marker is positioned at the end of the most recently inserted object so that
the quick and easy multiple use of the command is also possible. Existing objects now
become overwritten.
Keyboard shortcut: Ctrl + V
Inserting multiple objects

This function is similar to "Insert", but you can choose how often the content of the
clipboard is to be inserted.
Shortcut: Ctrl + Numeric pad '+'
Deleting objects
Objects selected from the current project will be deleted.
Shortcut: Del
Split objects
You can cut up a selected object at the S marker position. If you have not selected an
object, all objects will be cut into pieces at the S marker position.
Later on, if you want to re-join the pieces of an object, select “Build group” to join all
selected objects to a group.
Shortcut: T
Edit Menu 211
Save objects as takes

The selected objects are saved in the takes directory. For more about using takes, please
refer to the section „Takes“ (view page 57) in the chapter "Arranging Objects".
Keyboard shortcut: Alt + Shift + S
Grouping
Group objects
Orders all selected objects into groups. As soon as an object is selected in the group, all
objects in the group become highlighted so that you can work on them collectively.
Shortcut: Ctrl + G
Ungroup objects
Any selected objects that are part of an object group will become independent objects
again in this case.
Shortcut: Ctrl + U
Loop range
Set user-defined loop
Normally an object is always looped over the full length of the underlying data material
(audio or video file). To set a clip from a file as a loop, shorten the object at the front and
the back with the handles and choose the menu option "Edit > Object > Loop range >
Insert user-defined loop". This function is very useful for setting your own recording as a
loop, as the silence at the beginning of a recording can be cut away.
Remove user-defined loop

The user-defined loop length is reset.
Object properties
This function displays all the information about the currently selected objects such as file
name, position on the hard-drive, tempo, etc.
More information is available under Object properties (view page 57).
Shortcut: Ctrl + P
Track
Add track
A new empty track will be added to the arranger. In the "File > Project properties" the
count of tracks can be set in large increments.
Shortcut: Ctrl + I
212
Mixdown audio...
This function can combine the project or segments of the project into a single
audio/video object. Please refer to the "Track mixdown" (view page 58) section in the
"Arrange objects" chapter.
Tip: To create the finished end version of the song or video, it is recommended you
select the "Export project" function in the "File" menu instead of the "Mixdown"
function.
Shortcut: Ctrl+Shift+G
Range
MAGIX Music Maker 2015 provides object-based functions as well as "band-oriented"
editing functions. These always refer to the whole project from the first to the last track
as well as to the area between the start and end marker.
Cut range
The section between the in and out points is cut from the current project and placed on
the clipboard. This section can be reinserted elsewhere.
Shortcut: Ctrl + Alt + X
Copy range
The section between the in and out points is copied from the current project to the
clipboard. This section can be reinserted elsewhere.
Shortcut: Ctrl + Alt + X
Insert range
The contents of the clipboard are inserted at the current project's position of the in point.
Shortcut: Ctrl + Alt + V
Insert segment multiple times

Similar in function to "Insert", but you can stipulate how often the content of the
clipboard is to be inserted.
Shortcut: Ctrl + Alt + Number key
Delete range
The section between the in and out points is deleted from the current project and not
copied to the clipboard.
Shortcut: Ctrl + Del

Edit Menu 213
Extract range
The section between the in and out points is preserved, and all of the material in front
and behind it are deleted. Use this option to isolate a specific part of a project for further
individual editing.
Shortcut: Ctrl + Alt + E
Navigation
Move screen view
Using these commands, a viewable portion together with the start marker will be moved
in the timeline. You can quickly skip between different jump markers and object edges.
Shortcuts: See keyboard shortcut overview in the Arranger View (view

page 232) section.
Move playback position

This sets the playback marker to the position of a jump marker. This function can best be
used via the keyboard.
When stopped, you can immediately move the playback markers to the position of the
saved jump markers. During playback, the playback marker along with the playback
range will be moved. Here, the old range is always played until the end so that you can
remix your project live once the jump markers have been placed where you want them
without losing the beat.
Shortcuts: 1..0
Set jump marker

This sets a jump marker at the position of the current playback marker. Here you can
note specific parts of the project. With the "Move playback position" function you can
quickly jump to these positions.
Shortcut: Shift + 1...0
Create jump marker sequence

This option duplicates the currently selected playback area between the start and end
markers by setting start markers equidistant to one another in the bar ruler. Now you can
jump to every jump marker using keyboard shortcuts.
Keyboard shortcut: Ctrl + Alt + M
Delete all jump markers

Deletes all jump markers
Shortcut: Alt+Shift+M
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Select all objects

All objects in the project will be selected.
Keyboard Shortcut: Ctrl + A
Effects Menu
Song Maker
This command opens the Song Maker (view page 69) to make projects semi-
automatically.
Keyboard shortcut: W
Audio
Please read the chapter "Audio effects (view page 137)" for more details on audio
effects.
Master audio effect rack

Opens or closes the master effects rack; you can also use the "Master FX" button in the
mixer window for this.
Shortcut: B
Text to speech
Shortcut: Ctrl + Shift + T
Object effect rack

See Object and master effects rack (view page 140).
Shortcut: E
Audio effects
This submenu includes all audio object effects plus the vintage effects and the effects
from the MAGIX Mastering Suite (Premium version only); the latter can be used
individually.
Individual effects can be found in the chapter "Audio effects (view page 137)".
Effects Menu 215
Volume
An assortment of different menu commands which influence the volume of your audio
objects.
Mute/Unmute
Use this command you can mute one or more selected objects. Selecting this command
again makes it audible once again.
Shortcut: Ctrl + M
Set volume
This function, located in both the effects menu and the context menu, controls the sound
volume for individual objects, just like the object handles in the project window.
Automatic volume damping

This command automatically dampens the volume of other audio objects. This can be
used to insert voiceovers into your project or add commentary to a film (with the original
sound). You can also specify whether you want to dampen the original sound of existing
videos or all soundtracks equally. In the dialog you can activate and deactivate the value
of the dampening.
You can use this command while recording audio (view page 62) (Audio recording,
advanced options).
Shortcut: Ctrl+Shift+D
Normalize
The function "Normalize" raises the level of an audio object to the maximum possible
level without clipping the material. This searches for the largest signal peak in the audio
material and raises the level of the object so that this position matches exactly 0 dB
(maximum overdrive).
Shortcut: Alt + N
Tempo and pitch

