Amiga Magazin: Amiga-CD 1997 May & June

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This text is a subset of the manual of "Samplitude-SMPTE". 1.1 SEK'D software SEK'D, the Studio für elektronische Klangerzeugung Dresden, emerged from Dresden conservatory's electronic studio founded in 1984. One permanent centerpiece has been the development of innovative AMIGA software tailor-made for the demands of musicians and music lovers. All programs allow active multi-tasking and thus complement each other outstandingly. Our most successful piece of software is Samplitude. It is the basis of sampling, disk recording, and MIDI sample processing with AMIGA computers. The easily learned intuitive surface of Samplitude is esteemed in particular since it permits even beginners quickly to utilize many professional features. Junior versions of Samplitude and of the MIDI sequencer, favourably priced and convertible into professional versions whenever desired, are destined for beginners and younger computer freaks in particular. Our MIDI sequencer MIGNON offers MIDI recording with up to 40 tracks and a wide range of editing. If needed, the sequencer can response to SMPTE which means synchronization with tape recorders or video films. The Master Keyboard Controller supplied together with the professional sequencer version is a program mainly destined for use by live players. It makes every MIDI keyboard a master keyboard with fascinating facilities: 8 split zones, 16 setups, dynamics and scaling curves with freehand drawing, "intelligent" functions for detecting various playing techniques... If these live actions still seem insufficient, control MIGNON, the Master Keyboard Controller, and many other functions remotely with the IAS Interactive System in a performance - by musical action only. Graphic composing is possible with the Graphics Sequencer software. Graphics made with a usual drawing program become music in real time mode, notes played are immediately visible as graphics on the screen... You will understand that SEK'D offer you a lot in the field of music software. Let us hope that you, too, will be satisfied with our programs and have a lot of pleasure by computer music. 1.2 New features of version 2.1 - virtual projects with up to 8 tracks in 16 Bit - digital parametric equalizer with FFT graphics - dynamics-compressor/expander/limiter/gate - dolby surround sound in virtual projects (button I) - direct import and export of Windows Wave files - reverb effect - special optimized copro version available - new Maestro loop mode for the work with DAT devices - shortcuts for: e - new VIP o - load VIP r - record with Toccata d - record with MaestroPro u - split project on cursor position g - system adjustments 1.3. What can Samplitude do? Samplitude is obviously not the first sampling program for Amiga, but it differs from the other programs by the possibility of editing different samples with different sampling resolutions. Any number of projects can be administered simultaneously in windows of optional size. This is an easy way of data exchange between several samples. Samplitude offers another option: zooming with any depth desired is not only possible along the time axis (horizontal) but also in the amplitude range (vertical), an urgent need for higher sampling resolutions in particular. Mono, stereo, and quadro samples can be used and converted into each other. Samples with higher resolution (9 to 16 bits) can theoretically be reproduced with quality of up to 14 bits by cascading of the Amiga's sound channels. Actual audio outputs, however, are possible with up to about 12 bits. This limitation is the result of hardware tolerances. The option of data read-in and saving together with the pertaining software is destined above all for users of a Maestro board made by Macro System. In other cases, IFF, MIDI, and dump files can be imported and exported. Up to three different sections per sample can be displayed and edited at the same time, and any number of ranges (loops) and locator points per sample can be defined and called in real time mode. The majority of functions can be executed in real time mode, i.e. while playing. Samplitude supports quite different screen resolutions (such as PAL, NTSC, Interlace, ECS, AA, and A2024). Caused by the many display facilities, the free choice of window sizes, and the processing of different sample resolutions, Samplitude cannot compose its screen as quickly as programs using exclusively the display of 8-bit samples in a window of invariable size. You certainly know the speed difference between normal word processing and a DTP program... Samplitude naturally has a temporary memory (clipboard) with which data from various samples can be cut out, copied, and inserted. The clipboard content can be permanently displayed. The data stored in the clipboard are swapped in a file. You can choose the place of this file (such as RAM disk, hard disk or