An assortment of different menu commands which influence the pitch and tempo of your
audio objects.
MIDI transposition
This command is only available for MIDI objects. It increases/decreases the pitch of a
MIDI object's notes by a specific value (in semitones). Use this function, for example, to
adjust the sound of imported MIDI files to other audio objects. This is more effective than
repositioning audio objects (pitchshifting), since this can diminish the sound;
transposition does not diminish the quality of MIDI objects because they are produced
by the synthesizer.
Shortcut: Ctrl + T
216
Timestretch and pitchshift

See Timestretch/pitchshift.
Shortcut: Shift + P
Harmony Agent
The Harmony Agent is designed to analyze harmonies.
Read more on this in the corresponding section of the "Audio Objects (view page 77)"
chapter.
Shortcut: H
One pitch higher/lower

You can quickly alter the octave of an included sample without having to access the
corresponding Soundpool folder in the Media Pool.
The "*" and "÷" keys on the numeric keypad (right on the keyboard) place the sample
one level higher or lower.
The "+" and "-" keys on the numeric keypad change the pitch via pitchshifting; the
respective effect in the audio effects rack is utilized for this.
Set pitch
Use this command (only in the Soundpool sample's context menu) to quickly change the
pitch of the selected object (if present). This also functions when working with multiple
selection. Simply select all the objects which are under one another and select a new
pitch to create variations in the project.
Remix
These are the commands for MAGIX Music Maker 2015's remix functions.
Create Remix objects

If, while running the Remix Agent, the tempo and beat information were saved to the
audio file, this command can be used to create remix objects. If the Remix Agent has not
yet been implemented, this command starts it and opens the presets dialog for creating
remix objects.
Shortcut: Ctrl + J
Remix Maker
With the Remix Maker, automatic remixes can be created from Remix Agent loop
objects.
Shortcut: Shift + K
Effects Menu 217
Tempo & beat recognition

MAGIX Music Maker 2015 provides a Remix Agent for the automatic determination of
the speed in BPM (beats per minute) and for the creation of loop objects.
Please refer to the "<Remix Agent>"chapter.
Shortcut: J
Loop finder
The Loop Finder was developed for the purpose of finding BPMs in short rhythmic
passages and setting BPMs for the project. The Loop Finder can also help to fit short
loops into an existing project or extract short rhythmic passages from drum loops.
Note: For longer passages (e. g. complete CD tracks), you can use the Remix Agent
(view page 70, view page 217).
The waveform of the audio material is displayed in the upper part of the dialog, preset at
a zoom level of about 10 seconds.
The principle involves moving the green start marker to the start of the beat and the red
end marker to the start of the next beat. The BPM display to the left then shows the
tempo of the loop in beats per minute (BPM). Here we presume that there are exactly
the same amount of beats in the selected passage as is displayed in the "Beats" input
field – 4 is the default. If there are two full bars between the start and end markers, the
number of beats has to be increased to eight, otherwise the Loop Finder will only
correlate half the speed.
The precise marking of the beat length is required for exactly defining the loop length.
This is also possible manually by moving the start and end markers, and can be similarly
precise when using the zoom functions. But it's easier to do so using the following:
Tap tempo: activates the automatic step-sequence to determine the tempo. First, audio
playback begins at the start marker position. Then you will be requested to tap in the
beat with "Tap" or by pressing the "T" key, that is, the "T" key should be pressed in time
with the music. Playback stops after the number of beats set above is reached. The start
marker is now positioned at the start of the tap process and at the end marker at the end.
And that's it! The beat has now been set and the tempo can be read. Program
automation makes sure that the start and end positions are placed exactly at the next
beat. Even if the tap process didn't work out exactly, automation nearly always finds the
right beat meant when tapping.
Snap marker: You can use the red and green arrow buttons at the top beside the wave
display for moving the start and end marker one beat forward or one beat back. This
makes it very easy to select "round loops", i.e. whole bars, during running playback.
218
As long as a loop runs through without any problems, the correct tempo will be able to
be read to the left.
Here you should make sure that the number of beats per bar (default: 4) has to adapted
to the actual loop length. That means if four bars are selected as a loop, 16 has to be
entered into this field.
Start (S) and End (E) Markers: These markers indicate the beginning and the end of a
loop. You can move them around with the mouse to fine-tune the range.
Cut: Once a correct loop has been found, it can be cut using the this function in order to
be able to use it again later.
Use new BPM: The project applies the BPM value found.
Timestretching: Adapts the object to the tempo of the project (as a result of the
determined tempo) using timestretching.
Resampling: Adapts the object to the tempo of the project (as a result of the determined
tempo) using resampling.
Keyboard shortcut: L
Load/Save/Reset audio effects

You can save the current effect combination of an audio object separately and apply it to
other objects later. Or you can deactivate all currently used effects entirely (Reset) if you
want to undo the changes.
Keyboard shortcut: Load audio effects Ctrl + Alt + O

Reset audio effects Ctrl + Alt + R
Convert stereo into two mono objects

With this option stereo recordings can be split into two mono objects which are then
connected to a group. You can use the "Ungroup" button to edit the channels as
independent objects.
Shortcut: Shift + Z
Edit in external editor

A selected audio object into the external program MAGIX Music Editor where it can be
edited with lots of special features. Once editing has been completed, the edited material
is used in MAGIX Music Maker 2015 instead of the original object.
Shortcut: Ctrl + Shift + M

Effects Menu 219
Video
Edit image in external editor
Graphics files (BMPs or JPEGs) may be edited retroactively with an external graphics
program from the arranger. The selected image file is loaded automatically and, once
editing has been completed, is used in the MAGIX Music Maker 2015 instead of the
original material.
Shortcut: Ctrl+Shift+B
Load video effects

This command enables a saved effects combination to be loaded for the currently loaded
object. If multiple objects are selected, then the effects combination will be applied to
each selected object.
Save video effects

This command saves the current effects combination for each object separately.
Reset video effects

This option allows you to deactivate all currently used effects. The material will be reset
to the state it was in before you applied the effect.
Title
Title Editor
Opens the title editor (More information can be found in the section "Title Editor" on
page 180) for the selected photo or video object.
Shortcut: Alt + Shift + T
Load title template

Use this command to load previously saved title effects for the current object.
Save title template

You can save the current effect combination for each title object separately and apply it
to other title objects later.
220
View menu
Standard layout
This option determines, whether the video monitor and Media Pool are integrated in the
main window or appear as a separate window which can be closed or opened.
Shortcut: F11
Zoom Soundpool and Keyboard

This setting enlarges the display of the loops in the Soundpool view of the Media Pool.
The keyboard and menu items are also shown with a larger display. This makes it easier
to use MAGIX Music Maker 2015 on touchscreens (view page 39).
Keyboard shortcut: Tab key
Arranger
Optimize view
The start marker is set at the beginning of the project and the end marker is
set at the end of the last object in the project, so that the project may be
played back in full.
Zooms out of the project so that the complete duration of the project is visible. The
vertical zoom steps (track height) remain preserved.
Shortcut: F12
Objects with stereo imaging

This option determines whether the objects are displayed with one or two waveforms.
When it is activated, the waveforms are displayed in stereo, i.e. with a right and left
channel. In addition, video objects are displayed as individual frames in the arranger
rather than just the frame at the beginning and end of the video object. This helps to
improve performance and allows for a faster display.
Shift: Ctrl + Alt + Z
Highlight loop area

With this option, you can fade the loop area in and out, visible by the stripe above the
first track that indicates the area that will be played as an endless loop.
Display pitch ranges

Displays or hides the Pitch bar (view page 36).
View menu 221
Cursor keys move playback marker

The option "Cursor keys move playback marker" in the "View" menu > "Arranger" is
preset as active. If you disable this, you can move the playback marker with the arrow
keys while additionally pressing the Alt key. You can then move the playback range (view
page 35) with just the cursor keys.
Horizontal scrolling
This option reverses the horizontal and vertical functions of the mouse wheel for
zooming and scrolling (view page 34). This means you can use Shift and Ctrl+Key for
zooming and scrolling the tracks instead of for the visible duration. This corresponds with
the performance of the mouse wheel in the old Music Maker version.
Show object marker > Show bar marker/harmony marker

After using the Remix agent or the Harmony Agent, the analysed material receives beat
and harmony information which is then shown in the arranger via these commands.
Shortcut: Bar Marker Ctrl + Shift + F9

Harmony Markers Ctrl + Shift + F10
Beat Markers Ctrl + Shift + F11
Media Pool
Show Media Pool...
This option hides or displays the Media Pool.
Shortcut: F2
Media Pool views / template folders

Opens the corresponding folder in the Media Pool.
It's even easier to access the corresponding Media Pool views and folders via the
corresponding keyboard shortcut.
Video monitor
Show video monitor
Opens and closes the video window.
Shortcut: F3
Full-screen Video Monitor

This option shows the video preview monitor in full-screen mode. The right mouse
button opens the context menu, the Esc-key returns you to normal viewing mode.
Shortcut: Alt + Enter

222
Video output
This option switches the preview monitor on or off to display the existing video objects in
the Arranger.
Project overview
With this option you can display an overview of the entire project on the video screen. It
is particularly suitable for long and complex projects to prevent you from losing track.
You can view the whole project and and still be able to access the sought-after object in
a split second – you can zoom in directly on the video monitor or move around the clip
displayed in the Arranger.
The function can also be opened via "Overview" on the video monitor.
Audio peakmeter
The video monitor is transformed into an analyzer which displays the
sound as a graphic.
Infobox
The InfoBox mode shows help text in the preview monitor if you hold
the mouse pointer over a button on the screen.
Mix
Mixer
With this option you can open and close the real-time mixer. Further information can be
found in the Mixer (view page 184) chapter.
Shortcut: M
Master audio effect rack

Opens or closes the master effects rack; you can also use the "Master FX" button in the
mixer window for this.
Shortcut: B
Share menu 223
Share menu
The Share menu provides access to online social networks as well as transfer functions
to other MAGIX programs.
Here you'll find options for uploading individual objects in the arranger or files from the
Media Pool as well as the entire project, as audio or video. You can also transfer your
project to another MAGIX program (if it is installed) e.g. to use it as background music
for your slideshow.
Manage login details

These are options for managing user names (email addresses) and the associated
passwords so that you are able to access your Online Services without having to enter
the details each time.
This information applies to all of my Online Services: If this option is activated, then the
account details you have entered will be applied to all Online Services. Deactivate this
option if you have different details for individual services, then choose the corresponding
service via "Select service and enter the associated login details.
Community upload
The menu entries featured under "File" > "Export" >"Community upload" or via the
Export assistant allow you to upload the finished song to different web communities.
Upload project as MP3 to MAGIX Online Album

Converts your project into an MP3 file and uploads it to your personal MAGIX Online
Album.
Upload video to Facebook.

Uploads the current project to Facebook. You can find additional information under
Export to Facebook (view page 190).
Upload video to YouTube

Uploads the current project to YouTube. See Export to YouTube (view page 191) for
details.
Shortcut: Shift + Y
Upload audio to Soundcloud.

Uploads the project to the Soundcloud music platform. You can find additional
information under Upload audio to Soundcloud (view page 191).
224
Sending your project as an email

This option creates a compressed file in Windows Media format. Your mail program is
activated simultaneously and the created file of an opened message is added as an
attachment. This lets you compress and send your project immediately without having to
go through any intermediate steps.
Present music on magix.info

Opens an Internet browser at the MAGIX Online World media upload page. There you
can choose the file you would like to present on the website.
Note: You first have to export (view page 188) your project.
Use as background music

Converts your project into MP3 format and sends it to an installed MAGIX photo or
video program, where it can be used as background music.
Note: This function is only available if you have at least one of the above programs
installed.
Add to music collection

Converts your project into MP3 format and sends it directly to a MAGIX music
management program (e. g. MP3 deluxe), where it is added to an existing music
collection.
Note: This function is only available if you have installed an appropriate MAGIX
program.
Edit audio objects in external editors

Converts your project into WAV format and sends it directly to one of the specified
programs where it can be edited further.
• Music Editor
• Audio Cleaning Lab
Note: This function is only available if you have at least one of the above programs
installed.
Share menu 225
Burn audio to CD-R(W)

Your project will be sent to MAGIX Speed burnR, where it can be burned as an audio CD.
The Premium version offers you MAGIX Music Editor.
Keyboard shortcut: Shift + C
Burn project and used media onto CD/DVD-R(W)

Your project will be sent to MAGIX Speed burnR, where it can be burned to CD or DVD.
Shortcut: Ctrl + B
226
Help Menu
Show welcome dialog

With this command you can display the "Welcome" dialog again. There, you have a
quick access to important functions during program start.
Documentation
Content
Use the command "Content" in the "Help" menu to open the start page of the help file.
You can read through the help file step-by-step and jump to specific sections via the tree
structure on the right hand side.
PDF manual
Opens the manual in PDF format.
Context Help mouse mode

The mouse cursor will turn into an arrow with a question mark.
Click on any button of the main screen, to open program help which will describe the
control element in question.
Shortcut: Alt + F1
Display tooltips
Tooltips are small information windows that open up automatically if the mouse pointer
stops briefly on a button or some other area. They provide information about the function
of the button. These information boxes can be switched on or off with this option.
Start introductory video

The introductory video shows you how all the most important features work. Specific
topics are explained in detail in additional tutorial videos.
Keyboard shortcut: Ctrl + F1
To play the introductory video you may have to insert the program CD.
Watch more tutorials online...