floppy disk). If you file the clip data on the hard disk, your RAM will again be free for more important data. Samplitude keeps samples also in the fast RAM of Amiga; the chip memory will not be utilized before the fast RAM is entirely used up. Other strategies have been developed to reduce the RAM demand. One of them is the temporary swapping of projects. On the other hand, many operations requiring large memory regions are performed through temporary files, if needed. Playlists permit sequencer-like functions to be performed. A sample editor requires relatively few alphanumeric inputs, so that important function that are usually accessible through menus can be called into action by keys. Such keys become efficient already without the right Amiga key being pressed. Thus you can operate the mouse with your right hand and the keyboard with your left (or vice versa), and you need not run over the screen with the mouse pointer between menus and projects or gadgets, a really troublesome work. There is a successful drawing program with similar options... Samplitude-SMPTE contains a komfortable time-line-editor, wich makes it possible to edit your multi-track samples non-destructive like in a DTP-software. For the same reason, the functions of the positioning gadgets can be controlled with the cursor keys, in cases of need in combination with the Shift, Alt or Ctrl keys. The key assignment is explained in the description of the individual menu items. A summary of keyboard abbreviations will be found in the Keyboard assignment annex. 1.4. Hardware needed For using the Samplitude program you mainly need a Commodore Amiga computer, no matter whether of type Amiga 500, 500 plus, 1000, 2000, 3000 or 4000. As a matter of principle, Samplitude can be applied on Amiga computers with 2 Mbytes RAM at least. However, memory capacities of more than 2 Mbytes are recommended for the operation with higher sample resolutions and longer RAM-samples. The program can be used without hard disk, which, however, should be available for HD-recording and -playback. If you want to hear the results of your effort, the audio outputs of the Amiga computer must be connected to a monitor. A stereo set is even better. Better results you get with special audio-hardware, f.e. the Toccata- or the MaestroPro-board from MacroSystem. Making samples with the Amiga requires a sound sampler which can be connected to the parallel port. It can be a sampler that is compatible with the Audiomaster. Best sampling-quality you get with the 16-Bit audio-boards Toccata and MaestroPro (for AMIGA 2/3/4000). For direct to disk-recording with this boards you need disk-capacity: Stereo-16Bit-44.1kHz: about 10 MBytes Mono-16Bit-44.1 kHz: about 5 MBytes Stereo 8 Bit-22 kHz: about: 2.5 MBytes Mono 8Bit-22kHz: about 1.25 MBytes For HD-recording you need at least a 68020-Processor (A1200 HD). For HD-playback of 4 tracks in virtual projects you need at least a 68030-Processor (A3000, A4000, A2000 with A2630) and a fast harddisk (>400 KB per second transfer-rate). ... 2.1 The three different project types Physical projects In the case of RAM projects, the samples are completely kept in the AMIGA's main memory. These data are usually saved in the directory "RAP:" (RAM projects). It is likewise possible to use the virtual memory (Vmem). Samples of HD projects are kept in files, most sensibly on hard or exchangeable disks. Only those parts of samples required immediately (for display, editing, and playing) are loaded into the computer's main memory. The pertaining data are usually in the logical directory "HDP:" (HD projects). Virtual projects (VIP, Samplitude SMPTE only) They are a continuation of the playlists known from Samplitude V 1.xx. They contain a number of sample sections, not actual samples. Many virtual projects can use samples with different sampling resolutions at the same time but only with the same sample rate for playing. Virtual samples permit object-oriented operation with samples. The actual audio data is represented in rectangles (so-called objects) in several samples. An object is an image of a sample or of a range marked in it. This is the reason why an object does not contain audio data but references to the physical sample. A detailed description of operation with virtual projects will be found in the section dealing with the Object menu. The pertaining files are normally in the logical directory "VIP:" (virtual projects). 3.1.2 Quickstart with Toccata board The following sections inform users of the Toccata board made by MacroSystem about the working steps required for getting first results. Arrange the board on a free slot of your AMIGA. Suitable details will be found in the manual of the Toccata board. Let us assume that you use a cassette recorder or any other audio source (such as CD player, tuner, microphone). Connect it by means of a suitable cable with a Toccata input. You can begin if you have arranged the hardware and successfully installed Samplitude on the hard disk. Select from menu item Project > Sampler > Toccata. A window for some board settings will be visible. We recommend the following settings for a first test: RAM - the available RAM is used for recording. 