Opens the magix.info with online tutorial videos.
Help Menu 227
Update program / Upgrade functions

Register online
This option opens the MAGIX homepage for online registration where you can register
as a MAGIX user.
Registration grants you access to the MAGIX support website where various program
updates and help programs can be downloaded.
Online Update
Connects directly to the online update page where you can get the latest version of your
program.
magix.info - Multimedia Knowledge Community

Help others and find help Directly from within the program you'll be able to access
magix.info – the new MAGIX knowledge base. You'll find answers to all the most
frequently asked questions about MAGIX products and multimedia in general. Couldn't
find an answer to your particular question? No problem, just ask the question yourself.
Ask the Knowledge Community a question online

Ask magix.info a question.
Find knowledge & workshops

Have a look at the newest workshops at magix.info and read useful tips from other
MAGIX Music Maker 2015 users.
Present music on magix.info

Opens an Internet browser at the MAGIX Online World media upload page. There you
can choose the file you would like to present on the website.
Note: You first have to export (view page 188) your project.
Open magix.info - Multimedia Community

Opens the magix.info main page.
About MAGIX Music Maker 2015

Displays copyright info and version number of MAGIX Music Maker 2015.
228
Buttons overview and keyboard shortcuts
Toolbar
New Project Load Project
Save Project Settings (view page 202)
magix.info Grid On/Off (view page 34)
Redo Action Undo Last Action (Undo)
Split Object Select Mouse Mode (view page 50)
Keyboard shortcuts
In MAGIX Music Maker 2015, there are many functions for which key commands can be
used to open your desired program at the touch of a button. In detail:
• Menu and object context menu entries

• Functions of the Media Pools (Options menu)
• The video monitor menu
• Move and zoom of the arranger view
• Playback control (Moving the playback marker and the playback area)
• Mouse modes
• Smart preview function (Previewing Media Pool files in the project context)
File menu
Load/Save project
New project Ctrl + N
Load project Ctrl + O
Save project Ctrl + S
Save project as Shift + S
Import
Import Audio CD track(s) C
Audio recording R
Export
Common export options X
Burn audio to CD-R(W) Shift + C

Audio as Wave/ADPCM Shift + W
Audio as MP3 Shift + M
Audio as OGG Vorbis Shift + O
Audio as Windows Media Shift + E
Audio as AIFF Shift + I
Audio as FLAC Shift + F
Audio tracks as single waves Shift + U
Video as AVI Shift + A
Video as MAGIX video Shift + X
Video as Quicktime Movie Shift + Q
Video as Windows Media video Shift + V
Picture as BMP Shift + B
Picture as JPEG Shift + J
Upload Video to YouTube Shift + Y
Upload audio to MySpace Shift + S
Backup copy
Save project and used media Ctrl + Alt + S
Save project and used media (audio Ctrl + Shift + C
as OGG Vorbis)
Burn project and used media onto Ctrl + B
CD/DVD-R(W)
Burn manually selected files to Ctrl + Alt + B
CD/DVD
Settings
Program settings P
Project settings A
Audio recording R
Keyboard shortcuts U
Exit Alt + F4
Edit menu
undo Ctrl + Z
Restore Ctrl + Y
Select all Ctrl + A
Object
Record new audio object R
New MIDI object Ctrl + Alt + N
Text to speech Ctrl + T

Record a new video object G
230
Create a new title object Alt + Shift + T

Cut Ctrl + X
Copy Ctrl + C
duplicating Ctrl+D
Insert Ctrl + V
Multiple insert Ctrl + "Num+"
Delete Del
Select all Ctrl + A
Split T
Save objects as takes Alt + Shift + S
Group objects Ctrl+G

Ungroup objects Ctrl+U
Object properties Ctrl+P
Range
Cut Ctrl+Alt+X
Copy Ctrl+Alt+C
Insert Ctrl + Alt + V
Multiple insert Ctrl + Alt + "Num+"
Delete Ctrl + Del
Extract Ctrl + Alt + E
Navigation: Set jump marker, move playback position (see Playback control), move view
(see Move arranger view (view page 232)).
Effects menu
Song Maker W
Audio
Master audio effects rack B
Text to speech Ctrl + Shift + T
Object effect rack E
10 Band Equalizer Q
Compressor Shift + D
Invert phase Ctrl + Shift + I
Echo/Reverb Shift + H
Distortion/Filter Shift + F
Gater Ctrl + G
Backwards Ctrl + Shift + R
Mute/Unmute Ctrl + M
Volume settings Ctrl + Shift + D
Normalize Shift + N
Timestretch/pitchshift Shift + P
MIDI transposition Ctrl + T
Harmony Agent H
One pitch higher Num *
One pitch lower Num /
Create remix objects Shift + J
Remix Maker Shift + K

Loop Finder L
Remix Agent – Tempo and beat J
recognition
Load audio effects Ctrl + Alt + O

Reset audio effects Ctrl + Alt + H
Convert stereo into two mono Shift + Z

objects
Edit wave in external editor Ctrl + Shift + M
Video
Edit image in external editor Ctrl + Shift + B
Title
Title editor Ctrl + T
View menu
Zoom Soundpool and Keyboard Tab
Arranger
Arranger visible F4
Optimize view F12
Change object presentation Ctrl + Alt + Z
Show object marker
Bar marker Ctrl + Shift + F9
Harmony marker Ctrl + Shift + F10
Beat marker Ctrl + Shift + F11
Media Pool
Show Media Pool F2
Soundpool F5
File Browser F6
Synthesizers F7
Templates F8
Catooh O
Video monitor
Show video monitor F3
232
Fullscreen video monitor Alt + Enter