16 bits - recording with CD quality. Stereo - recording in stereo mode. Sample rate - select a sample rate for recording, such as 44,100 for CD quality. Use the Control gadget to open the mixer window of the Toccata board. Now select the correct input to which the input signal is applied, such as AUX1. Preamplification is also possible; we recommend a slight emphasis of 3 to 6 dB for LINE level. The output loudness of the board (output), most sensibly the maximum, must likewise be set. Actuate the Level gadget. You will see two modulation displays. You must here be able to see the exact level If there is a signal from the audio source. If the source is working but nothing can be seen, check all connections and the board installation. Adjust the signal that it does not overmodulate and close the display window if the pointers move along with the rhythm of the music. You can now start recording with the Record gadget. Actuate Stop after a few seconds. A new window is opened and the recorded sample shown after this. For playing your project simply press the space bar. This starts reproduction, first through the AMIGA outputs. You should make sure that the AMIGA's audio outputs are connected with an amplifier, mixer or directly with the monitor speaker. A few more steps are necessary if you want to get the benefit of Toccata's full digital quality: -Select menu item Settings > System and set the Toccata board in external reproduction. -Use key p to open the sample parameter window and select EXTN for external reproduction. -Make sure that the output of Toccata is connected with an amplifier, mixer etc. so that reproduction is audible. -Again start reproduction by means of AMIGA's space bar. Your sample should now be audible in best quality through Toccata's audio outputs. If nothing can be heard, check whether the output level in Toccata's mixer page has been turned up. This window is accessible through menu Project > Sampler > Toccata, gadget Control. Next should be a test of recording right on the hard disk. Again select Project > Sampler > Toccata but Disk instead of RAM in the setting window. This requires correct installation of Samplitude on the hard disk and availability of the logical path HDP:. Clicking on Record makes another requestor for the actual start of recording visible since the former recording, if any, must be deleted before, which takes some time for longer samples. Start recording. A hard disk activity should be noticeable. An additional time display is visible in the setting window. You should consider that a one-minute sample requires about ten megabytes on the hard disk, so that you better end recording in due time. Now start sample reproduction with the space bar. Reproduction is through the AMIGA or Toccata outputs according to settings in the Sample parameters window. Your project should now be played directly from the hard disk. If you detect interruptions or minor discontinuities in playing, eliminate these faults by proceeding as follows: -Open item System in menu Settings. -There you will find the range Play/Record buffer top left. The buffer HD test is responsible for playing the project from the hard disk. Increase the value of this buffer, e.g. to 16,384 or 32,768 bytes. Now playing ought to be correct, but more memory space is required and the cursor follows the current position in larger steps (the buffer size). The problem is the best possible compromise between reliability (large buffer) and fast response (small buffer). The buffer HD studio is responsible for reproducing playlists and virtual projects and should have at least the same size as HD test. Another setting can be tested if you use a hard disk formatted in the fast file system (FFS) which ought to be standard: select gadget Device instead of DOS in Disk access of the same editor. Thus, Samplitude will have access to the file no longer via the standard AMIGA DOS routines but directly through the block structure of the disk. One advantage, among others, is an extreme acceleration in positioning of a very long file. This setting is urgently recommended if playlists are made for longer HD projects since pauses or discontinuities at transit points between the single ranges will occur and cannot be eliminated even by largest buffers. If also reproduction directly from the hard disk is possible without faults, you can say you successfully mastered the first problems in operation with Samplitude. Refer to Sections from 3.2 for detailed explanation of single functions. ... 3.2. Range marking To mark a range, move the mouse pointer to one of the sections shown and press the left mouse button. Keep the button pressed and move the pointer in the section. You will see how an inverted rectangle is represented between the start point and the topical mouse pointer position. Now release the left mouse button. The limits of the chosen range appear in the text line below the title bar. If you want to mark a different range, click on a position OUTSIDE the inverted range but INSIDE the section. The old range disappears, and you can now mark a new range. If you only want to vary a bound of a range already existing (i.e. beginning, end, upper edge or lower edge), click with the left mouse button inside the existing range. Keep the mouse button pressed and leave the range in the direction of the bound to be changed. When you have left the boundary line, this edge (and no other but this) will follow the movement of the mouse pointer. Release the mouse button when you have reached the position desired. This is a way of maintaining appropriate bounds and to change the desired edge only. Problems may occur if the entire section is covered by the range already. Now you have two possibilities: Either you have another section which is not entirely superimposed by the range, so that you can click into this section outside the range and immediately release the button again. The former range disappears, and a cursor or a very small range becomes visible. Now you can newly define the desired range in the original section. The other way: Simply press keys 1 (Home) or 7 (End) on the numerical block on the right of the keyboard. These are the commands for Cursor to Start or Cursor to End. The old range disappears, and you can now define the new one. (The functions Cursor to Start or Cursor to End can also be found in the Range menu.) ... 3.3. Playing ranges Samples being processed can be made audible if you press the space bar. If a range has been defined, it will be played from beginning to end over and over again. Varying the range changes to playing the new range immediately. If nothing but a cursor has been specified, you will hear your sample from the current cursor position to the end of the sample. If you first press the Shift key and the space bar in addition, you will hear your sample from its beginning up to the beginning of a defined range or cursor. A range, if defined, will be repeated permanently after this. If a cursor has been defined, the section between this cursor and the end of sample will be repeated. Sample playing can be interrupted by pressing the space bar once more. It is very useful that almost all Samplitude functions can be executed while the sample is played. You should know that all sample resolutions can be played immediately. Data are converted in real time mode, i.e. while playing. This means that the processor is partly occupied by the conversion of data, so that the capacity for data processing is reduced. This is certainly no problem if you use an Amiga 3000 or 4000- it has sufficient computing capacity even in such cases. It can become somewhat critical if your Amiga is the 500 type. You can see it by a considerably reduced working speed of the system. It is advisable to interrupt playing before other operations are executed. Short ranges and high sampling rates in particular can overstrain the system so that the mouse pointer cannot be moved any longer and the program fails to response to actuation of the space bar. In such cases press both mouse buttons at the same time to abort playing. ... 4.3 Object (Samplitude-SMPTE only) 4.3.1 Virtual projects (VIP) Virtual projects are probably the most powerful function of Samplitude-SMPTE. Virtual projects from any number of physical projects (i.e. RAM and HD samples) can be used for creating a complex arrangement. All cutting operations are virtual which means that they do not destroy the original sample. Consequently, the appropriate cutting position, cutting length etc. can be found by testing without material being lost. Even if the available audio hardware can put out two channels only (stereo mode), operation with more than two tracks in the virtual project is possible and useful. A stereo project, for instance, can slowly fade over to another one with the moment of fading being determined by shifting of the relevant objects. An AMIGA with processor 68030 can mix four tracks in 16-bit quality or eight tracks in 8-bit quality to the stereo outputs and put them out. A typical screen with a virtual four-track project has the following layout: The process of integration of physical samples into a virtual project is as follows: -Open a RAM or HD project. -Mark the entire project as a range (key a) or the range to be integrated into the virtual project. -Give the range a name so that the ranges can be discriminated later on (such as assignment of the range to a function key or by "Define range -> other"). -Generate a new virtual project by means of the project menu. -Pull the range from the physical sample into the virtual project. -The sample(s) appear(s) in