Video output Shift + F3
Project overview Shift + F2
Audio peakmeter Shift + F4
Info Box Shift + F1
Mix
Mixer M
Master audio effects rack B
Standard layout F11

Help menu
Context help mouse mode Alt + F1
About MAGIX Music Maker 2015 I
MIDI objects context menu
MIDI editor Ctrl + Shift + D
Track VSTi editor Ctrl + Shift + F
MIDI transposition Alt + Shift + D
Media Pool
Settings
Soundpool F5
File Browser F6
Synthesizer F7
Templates F8
Keyboard F9
Object inspector F10
Catooh O
Video Monitor
Show video monitor F3
Fullscreen video monitor Alt + Enter
Video output Shift + F3
Project overview Shift + F2
Audio peakmeter Shift + F4
Info Box Shift + F1
Move Arranger view
Note: These commands similarly move the playback marker when it's stopped, the
marker always remains visible in the project clip.
To next object edge Ctrl + 0

To the previous object edge Ctrl + 9
Go to beginning of project Home
Go to end of project end cap
Go to start marker Ctrl + Home

Go to end marker Ctrl+End.
Page right/left Page Up/Down
Grid unit right/left Ctrl+PgUp/PgDn
Go to the next jump marker Ctrl + Shift + PgDn
Go to the previous jump marker Ctrl + Shift + PgUp
Arranger view - Increase/Reduce clip size (zoom)

Increase clip size (zoom in) Ctrl+Arrow up
Reduce clip size (zoom out) Ctrl+Arrow down
Zoom 1 frame Ctrl+1
Zoom 5 frames Ctrl+2
Zoom 1 sec Ctrl+3
Zoom 10 sec Ctrl+4
Zoom 1 min Ctrl+5
Zoom 10 min Ctrl+6
Zoom view between start and end Ctrl+7
marker
Zoom over whole project Ctrl+8
Increase track pitch Alt+Arrow up
Reduce track pitch Alt+Arrow down
Move playback control / playback marker / playback area

Start/Stop playback Space bar
Stop at position (stop playback, Escape
move playback marker to current
position)
Set jump marker Shift+1...0
Playback marker to jump marker 1..0
Note: When stopped, the playback marker is moved to the jump marker (after the end
of the current loop).
Create jump marker sequence (10 Ctrl+Shift+M

markers with intervals equal to the
current playback area)
Delete all jump markers Alt+Shift+M
Move playback range Arrow left/right
Move playback one quarter of its Ctrl+Arrow left/right
length
Double/Halve playback area length Shift+Arrow right/left
Double/Halve playback area length Ctrl+Shift+Arrow left/right
by a bar
Mouse modes
Mouse modes for individual objects Alt + 1
234
Connect objects in one track Alt + 2

Connect objects in all tracks Alt + 3
Curve mouse mode Alt + 4
Draw objects Alt + 5
Splitting objects Alt + 6
Object stretch mouse mode Alt + 7
Preview objects mode Alt + 8
Scrub mode Alt + 9
Replace mouse mode Alt + 0
Preview/Smart preview
Preview of pitches Numbers 0..9
Change preview object Arrow keys
Insert into project Enter
Delete smart preview object Del
If you still have questions
Tips for Program Help

When the program is open, you can access the Help feature by pressing F1 on your
keyboard. The program Help contains tips on how to use the program and lots of
additional information. Many important terms are indicated in the text in italics. Simply
click on these terms for a more detailed explanation of what they mean.
Context Help: Press the "F1" key on your keyboard at any point in the open program and
Help will open with the matching help topic.
Search function: This feature can be used to look for specific words in the Help section.
Enter either the individual word or use logical operators (e. g. OR, AND, NEAR) to refine
your search if you have several search words.
• OR (between two words): all topics which contain both words or one of the words
will be listed.
• AND (between two words): only those topics will be listed which contain both
words.
• NEAR (between two words): only those topics will be listed which contain both
words. A maximum of 6 additional words are allowed between two search words.
• NOT (before a word): topics which contain this word will not be listed.
Print: The print function can be used to print out specific Help topics or entire topic
sections. The print button is located at the very top of the toolbar in the Help window.
Uninstalling the program

If you would like to uninstall MAGIX Music Maker 2015, go to the Control Panel and
select "Software" or "Programs and Functions". Alternatively go to "Programs > MAGIX
> MAGIX Music Maker 2015 > Service and Support > Uninstall Program".
System Requirements
Operating System: Microsoft Windows XP/ Vista / 7 / 8 /8.1
Minimum Configuration:
• Processor: Intel® Pentium® or AMD® Athlon® with 2 GHz or above

• 1 GB RAM (2 GB recommended)
• Free hard disk space: 6 GB (Premium version: 9GB)
• Graphics card: Min. resolution 1024 x 768
• Onboard sound card
236
• DVD drive
• Internet connection required for activating and validating the program*
*Software can also be used offline. However, please note that the program requires an
Internet connection at least once a month to validate the license.
Optional:
• Burn CDs/DVDs with a CD/DVD±R(W) recorder

• MP3 export with Windows Media® Player 10 or higher
Note: Artist rights and ancillary publisher copyrights must be respected. Only non
copy-protected audio CDs can be imported.
Serial number
A serial number is included in each product. This serial number is required for the
installation of the software and enables usage of additional bonus services. Please store
this number in a safe place.
What can a serial number do?

With a serial number your program is clearly assigned to you and only you. This will
allow you take advantage of the free email support service. Serial numbers also help to
protect against software piracy which ensures that we are able to continually provide our
customers with an optimal price/performance ratio.
Where can the serial number be found?

The serial number can be found on the reverse side of your CD/DVD case. If your
product is packed in a DVD box, you'll find the serial number on the inside.
If you have purchased the download version, you will receive a confirmation email with
the serial number.
When will you need the serial number?

The serial number is required when you start or register the program for the first time.
Note: We explicitly recommend registering your product (free), since only then are you
entitled to download updates and to use MAGIX support services (view page 4) or
activate codecs.
Publishing works created in MAGIX Music Maker

2015
What needs to be taken into account when publishing a music or video
production?
A distinction is made between "non-commercial use" and "commercial use".
1. What constitutes non-commercial use?