the virtual project on the spot over which you have released the mouse. A VIP is in any case somewhat longer than the samples in it. Consequently, the first sample fills the range by about 80 %. The representation is newly arranged if more samples are generated or shifted to the rear. Three small gadgets have been arranged left of each track: The M (for mute) gadget is used for muting a track. If this gadget is activated (inverted), the pertaining track is not put out (muted) when the project is played. Several tracks can be muted at the same time. This mode is changed over by a click on the gadget. The S (for solo) gadget makes only this one track audible while playing. The other tracks are not put out. No more than one track can be in the solo mode. The solo mode disregards possible muting of this track. This means that the state of the mute gadget is irrelevant if the solo gadget for this track has been activated. The mute gadgets will not be active when a track is in solo mode. The L (for lock) gadget locks the state of a track in cutting operations. If this gadget (left of each track of a virtual project) has been selected, the corresponding track will be locked in cases of cutting operations (NOT in cases of object operations). The content of the track remains unchanged in any case. The virtual object has two different types of representation: -In Text mode, the name of the range and the name of the real project are represented within the object. -In Sample mode, the samples are represented as usual; vertical zoom, however, is not possible. Horizontal zoom can be performed in the usual way so that objects can be aligned relative to each other with sample accuracy. You will quickly learn that the text mode is much faster (and usually more easily to survey). Changeover is, as before, by means of the menu item Setting > Drawing mode or with the ~ key (under the Esc key). Your objects can have different colours, too. It is then necessary to use the Range colour function for assigning a background colour to a range already defined in a physical project. You will see a colour requestor. Click on the desired colour and then on the OK gadget. All objects arising from this range will have the background colour which was active when you left the colour requestor. This is the reason why black (colour no. 1) should not be chosen as background colour It is principally possible to use Samplitude on a screen with 8 or 16 colours so that more colours for the different objects are available. However, you will have to put up with operating speed reduced considerably in the case of computers without AA chipset. Virtual projects have two different processing modes: -the Normal mode in which ranges can be defined as before by mouse clicks, and -the Object mode in which objects can be selected and shifted with the mouse. Changeover between the two modes is by means of gadget <- (top right in the project window). If the object mode is not activated, object manipulations can be executed if the right AMIGA key is kept depressed. This means that a single object can be shifted in the normal mode, too, if the right AMIGA key is kept depressed during drawing. As a matter of principle, Samplitude treats its objects in a similar way as the workbench with its icons. Selecting an object with the mouse An object is selected by actuation of the left AMIGA key and clicking on the object with the left mouse button at the same time. If the object mode (see above) has been activated, object selection requires clicking with the left mouse button only. If objects have been selected already, selection will be cancelled. Selection is visible by two rectangles, height about eight pixels, in the corner bottom right of the object. The frame about the object is additionally inverted as long as the left mouse button is kept depressed. Selection of an object in this way simultaneously cancels selection of all objects selected before. A double click on an object opens the pertaining real project. The range representing the object is marked at the same time. Selecting several objects with the mouse If a Shift key is actuated along with the right AMIGA key (object mode not active), an object can be selected without selection of other objects being cancelled. Cancelling selection of objects Selection of all selected objects is cancelled if the right AMIGA key is kept depressed and the left mouse button used to click on the side of an object. Moving objects One or several objects selected can be shifted with the left mouse button depressed. Shifting is possible horizontally (along the time axis) as well as vertically (in the track number). Release of the left mouse button deposits the objects in the current position. If several objects had been selected in different tracks, the selected group can be shifted vertically only in a range that all objects remain within the tracks. Changing object edges in virtual projects