If songs are created with MAGIX Music Maker 2015 or if music is added to private
videos, they can be shared with others on social networks (e.g. YouTube, Facebook,
Soundcloud, Twitter or personal blogs/websites). The decisive factor in these cases is
that no money is made or will be made from the song or video soundtrack.
Examples of non-commercial use:
• A user creates a song with Music Maker and uploads it to their SoundCloud page or
YouTube channel.
• A user produces a song using Music Maker, burns it to CD then sends it to their
friends.
2. What constitutes commercial use?
Commercial use refers to videos with soundtracks or songs created using Music Maker
for commercial purposes. Commercial use if if sales are made, if revenue is accrued
through advertising (e.g. as a YouTube partner or through the process of monetizing) or
if contracts are concluded. In this case the necessary licenses must be purchased from
Catooh The Online Media Marketplace
http://www.catooh.com/de/sys/id/search/?&search[mode]=fast&search[keywords]=
music%20maker&search[category]=8563.
Examples of commercial use:
• A user creates a song in MAGIX Music Maker and uploads it to their YouTube
channel, which they've enabled for advertising (YouTube Partner Program).
• A user produces a song in MAGIX Music Maker and makes it available for purchase
from an online download shop (e.g. iTunes, Musicload).
• A musician produces a song with MAGIX Music Maker for a CD Compilation, which
is sold at concerts.
• A user makes a video in which they advertise their company or one of their
company's products.
Important: The downloadable styles in Catooh that are licensed for commercial use
consist of high quality WAV files. Any "normal" Music Maker content from the
installation DVD is in .ogg format for space reasons.
238
More about MAGIX
MAGIX Online World

MAGIX Online World from MAGIX offers you a range of new services for your photos,
videos, and music that are accessible directly from the "Share" menu in MAGIX Music
Maker 2015:
MAGIX Online Album

MAGIX Online Album is your personal multimedia album on the Internet. If you want to
present slideshows or videos online, then MAGIX Online Album is the perfect service.
MAGIX Website Maker

MAGIX Website Maker helps you create a personal Internet showcase with a
professional design in just a few mouse clicks – without prior knowledge, including your
own chosen domain and email address. Publish slideshows and videos and accessorize
your site with music and various effects – anything from a simple business card to a
fireworks display of effects, professional or private – show your best side!
More about this topic can be found under MAGIX Website Maker.
Catooh – the Online Content Library

If your project is missing pictures, videos, DVD menus, sounds, or samples, then you
should have a look at the huge selection available at Catooh. There you'll be able to buy
media in excellent quality for low prices: DVD menus, Slideshow Maker styles,
decorative elements, 3D power effects, 3D transition series, MAGIX Soundpools, songs,
ringtones... Perfectly suited to all MAGIX photo, video, and music projects.
magix.info
Do you have questions, need help, or are looking for expert tips and tutorial videos on
using your MAGIX product? At magix.info you will find answers and solutions as well as
workshops and a comprehensive user forum for software and multimedia queries.
You can access magix.info online at www.magix.info
Soundpool DVD Collection

MAGIX Music Maker 2015 includes thousands of sound and video building blocks. Other
media can be ordered later. MAGIX Sound Essentials includes professionally produced
loops and samples in impressive quality – the ideal enhancement for the most varying of
music styles, including:
• Ambient
• Big Beat
• Easy listening
• Dance / Electro
• Disco / House
• Soundtrack
• Hip hop
• Rock/Pop
• Techno / trance
• Special effects
In the upper menu bar under "Tasks" > "Discover more", you can order the MAGIX
Sound Essentials directly.
Tip: At www.magix.com you'll always find the latest soundpool offers.

240
Index
About MAGIX Music Maker 2015 227

Adapt tempo 74
Add to music collection 224
Add track 211
Add videos or images 27
Adding software instruments 26
Additional audio effects 17
Additional editing 192
Additional features of the Premium version 17
Additional instruments 17
Additional Styles & Samples 17
Additional Vita Solo Instruments 130
Adjusting the signal level 60
Advanced settings 63
Also in the Premium version 18
Analog Delay 162
Analog delay parameter 163
Apply (destructive editing) 68, 141
Arrange MIDI objects 79
Arranger 31, 220
Arranger buttons 38
Arranger view - Increase/Reduce clip size (zoom) 233
Arranging Objects 50, 53, 179
Articulation 131
Ask the Knowledge Community a question online 227
Atmos 126
Audio 60, 61, 81, 82, 205, 214
Audio & MIDI 15
Audio as AIFF 197
Audio as FLAC 197
Audio as MP3 195
Audio as Ogg Vorbis 196
Audio as WAV/ADPCM 195
Audio as Windows Media 196
Audio effects 14, 46, 54, 107, 137, 185, 214
Audio export dialog 194
Audio formats 59
Audio Loops and MIDI Loops 42
Audio object effects 48, 138
Audio Objects 48, 59
Audio peakmeter 178, 222
Audio recording 33, 37, 60, 194, 202
Audio recording dialog 37, 60, 62, 215
Audio tracks as single waves 197
Automatic Pitch Correction 153, 155
Automatic tempo adjustment when loading 67
Index 241
Automatic volume damping 215

Automation of Vita and Vita Solo instruments 91, 132
Backup 201
Backwards 151
Basics of MIDI interfaces and cabling 81
Bass amp 175
Bass section (lower pane) 115
BeatBox 2 107
BitMachine 169
Build or split object groups 54
Burn audio CD 30, 189, 192
Burn audio to CD-R(W) 194, 225
Burn manually selected files to CD/DVD-R (W) 201
Burn project and used media onto CD/DVD-R(W) 201, 225
Catooh – the Online Content Library 238

CD import dialog 64
CD/DVD drive list 65
CD/DVD-ROM configuration 66
Cell mode 95
Change tempo or pitch of individual objects manually 68
Change the playback tempo or pitch 67
Check and correct the automatic harmony recognition 77
Chorus 166
Chorus flanger parameters 158
Chorus parameters 167
Chorus/Flanger 157
Common export options 194
Community upload 190, 200, 223
Compressor 142
Connect MIDI Keyboards 81, 133
Console 155
Content 226
Context help 52
Context Help mouse mode 226
Context menu 109
Control groups 185
Controller Editor 79, 84, 86, 91, 133
Convert MIDI objects into audio files 83
Convert stereo into two mono objects 218
Copy objects 210
Copy range 212
Copyright 2
Create a new MIDI object 209
Create a new object 209
Create a new title object 209
242
Create a Project 24
Create jump marker sequence 213
Create remix objects 73
Create Remix objects 216
Cursor keys move playback marker 35, 221
Cut 210
Cut range 212
Database 45
Delay (Echo) 149
Delete all jump markers 213
Delete range 212
Deleting objects 210
Deleting, copying, and moving files 44
Display pitch ranges 220
Display tooltips 226
Distortion 149, 168
DN-e1 134
Documentation 226
Draw 51
Drum Editor 84, 95
Drum Editor trackbox 96
Drum kit 109
Drum Map Editor 97
Drum Maps 95, 97
Drum section (top half) 114
Duplicate objects 55, 210
Edit audio objects in external editors 224