The corners top left and bottom right of a selected object are inverted. The two rectangles have the function of handles with which the start or end of an object can be manipulated. If you click with the mouse on the frontal rectangle and keep the mouse button depressed, you can shift the start of the object to the front or rear. The start can be shifted only up to the beginning of the physical sample and up to the end of the object. Analogously, the end of the object can only be shifted up to the end of the physical sample or up to the beginning of the object. If several objects have been selected, such changes refer only to the corresponding edge of the sample which was last to be selected. Overlapping objects No more than one object can be played in a track (channel) at the same time. An object shifted over another one covers the earlier one. You may compare it with a sheet of paper covering another sheet entirely or partially. The object part which is not visible will not be played. Shifting the rear object permits the invisible part of the frontal object to be made visible and audible again. Raster Rasters act on the shifting of objects and marking of ranges. There are three different raster types: -The range raster can be made by means of the function Range as raster. This means that raster marks are set with spacing of the length of the range used. -After selection of the function BPM raster, the desired BPM number for the raster can be put in through a number requestor. -Object raster: Objects cannot be shifted but to the beginning, end or hot spot of another object. The reference point is usually the front edge of the object to be shifted. A hot spot for the object is considered when it is defined. If several objects have been defined, alignment is in any case relative to the front edge or hot spot of the object which was last to be selected (and is under the mouse pointer). The distance between selected projects remains constant which means that not all objects are aligned along the raster. The function Object raster is an easy way to rearrange audio patterns as desired and nonetheless to produce cutting edges that are exact by samples. In the case of loading of virtual projects, all pertaining physical, i.e. RAM and HD projects are opened first (unless they are not yet open). The windows of these projects are not opened for better clearness; these projects remain hidden for the time being. The project window for the virtual project is opened after this. ... Resample This is another way of influencing the length of a sample. Contrary to the two functions specified above, the factors for variation can be as desired. The following window is opened: The factor refers to the length and sampling rate as well. You can put in values greater or smaller than 1.0. The new length results from the old length multiplied by the factor. This factor can be specified by you; the new length and sampling rate are calculated and displayed automatically. The old length and sampling rate are displayed below on the left. These values cannot be changed since they have been defined by the current sample. Right of the old sample length is the new one resulting from the old length and the factor specified above. The new sample length, however, can also be edited; the factor and the new sampling rate will then be calculated anew. This is the same with the new sampling rate: it can be varied, and the results are new values for the factor and sample length. Specification of half-tones is possible in addition to the actual factor. The resultant factor is so that the sample is modified as follows: With the sampling rate maintained, the sample would be detuned by the number of half-tones specified. Possible values are +36 to -36, i.e. three octaves in either direction. The specification of half-tones refers to factor 1.0 in any case which means that previous changes in this editor are neither considered nor overwritten. The Resample function offers two modes: Res 1: Resampling with maintenance of original sampling rate Res 2: Resampling with subsequent matching of sampling rate The square algorithm from Version 1.xx has been omitted since the yield in quality is small in comparison with the time needed. A new time stretching function has been added: Time stretching permits e.g. drum loops to be accelerated or decelerated without a change in pitch. On the other hand, a sample can be tuned higher or lower without a change in time. Time 1: Time stretching with maintenance of original sampling rate Time 2: Time stretching with matching of sampling rate The entry Range characterizes the sample length inserted or cut out in time stretching. The optimum size distinctly depends on the sample material, so that this range can be taken from the range marked. A range of 1,000 Hz has stood the test for 44. kHz samples. Time companding (sample length reduced and sample varied by +n half-tones) brings better