Edit image in external editor 219
Edit in external editor 218
Edit menu 229
Edit Menu 209
Edit MIDI events 86
Edit notes with the mouse 89, 90, 103
Edit objects 25, 28
Editing Pitch 154
Editing velocity values 110, 111
Effect devices controls 137
Effects 28, 137
Effects menu 230
Effects Menu 214
Effects plug-ins 141, 155
Enhancer 145
Equalizer 142
essential FX 131, 155
essentialFX Presets 156
Exit 208
Index 243
Export 188, 194

Export as E-Mail attachment 189
Export as ringtone 189, 196
Export Project 29
Export to Facebook 190, 223
Export to YouTube 189, 191, 223
Export wizard 188, 194, 224, 227
External synthesizers 82, 83
Extract range 213
Extract sound from videos 180
Fading Objects 55
File Manager 43
File menu 228
File Menu 193
Fill mode 76
Filter 150, 165
Filter parameters 165
Find knowledge & workshops 227
Flanger 164
Flanger parameters 164
Folders 63, 64, 195, 198, 207
Formats and interfaces 15, 16
Full-screen Video Monitor 221
Fundamentals 146
FX tracks 139, 186
Gater 150
General info on AVI videos 198
General notes on AVI videos 183, 198
General options 41, 202, 203
Group objects 211
Grouping 211
Guitar amp 174
Harmony Agent 16, 73, 77, 216

Help menu 232
Help Menu 226
High-end 32-bit floating point 15
Highlight loop area 220
Horizontal scrolling 221

244
Import 15, 67, 193, 204

Import audio CD 63, 193
Import audio CD tracks 193
Infobox 179, 222
InfoBox 16
Information 202
Input 173
Insert range 212
Insert segment multiple times 212
Inserting multiple objects 210
Inserting objects 210
Instrument settings 45
Internet upload to many platforms 17
Introduction 12
Invert Phase 145
Keyboard 46
Keyboard shortcuts 37, 47, 111, 208, 228
Language 208
List Editor 84, 86, 88, 93
Listening to the input signal - monitoring 33, 60, 61, 63, 184
Live Sessions 17
LiViD - Little Virtual Drummer 116
Load and edit audio files 59
Load and save MIDI files 80, 102
Load backup project 201
Load project 193
Load title template 219
Load video effects 219
Load/Save 141
Load/Save/Reset audio effects 218
Loading and editing videos and bitmaps 179
Loop Designer 105, 113
Loop finder 217
Loop Finder 76
Loop range 211
MAGIX Mastering Suite 2.0 18

MAGIX Music Editor 18
MAGIX Online Album 238
MAGIX Online World 238
MAGIX plug-ins 155
MAGIX Vita 128
MAGIX Website Maker 238
Index 245
magix.info 238
magix.info - Multimedia Knowledge Community 227
Manage login details 223
Master audio effect rack 214, 222
Master effects 139
Master Effects 140
Master track 187
Meaning of the colors in the Piano Roll and Controller Editor 87
Media database 16
Media Pool 40, 221, 232
Media Pool views / template folders 221
Menu reference MIDI editor 85, 102
MIDI channel filter 80, 88, 102
MIDI editor 83
MIDI Editor shortcuts 85, 103
MIDI Functions 88, 98, 100, 101, 102
MIDI objects 26, 32, 40, 47, 48, 57, 79, 128
MIDI objects context menu 232
MIDI Record options 33, 37, 86, 102
MIDI transposition 215
Mix 222
Mixdown audio 58, 212
Mixdown audio... 68, 142, 212
Mixer 16, 31, 38, 56, 184, 222
Mouse modes 50, 68, 228, 233
Move all 50
Move Arranger view 213, 230, 232
Move playback control / playback marker / playback area 233
Move playback marker 36
Move playback position 213
Move playback range with the keyboard 35, 221
Move screen view 213
Move selection 50
Move to track 50
Move/Zoom with the mouse wheel 34, 221
Move/Zoom with the scroll bar 33, 154
Moving and zooming 91
Multimedia files and objects 53
Multimedia Library - Soundpool 14
Multi-touch 39, 220
Mute objects 54
Mute/Unmute 215
My MP3s 44
My Projects 44
Navigation 213
Navigation buttons 43
New project 193
Non-realtime Effects 138
246
Normalize 215
Object 209
Object and master effects rack 138, 140, 214
Object and track curve automation 17
Object effect rack 214
Object Effects 140
Object Handles 54, 55
Object Inspector settings 47
Object properties 57, 211
Object Volume 141
Objects with stereo imaging 220
One pitch higher/lower 216
Online Update 227
Open magix.info - Multimedia Community 227
Opening the Remix Maker 75
Opening the synthesizers 106
Optimize view 34, 220
Overview 178
Own recordings 15
Parameter smoothing/ Controller knobs 156

Parameters 147
Parametric 6-band equalizer 143
Pattern editor - matrix 110
Pattern editor buttons 109
PDF manual 226
Phaser 159
Phaser parameters 159
Piano Roll 84, 85, 89, 102, 103
Picture as JPG 200
Pitch Bar 36, 220
Play demo project 22
Play object/Play arrangement 142
Play/ PlaySolo 85
Playback area - Start and end markers 25, 33, 35, 55, 60, 70
Playing and recording MIDI synthesizer 83
Playing instruments with the keyboard 85
Preface 3
Present music on magix.info 224, 227
Presets 75, 147
Preview audio 51
Preview function 40
Preview of MIDI files 80, 82, 88
Preview/Smart preview 234
Previewing and loading sounds 23
Problem solving preview in Media Pool 80
Index 247
Program settings 44, 202, 208, 228

Project overview 222
Project settings 202
Publishing works created in MAGIX Music Maker 2015 237
Quantization Grid ( 98
Quantization settings 85, 93, 96, 98, 99, 101
Quantize 98, 103
Quantize controller events 93, 101
Quick start 3, 22
Quick start via preset selection 172
Rack effects (FX1/FX2) 175

Range 35, 212
Real 5.1 Surround Sound 18
Real-time effects 137
Record a new object 209
Redo 209
Register online 227
Remix 216
Remix Agent 70, 217
Remix Maker 73, 75, 216
Remove user-defined loop 211
Reordering 151
Replace 52
Reprocess arrangement 188, 195, 198
Reset Program Settings to Default... 208
Reset video effects 219
Reverb 131, 146
Revolta 2 18
Robota 117
Save objects as takes 211

Save project 193
Save project and used media 201
Save project and used media (audio as OGG Vorbis) 201
Save project as... 193
Save tempo and bar info 74
Save title template 219
Save video effects 219
Save/load projects 53
Schematic illustration of the Robota synthesis 118, 120
Scrubbing 51
Search the database 45
Select all objects 214
248
Select objects 53
Select sounds 85
Selecting MIDI events 86, 87, 89
Sending your project as an email 200, 224
Sequencer 96, 123
Serial number 236
Set jump marker 213
Set pitch 216
Set user-defined loop 211
Set volume 215
Setting Catooh 49
Setting object volume 56
Settings 202
Setups, drum kits, presets, and patterns 125
Share menu 223
Shorten or loop objects 55
Show Media Pool... 221
Show object marker > Show bar marker/harmony marker 221
Show video monitor 221
Show welcome dialog 226
Shuffle mode 76
Simplify object presentation 179
Single picture as BMP 200
Slider (Fader) 184
Smart preview for the included samples. 40, 59
Snap/Grid 34, 228
Software Instruments 25, 32, 40, 45, 105
Some advice on creating ring tones 190
Song Maker 15, 69, 214
Sound synthesis 118
Sound Vision 17
Sound Warper 131, 149
Soundpool DVD Collection 238
Soundpools 40
SoundVision 42
Split 51, 54
Split objects 54, 210
Standard layout 220
Start introductory video 226
Stereo Delay 160
Stereo delay parameters 160
Stomp boxes 174
Stretch 51
Support 4, 236
Synth objects 106
Synthesizer 112
Synthesizer plug-ins 126, 131
System Requirements 235
Takes 42, 57, 211

Index 249
Templates 40, 46
Tempo & beat recognition 217
Tempo and pitch 215
Text objects and title templates 182
Text to speech 78, 209, 214
The Features 14
The Vita interface 129
Time Display 38
Timeline and grid 34
Timestretch and pitchshift 216
Timestretch/Resample 151
Tips for editing velocity 92, 93
Tips for Program Help 235
Title 219
Title Editor 28, 180, 209, 219
Title templates for YouTube 191
Toolbar 54, 228
Tools 91
Track 211
Track effects 139, 155, 185
Track headers and Instrument icons 31, 32, 37, 88, 139, 184, 185
Tracks 31
Transport Bar (playback functions) 23, 37
Transpose MIDI 79
Tuner 173
Undo 209
Ungroup objects 180, 211
Uninstalling the program 235
Update program / Upgrade functions 227
Upload audio to Soundcloud. 223
Upload project as MP3 to MAGIX Online Album 223
Upload song to Soundcloud 189, 191, 223
Upload to Community 200
Upload video to Facebook. 223
Upload video to YouTube 223
Use as background music 224
Use harmony recognition 78
Using audio effects 138
Using plug-in effects 139, 141
Using the MIDI channel filter 88
Using VST instruments 85, 105, 127
Vandal - Amplifier 174

Vandal SE 172
Various file list view modes 43
Velocity 111
Video 207, 219
250
Video and bitmap formats 178

Video and Bitmap Objects 178, 189
Video as AVI 198
Video as MAGIX video 199
Video as Quicktime Movie 199
Video as Windows Media 196, 199
Video Compression 183
Video effects 180
Video export dialog 197
Video monitor 38, 178, 221
Video Monitor 232
Video output 222
Video recording 18
Video scrubbing 179
View menu 220, 231
Vintage Effects Suite 131, 140, 141, 162
Vocal Tune 153
Volume 215
Volume control 37
Volume or filter progressions 151
Vpot Controls 156
VST and DirectX audio plugins 186
VST Plug-in Editor 85, 128
VST Support 16
Watch more tutorials online... 226

What are VST and DirectX plug-ins? 85, 127
What is MAGIX Music Maker 2015? 12
What's new in MAGIX Music Maker 2015? 13
Workflow of Remix Agent 70
Zoom 33
Zoom buttons 33
Zoom Soundpool and Keyboard 220

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All copyrights reserved.

Copyright © MAGIX Software GmbH, 1994-2014. All rights reserved.

MAGIX is a registered trademark of MAGIX AG

All mentioned MAGIX product names are registered trademarks of

Other mentioned product names may be registered trademarks of the respective

This product uses MAGIX patent pending technology.

Have fun with MAGIX Music Maker 2015.

The MAGIX Team

• Unlimited web support:

• Additional telephone service:

Please make sure you have the following information at hand:

Monday - Friday, 09:00-16:00 GMT

U.K.: 0203 3189218

Overview of the program interface 20

Software Instruments 105

Audio effects 137

Video and Bitmap Objects 178

Reprocess arrangement 188

File Menu 193

Edit Menu 209

Effects Menu 214

View menu 220

Share menu 223

Help Menu 226

Buttons overview and keyboard shortcuts 228

If you still have questions 235

Tips for Program Help 235

More about MAGIX 238

What is MAGIX Music Maker 2015?

What's new in MAGIX Music Maker 2015?

Improved screen keyboard with arpeggiator

Many of the finer details on the interface have been improved:

Audio & MIDI

Formats and interfaces

Internet upload to many platforms

Additional features of the Premium version

MAGIX Mastering Suite 2.0

Real 5.1 Surround Sound

MAGIX Music Editor

Also in the Premium version

Overview of the program interface

Menu bar: This bar provides the most important editing

Play demo project

Previewing and loading sounds

Create another new, empty project. Simply click on this button.

• Now click on "Soundpools" (1) in the Media Pool.

If an object is selected, additional "handles" will appear on it.

Adding software instruments

Add videos or images

A preview of the selected video file is shown on the video monitor.

Once you have found a matching video, use

You can adjust the length of the individual

• Export as MP3: You can transfer your

Tip: In the Premium version, you can

Track headers and Instrument icons

Move/Zoom with the scroll bar

Optimize view (view page 220)

Zoom buttons: Buttons for zooming in and out