results than time stretching in most cases. Consequently, matching of two samples should be carried out by reducing the longer one rather than vice versa. After resampling/time stretching you can select whether the original project is maintained (e.g. for first testing the result and then newly to resample, if needed) or not. In the former case the original project keeps its name, whereas the new project gets the name "Temp". If working with HD projects, take care that the new project must be closed or renamed prior to new resampling since two projects with the same name cannot exist on the disk. A frequent application of the resample editor will be generation of duplicates of a range (such as one bar of music) which have the same sampling rate but different pitch . Let us assume you want to transpose a range two half-tones downwards without changing its sampling rate. Two steps are needed: First select menu Editing > Resample and there mode Time 1. Enter 2 in gadget Half-tones. Values between 300 and 2,000 are useful as range length (bottom right). Now start time stretching by OK. The requestor Close original project? must be answered Don't close. Now listen to the result. Make a new attempt with another range length if there are disturbing echoes or delays. If you work with HD projects, you must now rename the project from Temp to some other name such as Time+2. This should be done with menu Project > Rename. Now comes the second step: First select menu Editing > Resample and there mode RES1. Enter -2 in gadget Half-tones. Requestor Close original project? must be answered Close this time since usually nothing will go wrong in resampling. You now have a sample of the same length and sampling rate but tuned down two half-tones. If you want to arrange it behind your original sample, mark the new one by key A, copy it into the clip by C, move the cursor with End to the end of the original (click before), and insert the clip by I. You should now save the new range with Shift + function key so that you can call it exactly whenever needed. ... Filter on/off This function enables and disables the AMIGA audio filter. Shortcut: f ... Display keys A separate window informs on important shortcuts which cannot be derived directly from the menus. This mainly includes functions for defining sections and ranges. Shortcut: Help key ... Speech Samplitude has been localised, that means, you can change the programs language. The integrated language is german, for other languages you need locale.library in libs: and f.e. samplitude.catalog in programs-path/catalogs/english/samplitude.catalog. The AREXX-Port of Samplitude has the name "rexx_samplitude". The commands are: ABOUT opens a window with informations about the program SCREENTOFRONT brings the screen to front SCREENTOBACK brings the screen to back SORTWINDOWS sorts all windows on the Samplitude-screen OPENWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S opens one of these windows: - HELP: the window with the shortcuts - PMANAGER: the project-manager - RMANAGER: the range-manager - WORK: the display of DOS-Calls CLOSEWINDOW HELP/S,PMANAGER/S,RMANAGER/S,WORK/S closes one of these windows: - HELP: the window with the shortcuts - PMANAGER: the project-manager - RMANAGER: the range-manager - WORK: the display of DOS-Calls OPENPROJECTWINDOW PROJECTNAME/A opens the window of the named project CLOSEPROJECTWINDOW PROJECTNAME/A closes the window of the named project ZOOMINHORI PROJECTNAME/A zooms in horizontally ZOOMOUTHORI PROJECTNAME/A zooms out horizontally ZOOMRANGEHORI PROJECTNAME/A shows the marked range horizontally ZOOMALLHORI PROJECTNAME/A shows complete project ZOOMINVERT PROJECTNAME/A zooms in vertically ZOOMOUTVERT PROJECTNAME/A zoomt out vertically ZOOMRANGEVERT PROJECTNAME/A shows the marked range vertically ZOOMALLVERT PROJECTNAME/A shows complete range vertically CUT PROJECTNAME/A cuts the marked range out of the project COPY PROJECTNAME/A copies the marked range into CLIP INSERT PROJECTNAME/A inserts the CLIP into the project OVERWRITE PROJECTNAME/A overwrites the marked range with the CLIP ERASE PROJECTNAME/A deletes the marked range in the project KEEP PROJECTNAME/A extracts the marked range ZERO PROJECTNAME/A sets the marked range to zero (silence) REVERSE PROJECTNAME/A reverses the samples in marked range INVERSE PROJECTNAME/A inverts the marked range AMPMUL2 PROJECTNAME/A doubles the amplitude of the complete project AMPDIV2 PROJECTNAME/A halfes the amplitude of the complete project SETRANGE PROJECTNAME/A,LEFT/N,RIGHT/N sets range-borders to defined values LASTERROR outputs last error-message PLAY PROJECTNAME/A playback of the marked range in the project LOADRAM PROJECTNAME/A loads a RAM-project, the complete path-name is required. In case of succes the function returns the project-name. LOADHD PROJECTNAME/A loads a HD-project, the complete path-name is required. In case of succes the function returns the project-name.